Tim and are are looking forward to seeing the exhibit during our Spring
break in a couple of weeks. It has been reported to me that the SFMOMA
exhibit was quite spectacular and it will be interesting to see what the
reception is in NY. Thanks for the preview. Renate
One if the most moving aspects of the kentridge exhibition -- which
takes several visits it's so extensive-- is how
Well the animation is treated as an art object. It's magnificent . I
hope you all can visit who aren't in NYC. It's all very organic -- the
animations in their rooms with open access ( but it's not distracting
having people come and go) are huge and so different than when small.
Less scrappier. More monumental. More theatrical as i would assume he
prefers. I guess.immersive. There will be some people who might prefer
them smaller, more intimate and as I write both are true -- it has to
do with the tear rather than the cut. His animation called mine
though, is magical un the sense of moving beyond the process and
hits that pit between awe and ow and just letting one's breath out --
it's the way ihe uses erasing as opposed to ( or with ir as) drawing
to creatve space and the claustrophobia of the mine. The coal. Drawing
from the darkness in a way. It reminded me of what Leonardo said about
painting light -- it's the darkness not the light. Anyway -- I was
just struck by the perfect match between subject matter, process, and
the erasing drawing animation.
The show has his 7 parts to melies as an installation too and a
gorgeous small book called trace by Judith hecker, which if you
can't get to the show order. The catalogue comes with a DVD .
Thyrza
P.s
Hoping to see animated feature the book of kells before oscars
tomorrow . Has anyone seen it?
Sent from my iPhone
On Mar 2, 2010, at 10:29 PM, christopher sullivan csu...@saic.edu
wrote:
Again Simon you are not going to the right restaurant.
There is magic out there. Chris.
Quoting Simon Biggs s.bi...@eca.ac.uk:
I didn¹t say 50/50. Sometimes somebody gives more. One hopes it is
the
artist, but it isn¹t always the case. In fact, most of the time I
get the
feeling I am giving more than I am receiving when it comes to
popular media.
Simon Biggs
s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk
http://www.littlepig.org.uk/
Research Professor edinburgh college of art http://www.eca.ac.uk/
Creative Interdisciplinary Research into CoLlaborative Environments
http://www.eca.ac.uk/circle/
Electronic Literature as a Model of Creativity and Innovation in
Practice
http://www.elmcip.net/
From: christopher sullivan csu...@saic.edu
Date: Tue, 2 Mar 2010 12:16:37 -0600
To: Simon Biggs s.bi...@eca.ac.uk
Cc: soft_skinned_space empyre@lists.cofa.unsw.edu.au
Subject: Re: [-empyre-] animation and short term memory (was, a
long time
ago: interpreting datasets, etc)
I agree that the moment of interchange is the defining moment, but
I do not
go
with the idea that the writer and the reader are 50 50 in the
interchange.
I actually like being overwhelmed by art, It is what feels best to
me. I am
not
quibbling, I just feel different, I like work made by really smart
complex
people, and I do not have a need to democratize the giver and
receiver.
for instance I am not frustrated when watching football, that I am
not
actually
running the ball, I am truly engaged as an observer, and as a reader,
watcher,
but I feel connection but not an even one. Animation is very
particular like
this, because it is such a place of amazing craft.
I cannot through a football 60 yards, that is OK.
of course diversity in thought is important. Chris
Quoting Simon Biggs s.bi...@eca.ac.uk:
I am quite a fan of Latour¹s formulation of expanded agency and
Ingold¹s
reading of the Deleuzian idea of becoming, where creation is
located in
the
process of exchange that occurs at the moment the art work comes
into
being.
This assumes that the art work only comes into being when it is
received,
not when it is produced (although these things can be the same
thing Â
they
have to be the same thing) and that the work is to be found not in
the
artefact but in its exchange. The reader and writer only come into
being
at
this moment too. In this view there is little reason to quibble
over who
did
what. The reader and the writer are both implicated in the
outcome. This
was
Derrida¹s point. I do not find this a dry proposition at all qu
ite the
opposite. It is a field of complex interplays that is rich in
nuance,
contradiction, conflict and synergy. Random is just another word for
complex
;)
Best
Simon
Simon Biggs
s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk
http://www.littlepig.org.uk/
Research Professor edinburgh college of art http://www.eca.ac.uk/
Creative Interdisciplinary Research into CoLlaborative Environments
http://www.eca.ac.uk/circle/
Electronic Literature as a
