| Our period is given over to the demon of speed, and that is the reason it so easily forgets its own self. Now I would reverse that statement and say: our period is obsessed by the desire to forget, and it is to fulfill that desire that it gives over to the demon speed; it picks up the pace to show us that it no longer wishes to be remembered; that it is tired of itself, sick of itself; that it wants to blow out the tiny trembling flame of memory. 1
I feel the need for speed is about trying to forget, so fast you can't see it can't remeber it, perhaps this is comforting, you can't or don't want to criteque all these images even if you wanted too.
there needs to be a demand for content in the world of technology is this an area where artist can intercede.
Accountable in the work place
The artist ( let us retain this somewhat kitsch term) is by status an 'operator of gestures: he seeks to produce an effect and at the same time seek no such thing ... The artist's gesture - or the artist as gesture - does not break the causative chain of action ... but blurs, confuses it, he starts it up again until it loses its meaning. 2
there are little crevices around the place that still can be worked in
we are so stressed by avante garde pretentions
artist as enthnographer, anthroplogist
invisible things of speed are shown by marey which is seen in bacons work
decomposition of images
Deleuze's move form here is quite clear and hinges on a question of this kind: What if there are no such myths or idealised forms? What if, instead, such myths are in continual flux and can only be seen as singularities rather than similarities to the situation at hand? This is Deleuze's scepticism which creates the possibility that all the alternatives are semblances or simulacra and no idealised ordering on the alternatives is possible. This shift in focus pushes the simulacrum , the subject without place , the nomad, into the fray. Thus it is the Zarathustran figure , the voice from the wilderness, who is left, not to order but to invigorate and intensify the various forces in play. 3
the thing that is important is to find out what fellow artist are discussing,
key issues.
a universal language
what we know as art would be pure concept
there is something not readable in everything
pocesses of inclusion and exclusion is at work in the construction of people and art history
When you are traumatized because their are two many decisions to make, then the loss of subjectivity is a problem.
What is the potential for painting in the age of artificial intelligence
What Francis Bacon and Lucien Freud are doing are bringing to the viewer the intensification of the real.
Painting is a tactile experience.
Bacon took a photographic experience and put the visceral experience into the painting. In many ways that the thing that is wide open to
You can make a simulated surface, but you can't make the visceral surface.
We keep getting caught with references to painting
perhaps we should read different stuff
there is an obsession with 'stuff'
obsession with the sublime
looking over the abyss
intensification of the real as opposed to the melancholia
are we going to turn to things that screen/grid the real.
there is no virtual space
there is no physical space, there is an apparition
push to progress painting
put a veil over it.
what has painting got to do with the real.
paint is an expressive medium
Everything about Wharhol is factious: The object is factitious because it is no longer relative to a subject, but to the objects desire alone (desire of the object). The image is factitious because it is no longer relative to an aesthetic demand but to the image,s desire alone. 4
when we produce the world as image we are lost within it
objects still have a power, as a sign
subject object relation
what are we expecting art to fill in our lives
what do we do it for
avante agarde is out dated
high art is trying to keep themselves pure
blind trust
blind love
looking at the work in realtion to itself was a great exprience, looking at the individual pieces and there cost what is their significance
there is an insercurity in being attached to the way that art is going
artists on a mission
the way that technology is effecting art not the actual hands on
we are left with perception itself
All modern art is abstract in the sense that it is traversed by ideas far more that by the imagination of forms and substances. All modern art is conceptual in that it fetishises the concept in the work, the stereotype of a cerebal model of art - just as what is fetishised in commoditites is not real value but the abstract stereotype of value. 5
banality, cliche and stereotype are the three main problems of creating art
visual philosopher
cultural signifier
the avante garde is trying to readdress itself
we are banal just as our world is banal
what do we do when all meaning is saturated when there is to much pluralism ? what is our next stratergy
Its is curious that while CyberCities narrate the dematerialisation of physical space and chronological time, space has become a dominant issue with postmodern criticism. Edward Soja in Postmodern Geographies argues that the nineteenth century's affair with progress valued time over space, allowing the latter to hide things from us, to be used as a veil drawn over the surface. 6
Science is more interesting at present than art
How does art engage in the world of technology, should it exist in this world?
... the predominant medium of art school teaching is words, it is a discursive practice. The value of the artist as teacher is presumably that they can communicate their grasp of the complexity of art utterances by discursive example. Tutoring people in making art is tutoring people in ways of thinking about art ... one of the things I most consistently find is an incapacity of art students to read their own work or the work of others. They are not equipped to think their way into the actuality of a work. We now have a situation where many recent graduates of any half-alive art history department have a more literate and imaginative understanding of past and contemporary practice than most art school graduates behind whose thin visual practice stands the common sense of the studios. The underdeveloped discursive culture of art in English art schools culturally disempowers students.. I think our notion of the artist is too anti-academic and too market influenced... My point is that inasmuch as art school studio common sense teaches a theory of no theory it is not self aware; it takes its own assumptions as self evident truths. 7
a reaction against painting is being dealt with in the foster article by dealing with the abject the obscene and the traumatic.
