difference between design and art 1 – authorship

in my design work i’m normally not the initiator of the assignment. i interpret visually someone else’s message. in my design work am i an author? yes

in the art work i am an author as well.

to be author means to create a text
this text can be a narrative
it can be script for an artwork
in this definition in the design work i am not an author in that sense.

to be an author can also be an editor
which means to use the tools to arrange pre-existing information.
i like the idea of editing
what’s already there
editing the surrounding world.
what someone else said
in this definition in the design work i am an author in that sense.

sickness

the day before yesterday I was with the flu. fever, tired body. slept bad, with alucinations.

next day, after sleeping until 15:00, i was almost recovered.
i felt as if resurfacing on the other side.

the sickness was some kind of death

sickness as the dark side (concept by Susan Sontag, ‘sickness as a metaphor’ and taken further in The Emperor of All Maladies: A Biography by Siddhartha Mukherjee.)

what made me think of the fact that a lot of people in the weekend drink and get drugged like crazy, and then stay hung-over for a day.
to die a bit. to get out of their bodies. to experience some kind of physical limitation, pain.

Joseph Campbell in the Power of the Myth talks about this, about the reason why teenagers take drugs: due to a lack of a mystical experience in the current times/society.

and performance artists. and rituals. seems it comes all from the same need (although with VERY different forms and implications)

in the movie Shame, the last addictive trip of the character is like this, from one dose to the other, gradually more extreme, and self-destructive.

[ it is good to know how my thoughts relate to world, to people around me. But still…. despite generalizations, assumptions, i can still only talk and deal with myself. ]

Cannibalism as a start

I started my research inspired by an early XX century brazilian artistic movement. It was called Anthropophagism (synonym for cannibalism).

It is basis is the act of appropriation.

The projects I envisioned were related to the use of computers to cannibalize current social, artistic and political issues. In other words, to automate the process of finding and rearranging information. The works would explore the potential of the performative live context.

I produced some experiments in this direction (ex: ‘Movie Parser’, 2010).

By going further on my research, and reflecting on my creative process,i understood better what actually interested me in this process of cannibalizing or appropriating.

Appropriation means to put things in a new context. To translate (and to deal with the distortion that the translation produces). The tools we use to represent and capture the world are appropriation devices. For instance, after we shoot a photograph we place the subject in a new medium. We take what is public and place it in our own representation space. By making it ours, we can relate to it and try to understand it.

These translations actions over an object often don’t happen only once. It’s a repetitive process. Therefore, the concept of recursiveness is important for me.

Apparitional experience

Apparitional experience

In psychology[1] and parapsychology, an apparitional experience is an anomalous, quasi-perceptual experience.It is characterized by the apparent perception of either a living being or an inanimate object without there being any material stimulus for such a perception. The person experiencing the apparition is awake, excluding dream visions from consideration.In scientific or academic discussion, the term apparitional experience is to be preferred to the term ghost in respect of the following points: The term ghost implies that some element of the human being survives death and, at least under certain circumstances, can make itself perceptible to living human beings. There are other competing explanations of apparitional experiences. Firsthand accounts of apparitional experiences differ in many respects from their fictional counterparts in literary or traditional ghost stories see below. The content of apparitional experiences includes living beings, both human and animal, and even inanimate objects.[2]
Apparitional experience – Wikipedia, the free encyclopedia

Quotations | Ask MetaFilter

The first condition, therefore, that any mythology must fulfill if it is to render life to modern lives is that of cleansing the doors of perception to the wonder, at once terrible and fascinating, of ourselves and of the universe of which we are the ears and eyes and the mind.

-Joseph Campbell, Myths to Live By (1972)
posted by Brian B. at 6:42 PM on March 12, 2009

We are a way for the universe to know itself.

– Carl Sagan
posted by benzenedream at 11:22 PM on December 12, 2009

science as excluding process

We can compare lock-in to scientific method. The philosopher Karl Popper was correct when he claimed that science is a process that disqualifies thoughts as it proceeds – one can, for example, no longer reasonably believe in a flat Earth that sprang into being some thousands years ago. Science removes ideas from play empirically, for good reason.

