89 posts tagged art
We are used to controlling the world around us, to find the settings that suit us best. What if we had the same control over our senses? If we could adjust them in real time, what new experiences could this make possible? Eidos delivers two pieces of experimental equipment that let you selectively enhance your hearing and vision by activating your hidden powers of perception. (via Eidos Sensory Perception Masks by Royal College of Art | Inspirationist)
Enzo Mari, courtesy of Galleria dell’Ariete
Struttura n. 895, Omaggio a Fadat (Luce e movimento exhibition), 1967
A machine for producing volumes through light
“The world is changing and transitioning, we need to move forward into new forms of art. I realized that two things were missing in my art: technology and collectivity. What we have today is a symbiotic relationship with technology. We are moving into a new state of order.”
Vincent van Gogh did not kill himself, the authors of new biography Van Gogh: The Life have claimed.
Steven Naifeh and Gregory White Smith say that, contrary to popular belief, it was more likely he was shot accidentally by two boys he knew who had “a malfunctioning gun”.
The authors came to their conclusion after 10 years of study with more than 20 translators and researchers.
The Van Gogh Museum in Amsterdam called the claim “dramatic” and “intriguing”. In a statement, however, curator Leo Jansen said “plenty of questions remain unanswered” and that it would be “premature to rule out suicide”.
He added that the new claims would “generate a great deal of discussion”.
Van Gogh died in Auvers-sur-Oise, France, in 1890 aged 37.
The Dutch master had been staying at the Auberge Ravoux inn from where he would walk to local wheat fields to paint.
It has long been thought that he shot himself in a wheat field before returning to the inn where he later died.
In 1957 Borges published the book – “Handbook of Fantastic Zoology” which later came to be known as: The Book of Imaginary Beings. It contains descriptions of 120 mythical beasts from literature and mythologies of many origins; creatures, conceived through time by the human imagination.
While going over this work, a question hunted me: how to read this book? Should one read it as a window into human imagination? Is it a rare porthole into the stuff of creation, past and future? Or else, is the book just demonstrating the limitats of human imagination when confronted with the richness of nature?
It was this line of hard distinction between imagination, nature and time that caught my attention. What would happen by looking at nature and imagination as expressions of the same ‘stuff’, a continuum where the one endlessly spills into the other?
Nature may be impersonating a richness, generated by the over-abundance of time, while imagination reverberates richness by the generative power of minds, punctuating time with condensed, embodied singularities, transiting a trace of reality. Yet both thread the same canopy of vital matter.
The dissolution of difference between reality and representation, imagination and nature, is not dissolution into flatness, but rather, it brings into presence soft and active matter. It is the doing of the conscious space where the continuum of nature and imagination emerge, always in a process of interpenetrations, always demanding iteration. To trace the real means uncovering realities previously unseen and unimagined, carving bridges between the realms and reformulating that which already exists.
Conversation with Impossible Creatures is born out of the exploration that interprets such a continuum of imagination and nature, and attempts to achieve it by the attentive usage of ‘bridges’, those bridges I refer to as technologies.
The first bridge is between the ‘product’ of imagination, (i.e. a painting) traditionally perceived as single and stationary across time, and the generative richness of the creative process, a dynamic, and continuously opening progress. In this case it is digital, photographic and generative technologies that allow the opening of the image into a multitude, and disclose its otherwise invisible image-cells, now free to continue mutating in interaction.
The second bridge is between image and language; those two separate categories which when tuned a-synchronously and are re-integrated into a dynamic process, provoke the penetration of reflectivity into the fascinating ‘absurd’ of every ‘terra incognita’.
The third and most important bridge is between minds, in birthing an extended reality, a reality that comes to life only by virtue of such a unique bridge. The process of iterative approximations between mind sights becoming an event, a new world being disclosed and discovered.
Technology (of bridging) exposes the ‘middle’, the constant leaking of medium into medium, and mind into mind, unfolding its ‘everywhereness’, opening by that a corridor into a new transitory ‘home’ for perception.
A world full of amazing creatures, that came into existence only through collaboration, between processes, between moments and sights, bridged by the technologies we created, I found this line as significant in light of our future.
(Disclosure: Proud to be part of this collaboration)
What the Brain Can Tell Us About Art
THIS month, President Obama unveiled a breathtakingly ambitious initiative to map the human brain, the ultimate goal of which is to understand the workings of the human mind in biological terms.
Many of the insights that have brought us to this point arose from the merger over the past 50 years of cognitive psychology, the science of mind, and neuroscience, the science of the brain.
The discipline that has emerged now seeks to understand the human mind as a set of functions carried out by the brain.
This new approach to the science of mind not only promises to offer a deeper understanding of what makes us who we are, but also opens dialogues with other areas of study — conversations that may help make science part of our common cultural experience.
Consider what we can learn about the mind by examining how we view figurative art. In a recently published book, I tried to explore this question by focusing on portraiture, because we are now beginning to understand how our brains respond to the facial expressions and bodily postures of others.
The portraiture that flourished in Vienna at the turn of the 20th century is a good place to start. Not only does this modernist school hold a prominent place in the history of art, it consists of just three major artists — Gustav Klimt, Oskar Kokoschka and Egon Schiele — which makes it easier to study in depth.
As a group, these artists sought to depict the unconscious, instinctual strivings of the people in their portraits, but each painter developed a distinctive way of using facial expressions and hand and body gestures to communicate those mental processes. (via What the Brain Can Tell Us About Art - NYTimes.com)
Beautiful Renaissance Paintings, All Done Up Real Handsome-Like as Photographs A project co-opts classic Italian art to challenge Europe’s xenophobia. (via Beautiful Renaissance Paintings, All Done Up Real Handsome-Like as Photographs - Rebecca J. Rosen - The Atlantic)
Lecture series on Aesthetics and the Philosophy of Art delivered by James Grant. The first part of the series focuses on some of the most important writings on art and beauty in the Western philosophical tradition, covering Plato, Aristotle, David Hume, and Immanuel Kant. The second part of the series focuses on questions about understanding works of art and about the nature of art. This part examines the interpretation of literature, the expression of emotion in music, and the definition of art.
Do Ho Suh
98 Stainless steel figures
New Orleans sculpture garden