Mark quinns blood head
whether the images are real or assimulate they are really in your face
pornography is saying the same thing you become implicit in the photo at the same time by the gaze
everything comes from a model and there are no more new models
exhibitions are basically like having the same car and putting different fins on it.
being able to move from one mode to another via the computer is not so difficult anymore
convergence on the one platform
architecture forms subjectivity
the reason we are traumatised by it is because we cant locate ourselves within it. you might find that the Techne exhibition is pushing the nature of artist to be involved
people doing around workshops in techne
a number of conferences happening at the same time in February
technological disaster
Sigmund Freud proclaimed, detail owes its privileged status to the primary process of displacement. 8
If the painting has nothing to narrate and no story to tell, something is happening all the same and this something is what defines the way the painting functions. 9
living here we see through reproduction of images
he paints with cashmere jumpers
I will wear it rather than paint with it
when you talk about reason it has been brought to the production of work to become practice
our thoriesing is caught up in differerence
all truth has multiple meanings
psychology of perception and the basics of our relationship (sensation) with the world may be all thats left
are we addicts of meaning ?
exchange is always distorted
motivation for the work, context is important, ideas have context
Figure is sensible form in relationship to sensation, and it acts directly on the nervous system, which is something that belongs to the flesh. 10
when foster talks about the traumatized subjectivity in terms of a mass subjectivity and the possibility 60's pop and traumatized subjectivity
reconstruction of the subjectivity around the trauma
take baudrillard out of painting in relation to the grid.
We keep asking what technology can do for painting.
What we could ask is what painting can do for technology?
Corbis can supply any of these and many more like it, all in glossy, saturated colour, perfect for magazine reproduction and company brochures. Human experience comes suspended in the sickly-sweet amniotic fluid of commercial photography... All that Corbis owns are the electronic reproduction rights of certain of Adam's images. The assumption is that, in the near future, electronic reproduction is the only kind that is going to matter. 11
Because of digitization, the computer can shift things around things, can process information, but it is gridded.
What in relationship to what we are doing when the whole process is undermined...The real is getting further and further removed we don't know what it is....but isn't everything the map precedes
two sorts of spaces smooth and striated - lay a grid across it to make sense of it - things are left on and off maps.
putting a screen between you and the subject- representation
painting is the perfect screen
What is an idea
a computer is a pure ideas machine
Kosuth - how do you present things - real chair , a photo of a chair.
'Idea' exists within the symbolic, a crystalization
Change does occur
Media - Space sat around and discuss the ideas
The work came out of the ideas.
the language is the stuff.
when a contextualization comes into it, things develop - does the grid
where does this stuff go,do, have an effect.
Where does formal abstraction go
Is that just play?
Is that contextualized?
Conversations about neo-formalism and the burgeoning of formalist work in Perth.
Are works self referential or do they refer to something outside of itself.
Did the work really exist?
Was the work significant to look at
How do you look at An illustration of a theory?
Kathy Waldby Adam and Eve sliced and scanned in to computer.
Technologies possibilities to expand possibilities of what we can perceive.
yet its digital, on/off nature limits its potential.
if 20 or 30 years ago artists were an antennae, if it has so sped up what is our role?
will still be potential, need critical intelligence.
just a device to manipulate
putting intelligence
a site in the future.
a mass culture,
look at time zone
people there
noise in time zone
but people want to reconnect.
Power institute - most things are screen based
when collapse of boundaries between self and others -significant shift.
how we devalued things through reproduction simulated book
broadcasting as opposed to broadgathering
how does this change the way we think about practice
just do it
Benetton
questions of whether I am on auto-matic pilot
there are no high morality dealing in an art forum
new ideas are being used up there is no longer a ten year gap.
Loss of subjectivity and mimicry.
Is there a need to pin down the discussion specifically to a media
Would you buy a car from a photograph or would you want to see the car.
It's not the real thing Digitization can only go so far - it has its possibilities and limitations
The more that people move into a digitized world, perhaps the more we seek the visceral
1.Milan Kundera, Slowness, (Faber and Faber UK 1996) 115 2.Roland Barthes, The Responsibility of Forms. 3. Warren Sack, Painting theory machines, Art and Design Magazine. 4. Jean Baudrillard, The Plastic Inevitable, World Art. 5. Jean Baudrillard, The Plastic Inevitable, World Art. 6. Christine Boyer, CyberCities (New York. princeton Architectural Press 1996) 18 -19 7. Peter Suchin Literacy, Criticism and Fine art. Paper quote of Andrew Brighton 8. Christine Boyer, CyberCities (New York. princeton Architectural Press 1996) 65 -78 9. Gilles Deluze Francis Bacon The Logic of Sensation Flash Art 1989 10.Gilles Deluze Francis Bacon The Logic of Sensation Flash Art , 1989 11. Art Monthly December 1996 No 96
Terminus = Paul Thomas Mark Cypher David Carson Brian Mckay Jeff Jones Barbara Bolt
Theo Koning Jeremy Blank Alex Spremberg
INTRODUCTION
MEETINGS.
ARTISTS
E-Mail: p.thomas@curtin.edu.au
Terminus=
|