things aren't staged as physical, things are as such - it's what Rosset
somewhere called 'the idiocy of the real.' none of the painters for
example i've known talked about the physical as a staging; more likely
they've been concerned about transportation. -
On Fri, 22 Nov 2013, Bj?rn Magnhild?en wrote:
Regarding physicality, I'm not sure what it is, or rather what isn't.
What bothers me is a 'staging' of physicality, which then suggests it
didn't have much physicality in the first place. It's somehow treating
existence as a property. The artworld saying "The thing about this
thing is that it exists." The situation is already thingiverse.
And things are not necessarily fragile, even my clothes will survive
me, not to mention plastic gadgets, which makes you wonder how much
this material stress has to do with death. On the other hand, man's
creative nature... it uses whatever medium, physical or not... But in
this virtual world, staging something as physical seems all the more
compensatory, like a metaphor.
On 11/22/13, Alan Sondheim <[email protected]> wrote:
Absolutely agree with you here; however in music, there are all sorts of
issues ranging from digital / analog reproduction technologies through the
connotations of musical composition in relation to jazz or other
improvisations. One interesting thing that emerges in the phenomenology of
improvisation - is that most of it can't be notated (for a lot of reasons
not germane here); it's not codifiable but exists as ikonic (I think)
within the realm of the uncanny. On the other hand, composition is also a
form of programming, in an odd way maybe related to cat or echo commands
(maybe not).
People do attempt reproductions by the way, for better or worse - I've
heard ancient musical notations revived through what might be dubious
archeological processes...
I agree about the frailty btw, and found years and years ago that my vrml
creations no longer worked!
- Alan
On Thu, 21 Nov 2013, Pall Thayer wrote:
Alan, I don't think you're contradicting yourself. I think you're
displacing
the hand of the artist in coded work. The presented work doesn't truly
present the artist's "fingerprint" as would be the case in a painting or
moulded sculpture. Computer programmed work is inherently frail because
of
changes in technology. Look through Rhizome's archive of work. Much of it
is
non-functional because the technology has changed. If the original source
code is available, the work can be "re-interpreted" in the same way that
music is re-interpreted based on the notation. In code-based work, art
has
entered into the same realm as music where instructions exist but their
reproduction is dependent on the interpretation of the person who
re-interprets the work for contemporary hardware. If the original
instructions don't exist, the likelyhood that anyone would attempt a
reproduction are slim. No?
On Thu, Nov 21, 2013 at 9:38 PM, Alan Sondheim <[email protected]>
wrote:
Not necessarily better - the porousness of media work ensures
its
dissemination and occlusion of traditional notions of authorship
-
On Thu, 21 Nov 2013, Pall Thayer wrote:
Oops... I just noticed that I suggested but didn't make my point.
The point
is.... release your code. Tag a GPL license on to it and let it go.
Don't
worry about someone "stealing" your ideas... if they do, you're
documented
as being there first (the inspiration). If someone uses your code
and
produces amazing work that elevates them to a superstardom that you
never
had... be proud... not jealous. The fact is that they did it better.
C'est
la vie.
On Thu, Nov 21, 2013 at 7:49 PM, Pall Thayer <[email protected]>
wrote:
I agree that the physicality of art is necessary. Not
necessarily for its physical properties (depends on the media)
but rather for its conservation, its continued affect on
future
generations of art. Art that has no physical property, be it
through the work itself or documentation, will most likely be
forgotten. No matter how important it was in its time. The
physicality of code based art lies in the code. It is the only
embodiment of such pieces that can potentially live beyond the
technology they were created for.
Pall
On Thu, Nov 21, 2013 at 7:29 PM, Alan Sondheim <[email protected]>
wrote:
For me the physicality of much of the artworld is good and
necessary; it
reminds us we're flesh and blood, however prosthetic, that
the world is
physical and fragile and so much is close to extinction.
It creates
situations of face to face sociality which otherwise might
not exist. When
I've taught at art-schools I always looked towards the
painters and
ceramicists - not for the 'art' necessarily, but for their
immersion in
the substance of the planet, which seemed at times eerily
more real than
the hyperbolism of the media players, including myself.
I'm tired of this
ignoring of flesh and blood, the rare earths in our
goodies that are
killing people on other continents, the violent and
virtual umbrella of
structures like Google, Apple, Facebook, etc., as if our
world was
constituted by benign ghosts whose greatest sin might be
spying on us for
commercial gain.
End of rant -
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http://pallthayer.dyndns.org
*****************************
==
email archive http://sondheim.rupamsunyata.org/
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==
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web http://www.alansondheim.org / cell 347-383-8552
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current text http://www.alansondheim.org/sf.txt
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