I attended a workshop with Cage (around 1980). He was rather semi-detached.
He certainly didn¹t teach anything, unless we were expected to pick it up by
osmosis. He was a nice guy though and I continue to enjoy his work and
appreciate his contribution. My partner worked with him a bit (being a
dancer she worked with Cunningham and Brown, so that¹s her connection) and
her perspective is different. She is far more enamoured of the Cageian. My
background is more European in its traditions, Xenakis and stuff like that.

As for the difference Martin proposes between art and academia ­ this is
arguably a question of epistemology and whether a mode of knowing or
apprehending is teleological or not. A few decades ago much of academia had
teleological tendencies. That is no longer the case. I am not saying it has
changed all its spots. There are still powerful conservative forces at work
within the academy. Nevertheless, things have changed. Once the research
councils (initially in the UK, but now in Australia, Canada and Europe)
accepted that creative practice could be considered and funded as research
the flood gates were opened. Partly as a result of this dominant notions of
what might constitute knowledge were brought into question. The impact was
not just on the creative arts, sucking practitioners into academia as
researchers, but also on the academy, shifting what might be considered
academic activity. Although there is still an expectation that academic
research makes a contribution to knowledge the idea of what knowledge might
be has been deeply problematised. To know no longer has to involve facts or
proofs. It can be an (inter-)subjectivity. This is what artists have always
been good at. In this context we have a willing audience who are also our
collaborators.

I am not making grand claims here for the role of artists. Other disciplines
have been key in this, including cultural studies, critical studies,
philosophy (particularly phenomenology) and informatics (which was on the
³outside² until relatively recently). I would propose it is a paradigm
shift, which art is part of.

Best

Simon


Simon Biggs

Research Professor
edinburgh college of art
[email protected]
www.eca.ac.uk

Creative Interdisciplinary Research into CoLlaborative Environments
CIRCLE research group
www.eca.ac.uk/circle/

[email protected]
www.littlepig.org.uk
AIM/Skype: simonbiggsuk



From: Alan Sondheim <[email protected]>
Reply-To: NetBehaviour for networked distributed creativity
<[email protected]>
Date: Fri, 8 Jan 2010 16:05:31 -0500 (EST)
To: NetBehaviour for networked distributed creativity
<[email protected]>
Subject: Re: [NetBehaviour] Call for Submissions:
MultichannelVariableEconomies Screening Programme Deadline 28th January



On Fri, 8 Jan 2010, martin mitchell wrote:

> Academics or academia is a prescribed process of thought to prove a
> theory, factual based breadcrumb trail to prove perhaps a defined fact.

Sorry, but this is ridiculous, and an insult to a lot of people on this
list and elsewhere. As far as what Beuys or Cage said - I didn't know the
former, but Cage said some idiotic things in his time.

> Art or its creation is more to do with free thinking even irrational
> thought often about a visual idea that does not have proof in academic
> terms but initially exists as image, event or 3D, many times an artist
> will create something but is unable to explain how it came into being.
> Academic thought process is different you have an idea and set out to
> prove it with verifiable facts.

There are no "proofs in academic terms" and what you write about academia
again is ridiculous.

Sorry, I usually don't say this, but it seems to me you're trolling. I'm
not trying to be rude, but again this is insulting.

Alan (I don't want to engage further on this, but I don't understand what
the point of writing on and on, with this kind of discussion. I don't know
what bones mm has to pick with "academia" and really don't care at this
point: this is just nasty.)
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