gaps (I am from the gaps in my thinking) by noemata/Bjørn Magnhildøen, el estudio/Ana Buigues curator-artist
README: http://noemata.net/gaps/-readme.html
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- Internet killed the video arts
- Nerve endings : Neverendings
- Stream of conscious nets / Dreams of consciousness
- I am from the gaps in my thinking
(the project has four titles (just to be on the sure side))
Sjangeren er nettkunst / hybrid kunst, meir spesifikt e-poesi, e-litteratur, prosessuell kunst.
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IT'S also that with computers we're always ON TOP OF THINGS or AT THE END OF THINGS. There's always CONTENT on the monitor. You're given a defined space for input, a box. How we think inside windows boxes. A paper is blank while the monitor is always full. IF it's already full then why should i write? When i was young and innocent, around mid-eighties, I thought of the command prompt as the highest form of programmed art - it had every possibility - any written program would have its limitations while the prompt could do anything. In the same sense, with applications nothing gets done. In these gaps- applications there's some nostalgia about the prompt and the console I guess, still everything is running over a graphic interface, the prompt is simulated, the unbroken stream of consciousness maybe the same way. I'm afraid the authenticity of [insert some idea] will be disappointing to us --- at the end you're at the very core of [] but nothing is changed and we'll feel that worse than a simulation this is a simulation of authenticity, more fake than fake.
from two ends the dream and the stream conscious nets and consciousness do we believe internet will attain intelligence? a dreaming mind? in this project we'll deal with consciousness as a dream - am i dreaming or is the dream me? - which is more a down to earth approach to this philosophical term. on the other hand we have data streams approaching some sense of a conscious net - more interacting, involving, embedding (web 2.0, social networks), forming a stream of consciousness in many ways - look at blogging journaling as streams of conscious nets. the basis for the wordplay consciousness/conscious nets is that human consciousness is physically made up of a network with disjunctive nodes.
until a century ago there was a big scientific debate of the structure of the brain - was it all connected like a electrical network (a quite natural theory since our experiences are like a continuous, uninterrupted stream of consciousness - what could an interruption of consciousness be? other than death?) - or, was the brain made up of disconnected cells that rather communicated with each other. the norwegian Fridtjof Nansen was one of the pioneers in this field together with Santiago Ramon y Cajal.
the wordplay in the other title - nerve endings / neverendings - adds to this dimension of finite cells and infinite networks. the same dilemma could be transported to the distinction of the terms subject and object - as objects we are finite but as subjects we are infinite. The Cartesian body-mind split theory ...
cogito ergo sum in this sense means: since my nerve cells are discrete i am a whole, or better: i am from the gaps in my thinking.
site-nonsite, data-information, bound-unbound
"[...]? In other writing, I have related Smithson's leveraging of the play between bounded state of the differentiated site and the unbounded state of the dedifferentiated site, (which could be stated as the limits of representation and the wide openness of experience), to Kant's take on beauty vs the sublime and the very contemporary problem of data vs information. The distinction between the latter pairs (beauty/sublime and data/information) have been poorly understood by artists and humanists - the number of times I have seen them conflated in my own discipline area (practicing artist) over the years is frankly astounding. (Especially data and information.) But the bottom line for my little riff on Smithson here is that he was able to see past postmodern negation (and its hall of mirrors circus of relative meaning) and get beyond it to presage many of the most interesting problems that face artists today.
It relates tightly to problems in information aesthetics (the fact that Moore's law is being far outpaced by the fact that the data to be processed is doubling every twelve months), and as Lev Manovich might say the interesting problem of the subjectivity of being immersed in immense data. While some computer artists try to process the data into nonsites (visualizations) that fits in the space of representation and meaning, others are trying explore what kinds of experiences might be produced as we engage with (and are inflected by) data. Call it data romanticism if you will. Nonsite is beauty. Site is is sublime. Nonsite is information we can digest and use. Site is data that we can at best do our best with: it activates our capacity to reason, as Kant might say. Or, stimulates Edmund Burke's terror. I believe this matter to be one of the great issues in aesthetics today, and is sadly under-considered because it is in fact one of the issues that demonstrates we are already well post- postmodern, and perhaps well beyond the hall of mirrors of image and representation as salient issues. But as artists at least, we are having a hard time letting go."
-- Brett Stalbaum, empyre mailing list
Internet killed the video arts
Avsnittet over omhandlar for vår del forholdet mellom bevisstheit og kommunikasjon, eller kanskje røynd og representasjon. Vår oppgåve er på lignande måte å vera kritisk til informasjon - dvs representasjon av data, "streams of conscious nets" - og vise (eller nettopp unngå ein visualisering) noko ein godt kan kalle data-draumar - dvs opplevelser som engasjerer oss til å tenkje omkring kva det er, på ein meir direkte måte enn kommunikasjon.
"... we are already well post- postmodern, and perhaps well beyond the hall of mirrors of image and representation as salient issues. But as artists at least, we are having a hard time letting go." with radio it was the sound waves, a long line broadcast, picture lines of light radiating from a centre, almost religious then tv and video, still the radix, root, but it's not "in the air", ethereal, but root2root, if the radio was leafs in the wind then tv is a tree where every leaf is a miniature tree. but it stops there, you hardly see tv sets inside tv sets. video killed the radio star, performing live trevor horn was only seen via the camera monitor, entities that don't have shadows. if it continued maybe it would kill itself (how could it continue if it killed itself?). shadows that don't have entity. the mind is more or less an internalized tv set. internet, problems with semantic web, animals belonging to the emperor, animals that from a great distance look like flies. representation of dimensions xyzetera. in art all is flat. the flatlands, slowly a sphere intersects the livingroom. as dimensional representation increase, point, line, surface, room, history, possibly. dimensions don't apply maybe the image that exploded. or the fishing net. video arts aquarium. start/stop visualization. things going on...
an organ without a sound system (the body can not be proved, or if it's proved it's not sound).
the ghost noh play: Note the spirit's uncertainty as to his own success in appearing. The priest wonders if he really saw anything. The spirit affirms that "The body was there if you saw it." the body was there if you saw it.
Meir konkret, foreslår ein enkel installasjon med datamaskin med tastatur med internett pekt på ein seinare spesifisert URL med det interaktive programmet.
Forestillar meg ein slag black box applikasjon som spyr ut data henta frå populære sosiale internettverk, filtrert på ulike måter, gjennom server-baserte oppslag, og gjennom bruker-tastatur. Tenker i første omgang ein rein tekst versjon og sjå om det funkar, deretter forsøke ein html dvs multimedia versjon.
Uttrykket er meint som - ein drøymende strøm basert på virkelege/virtuelle hendingar, - ein vrangside av interaksjon og informasjon, - ein invitasjon til alternativ interaksjon, passiv/aktiv deltakelse, refleksjon kontra aksjon, umiddelbar prøving og feiling, - meir en kuriøs rar low-tech ting enn ein spektakulær.
