"The j-engine asks the questions: Can random juxtapositions be incorporated into the tools of analysis to yield a broader range of possibilities? Do we have the cognitive skills to "read" these new organizations of material?"
"How do protocols structure and control our ability to negotiate narrative?"
I would argue that the human mind has always been capable of making these juxtapositions and that it is not really an affect of the new forms of media. I think that the ability to find meaning in such juxtapositions is essentially the same as artistic creation.
"My mother is a fish." --William Faulkner, As I Lay Dying 1930
i think this random assembling of image sets recalls a method employed by the situationists. it was called "detournement". basically what happens is a reappropriation of meaning by revealing new ways of understanding an image through unconventional or non-traditional context. i think new perspectives are essential and this technique of juxtaposition or interaction of images at odds should not be left to be employed only by the computing platform...but is possible upon many....
An art movement begun in 1961/1962, which flourished throughout the 1960s, and into the 1970s. Characterized by a strongly Dadaist attitude, Fluxus promoted artistic experimentation mixed with social and political activism, an often celebrated anarchistic change. Although Germany was its principal location, Fluxus was an international avant-garde movement active in major Dutch, English, French, Swedish, and American cities. Its participants were a divergent group of individualists whose most common theme was their delight in spontaneity and humor. Fluxus members avoided any limiting art theories, and spurned pure aesthetic objectives, producing such mixed-media works as found poems, mail art, silent orchestras, and collages of such readily available materials as scavanged posters, newspapers, and other ephemera. Their activities resulted in many events or situations, often called "Aktions" — works challenging definitions of art as focused on objects -- performances, guerilla or street theater, concerts of electronic music — many of them similar to what in America were known as Happenings.
3 comments:
Maybe there is a good use for scripting...but...
"The j-engine asks the questions: Can random juxtapositions be incorporated into the tools of analysis to yield a broader range of possibilities? Do we have the cognitive skills to "read" these new organizations of material?"
"How do protocols structure and control our ability to negotiate narrative?"
I would argue that the human mind has always been capable of making these juxtapositions and that it is not really an affect of the new forms of media. I think that the ability to find meaning in such juxtapositions is essentially the same as artistic creation.
"My mother is a fish." --William Faulkner, As I Lay Dying 1930
i think this random assembling of image sets recalls a method employed by the situationists. it was called "detournement". basically what happens is a reappropriation of meaning by revealing new ways of understanding an image through unconventional or non-traditional context. i think new perspectives are essential and this technique of juxtaposition or interaction of images at odds should not be left to be employed only by the computing platform...but is possible upon many....
along the same idea check this out
http://www.artlex.com/ArtLex/f/fluxus.html
An art movement begun in 1961/1962, which flourished throughout the 1960s, and into the 1970s. Characterized by a strongly Dadaist attitude, Fluxus promoted artistic experimentation mixed with social and political activism, an often celebrated anarchistic change. Although Germany was its principal location, Fluxus was an international avant-garde movement active in major Dutch, English, French, Swedish, and American cities. Its participants were a divergent group of individualists whose most common theme was their delight in spontaneity and humor. Fluxus members avoided any limiting art theories, and spurned pure aesthetic objectives, producing such mixed-media works as found poems, mail art, silent orchestras, and collages of such readily available materials as scavanged posters, newspapers, and other ephemera. Their activities resulted in many events or situations, often called "Aktions" — works challenging definitions of art as focused on objects -- performances, guerilla or street theater, concerts of electronic music — many of them similar to what in America were known as Happenings.
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