----------empyre- soft-skinned space----------------------
Hi Horea,
Actually, we are agreeing. The human (in this instance the artist's)
inability to control the medium (which the human mind may project as a
failure of the machine} is exactly what is liberating. With no conscious
will or intention of the user, it enables the user to transgress the
logical system, exigencies the machines creates around itself. In one
sense, the machine "makes a mistakes." In another sense, the machine has
abilities beyond the human ones.
I talk in detail about the importance of the "inefficiences" of the
technological medium in the creation of art discussing 19th century
photographic light in my book *The Peripheral Space of Photography (Los
Angeles: *Green Integer, 2004*).* In an earlier discussion a few months ago
here, I referred to an interview with the film maker Renoir where he talks
about the importance of defects in technology in fil (and art in general).
The interview is on utube.
Ciao,
Murat
On Tue, Jul 14, 2015 at 7:28 AM, Horea Avram <horea.av...@gmail.com> wrote:
> ----------empyre- soft-skinned space----------------------
> Hi Murat and Anne-Sarah,
>
> I also believe that it is crucial to define what a "mistake" might be in
> the context of machines or dispositifs.
> Is the "technological being" (i.e. the machine/dispositif) able to make
> mistakes? Or mistakes are entirely human being's responsibility?
>
> I think mistakes are not liberation from machines (and here I disagree
> with Murat), but they are intrinsic part of the machines.
> And by mistakes I mean those technical shortcomings and imperfections in
> the interaction process, those delays in what should be a real-time system,
> those real-virtual registration and superimposition errors, especially in
> Augmented Reality and ubiquitous computing devices and applications, etc.
> These "mistakes", as I see them, not only permit the system function (of
> course within an estimated and acceptable error range), but they can be
> seen as a distinctive aesthetic aspect of the technological medium
> (whatever that is). These flaws can be assumed (especially in artistic
> projects) as the artist's "trace," or as the tool's "stroke" that can
> reflect the attributes of the medium(s), the unique play between the
> accuracy of the machine and our subjective actions, between the
> transparency of the medium and its reflexive strategy (the flawless machine
> vs. the subjective, "emotional" machine).
> Isn't this an aspect of the intersubjectivity human-machine/dispositif?
>
>
> Horea
>
>
> On Mon, Jul 13, 2015 at 12:27 PM, <aslem...@free.fr> wrote:
>
>> ----------empyre- soft-skinned space----------------------
>> Hi Murat
>>
>> so people here are reading extra messages... with links !
>> good to know !!
>>
>> thank you for your note.
>> I guess I have to define what is a 'mistake' :
>> mistake in my understanding of how to program my interactive rules ?
>> and more seemingly mistake in the eyes of the viewer...
>> when the logic seems not logical 'enough'...
>>
>> I will read Cocteau again...
>>
>> Have a nice week,
>>
>> Anne-Sarah
>> ----- Mail original -----
>> De: "Murat Nemet-Nejat" <mura...@gmail.com>
>> À: "soft_skinned_space" <empyre@lists.artdesign.unsw.edu.au>
>> Envoyé: Samedi 11 Juillet 2015 23:21:38
>> Objet: Re: [-empyre-] aslemeur, experimental 3D image, Moscow, July 2015
>>
>> ----------empyre- soft-skinned space----------------------
>> Hi Anne-Sarah,
>>
>> Mistakes are liberation from machines. If you can make a machine make a
>> mistake, it seems you are liberating yourself from it-- as Cocteau's
>> infernal machine implies.
>> Ciao,
>> Murat
>>
>>
>> On Sat, Jul 11, 2015 at 5:07 AM, <aslem...@free.fr> wrote:
>>
>> > ----------empyre- soft-skinned space----------------------
>> > Hello !
>> >
>> > Anyone in Moscow ?
>> >
>> > I am presenting my interactive cylindrical piece, Beyond-Round, in
>> RuArts
>> > Gallery, until 31th of July,
>> > To Look at and To See, french-russian group exhibition,
>> > with Guillaume Guérin, Christian Lebrat, Alexandra Mitlyanskaya, and
>> > Natalia Smolianskaïa (and myself).
>> > https://www.facebook.com/ruartsgallery
>> >
>> >
>> https://www.facebook.com/ruartsgallery/photos/pcb.10154194139743475/10154194138083475/?type=1&theater
>> >
>> >
>> https://www.facebook.com/ruartsgallery/photos/a.10152820709668475.1073741837.370920953474/10154189485038475/?type=1&theater
>> > TV report : http://mir24.tv/video/12892691
>> >
>> > Beyond-Round (2000 - 2012) is a perception labroratory, where the
>> > spectator is experimenting lack of vision and loss of power, untill s/he
>> > finally understands that the interactive moving image has to be
>> <<tamed>>
>> > to be looked at. (I am using peripheral vision and slowness as key
>> elements)
>> > http://aslemeur.free.fr/projets/outre_r_eng.htm
>> >
>> >
>> http://www02.zkm.de/videocast/index.php/aktuell/440-anne-sarahlemeurbeyondround.html
>> > https://vimeo.com/44651679
>> >
>> > and will have a artist talk at Fabrika :
>> > friday 17.07, 4:00-5:30 PM, Artist Talk Anne-Sarah Le Meur, French
>> > animation Festival, Fabrika
>> > http://www.proektfabrika.ru/
>> >
>> >
>> http://www.proektfabrika.ru/#events/artist-talk-c-ann-sara-le-merquothudozhnica-v-rezidenciiquot-cti-fabrika
>> >
>> > I will speak on the influence of painting and programming language on
>> > generated 3D images and will present my exploration of unconventional 3D
>> > images.
>> >
>> > I would be happy to meet anyone there, or for any occasion somewhere
>> else
>> > in Moscow,
>> >
>> > Anne-Sarah Le Meur
>> > Artist, Assistant Professor, Pantheon-Sorbonne Paris 1 University
>> > http://aslemeur.free.fr/projets/agenda_eng.htm
>> > **********************************************************************
>> > Anne-Sarah Le Meur is represented by Charlot Gallery, Paris
>> > http://www.galeriecharlot.com/fr/39/Anne-Sarah-Le-Meur
>> > **********************************************************************
>> > _______________________________________________
>> > empyre forum
>> > empyre@lists.artdesign.unsw.edu.au
>> > http://empyre.library.cornell.edu
>>
>> _______________________________________________
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>
>
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