Art Systems: Towards Developing a Practical Seminar on creative Problem Solving:
1.0 Paul Klee's "Thinking Eye" meets Wilhelm's "I Ching"......
-Exploring "Patterns of Wisdom"
-Exploring "What if"....
-Exploring the creative roles of Logic, Aesthetics and other Systems of Representation:
2.0 Ontology and Epistemology in Practical Problem Solving:
-Does our description of the world influence our experience of the world (and/or vice versa)?
-What do you want?
-Why can't you get it?
-Is a compromise or an alternative possible or desirable?
-Is the current situation acceptable (what are the consequences of acceptance or change)?
3.0 The Opposing Worlds of Symbolists and Mystici:
Maybe the "Symbolist" thinks in terms of
external (symbolic) objects (apparently believing in their Neo-Platonic
in the external world) -while
the "Mystic" operates conceptually with internal (cognitive) processes
that are self generating (and self-sustaining) and yet may still be a
reflection of the external world....
-> Investigating the nature of the Computer
-Wittgenstein -> Investigating the nature of Language
-McLuhan -> Investigating the nature of the Message
-> Investigating the nature of the Messenger
Investigating the nature of Time and Space
4.0 Forensic Investigations:
-what does "Forensic" mean?
-how does "Forensic" investigation differ from "Semantic" (or other) investigation methods?
-how does "Autonomous Forensic Simulation" differ from "Animation"
-is "Animation" a form of "Process" -or is it completely different?
-how does an "image" relate to a "process"?
-how does a static "iconography" relate to a dynamic "morphology"?
5.0 Defining Language:
-What is "Language"?
-What is the role of "Ritual" in the construction of "Language"?
-How does "Language" gain (syntactic or semantic) "meaning"?
-How does the concept of "Language" relate to the concept of "Space""
-How do the concepts of "Language" and Space relate to the concept of "Process"?
-How fundamental is "Taxonomy" to Linguistic expression?
-How does "Grammar" relate to "Pattern" and "Rule" and how do these concepts relate to Cognition?
-Is "Language" a tool for expressing external
realities or a medium for constructing internal conceptual models?
6.0 Language, Simulation, Ritual and Calculus (conceptualisation and prediction):
-The value of "autonomy" in simulations
(i.e. the system behaves
according to its own internal characteristics, in relation to its
actual environment -and not in terms of externally imposed "a priori"
-The Calculus "predicts" on the basis of implicit assumptions
-The Simulation "(re)creates" on the basis of specified characteristics
-The reflecting mirror and the naked eye
(How do we use the external to modify the internal?)
(What was the role of optics in the construction of renaissance
(How do western philosophical concepts of reality relate to western
concepts of image making and recognition?)
The "technical aspects" of computer art -should also be involved with
the exploration of the (metaphorical) consequences of different forms
(aesthetic/political/social/economic) organisation -not on the basis of
subjective and basically "unprovable" debate but on the basis of
working simulations (autonomous programmes) which test the viability
of different organisational and conceptual axioms. The concept of
"simulation" brings computer art back into the realm of mainstream
(traditional) art forms in a way that does not exclude the non-visual
arts. Perhaps most art can be considered as either a static representation, or
a dynamic simulation, of the artist's conceptual environment.
The use of a (mathematical) Calculus is a rationally accepted way of
studying the future behavior of a system -but how does it differ from
If scientific simulation is so important to scientific development
-then why isn't artistic simulation considered equally important in
relationship to social and cultural development?
7.0 Some (Working) Definitions?
(Conceptual tools for converting the existing into the desirable)
-the practical ability to do things
-conceptual technology (the
conceptual context within which theory and practice are applied and developed through experience)
for the construction of conceptual models (externalisation )
exploration of subjective conceptual models (subjective formalisation)
artist be talking to the public, or themselves?
-Does the artist
say something through art -or does art say something through the artist?
-Art as Therapy?
-(therapy as art)
-(art as culture)
-(culture as a tool for survival)
-(exploring and defining localised and globalised environments)
Music and Soundscapes:
-Xenakis and Music Concrete (liberating
music into sound)
-Recording or Inventing concrete sound
environments (Existing or Imagined)
(the problem of abstraction)
(the parametrification of conceptual space)
(Basic parameters: practice/theory, internal/external,
Of course I constructed the "conceptual spaces" which form the basis
for my computer works -however, the reason there are so many variations
is because I am interested in these variations -which I do not see as
"personal expression" but as "personal exploration" of the potential
(variation) of these spaces. Part of the work also involves discovering
and exploring the similarities and essential differences between the
various processes (and the conceptual spaces within which they exist).
If I could generate these
variations automatically (without internal interference by me) then I'd
be delighted to do so -in fact, that is another (higher) aim of the
work. However, one should not consider these variations important in
their own right -it is their significance (both in a generative and in
an interpretive context) which is most important. if "Information
is the difference that makes a difference" -then the generation and
taxonomy of "difference" must surely represent a fundamental principle
at the very heart of the human cognitive process.
Through experience with programming I have learned that one must work
with what is actually written and not with what one believes is
intended to be written. Of course this is difficult -because in modern society words only
gain meaning through shared use and not through "rational" definition or machinal implementation.
Once again -the problem of "Language"
(definition and interpretation of terms) seems crucial and fundamental to the cognitive process.
9.0 What is the role of Memory?
Perhaps one can see that "memory" in a programmable time/space machine
(computer) is "dynamic" and not "static" as in a
video-recorder.... (So why do people use computer memory as if it was a
video recorder -and then claim there is no difference?).....
If no other machine is able to dynamically process its own instruction
set -then why do we use the computer to imitate other (less interesting
machines) instead of investigating the unique potential of the computer itself?
Is this because our economic model is also more interested in turning
humans into economic slaves -rather than realising their full creative
<trevor at tebatt.net>
19 September 2005