Lanier, Jaron: Your Are Not a Gadget. p. 9

translation

the conversion of something from one form or medium into another : the translation of research findings into clinical practice.

formal or technical the process of moving something from one place to another : the translation of the relics of St. Thomas of Canterbury.

[from mac os dictionary]

 

Translators always risk inappropriate spill-over of source-language idiom and usage into the target-language translation. On the other hand, spill-overs have imported useful source-language calques and loanwords that have enriched the target languages.

The word translation derives from the Latin translatio (which itself comes from trans- and fero, together meaning “to carry across” or “to bring across”). The Germanic (except Dutch) and Slavic languages likewise use calques based on these Latin sources.

[wikipedia]
noun
the translation of the Bible into English: rendition, rendering, conversion; transcription, transliteration.

[thesaurus mac os]

david rokeby and computers and language

by David Rokeby

In his diaries, Austrian writer Peter Handke at one points talks about “formulation” as the beginning of forgetting. This aligned very nicely with my experience of the tradeoffs that occur when language is applied to phenomena. What is gained is the ability to externalize the experience as a token that can be stored (writing), manipulated (reasoning) and shared (communication). “Coining” a term is an act of power. Adam in the bible is “the giver of names”, charged with the responsibility to bring nature under his dominion through the act of naming. But at the same time, something precious and harder to define is lost. What started as a live, multi-dimensional, organic, and complex interrelation is crystallized into a symbol disjunct from context and experience. It loses its conceptual suppleness. It becomes a ‘stereotype’ of the thing that it is intended to represent.

But language remains a powerful tool for communication, and it often seems to attain levels of richness that seem to belie the above-mentioned dangers. But the trick is that language has a layered expressive power only in the context of its synergistic relationship with the human brain. The human brain is a very fluid and subjective language decoder. Reception of a human language term by the brain involves activating a complex set of relations. The language tokens are generally interpreted back into a living dialog of disparate and often contradictory associations derived from personal experience. The crystallized concept dissolves back into what I might call a ‘wet concept’.

www.dichtung-digital.org/2003/3-rokeby.htm The Computer as a Prosthetic Organ of Philosophy

father and son in the shark’s belly

– Oh, Father, dear Father! Have I found you at last? Now I shall
never, never leave you again!

– The sea was rough and the whitecaps overturned the boat. Then a
Terrible Shark came up out of the sea and, as soon as he saw me in the
water, swam quickly toward me, put out his tongue, and swallowed me as
easily as if I had been a chocolate peppermint.

– And how long have you been shut away in here?

– From that day to this, two long weary years – two years, my P….

– And then?

– And then, my dear, we’ll find ourselves in darkness.

– Then, my dear Father, there is no time to lose. We must escape.

– Escape! How?

– We can run out of the Shark’s mouth and dive into the sea.

– You speak well, but I cannot swim, my dear P.

– Why should that matter? You can climb on my shoulders and I, who am
a fine swimmer, will carry you safely to shore.

– Dreams, my boy! [shakes his head and smiles sadly] Do you think it
possible for a Marionette, to have the strength to carry me on his
shoulders and swim?

– Try it and see! And in any case, if it is written that we must die,
we shall at least die together. [takes the candle and goes ahead
lighting the way]. Follow me and have no fear.

.

in ‘the invention of solitude’, paul auster

recursion

Recursion is the process of repeating items in a self-similar way. For instance, when the surfaces of two mirrors are exactly parallel with each other the nested images that occur are a form of infinite recursion. The term has a variety of meanings specific to a variety of disciplines ranging from linguistics to logic. The most common application of recursion is in mathematics and computer science, in which it refers to a method of defining functions in which the function being defined is applied within its own definition; specifically it is defining an infinite statement using finite components. The term is also used more generally to describe a process of repeating objects in a self-similar way.

from http://en.wikipedia.org/wiki/Recursion

about tools

leap frog: stick to one tool or set of tools for 3 years. because now there are too much money and resources and these make you keep changing tools and therefore solving technical problems instead of creative ones. stick to tools, create your own libraries and keep using them, as a language or toolbox.

tools are biased. to know a couple of different ones you become aware of these differences.

poeme numerique, baltan laboratories, david rokeby