Research 3.0
3 February 2015 / After the talk with Florain Cramer I get a lot of input to look at. Most of them have to do with participation and performance art. Also about rules and a method to follow.
NOTES
1. Dick Raaijmakers Book ‘Methode’. The method consists of effective language. Words like grabbing pinions connecting rods of sentences and put something in motion that is just outside image.
http://ooteoote.nl/2014/08/de-regels-xiv/ http://tijdschriftraster.nl/de-kunst-van-het-machinelezen/inleiding-op-dick-raaijmakers-de-kunst-van-het-machine-lezen/ -> Text ‘De kunst van het machine lezen’
2. Brian Eno
3. Umberto Eco Book ‘Open Work’. More than twenty years after its original appearance in Italian, The Open Work remains significant for its powerful concept of “openness”—the artist’s decision to leave arrangements of some constituents of a work to the public or to chance—and for its striking anticipation of two major themes of contemporary literary theory: the element of multiplicity and plurality in art, and the insistence on literary response as an interactive process between reader and text. The questions Umberto Eco raises, and the answers he suggests, are intertwined in the continuing debate on literature, art, and culture in general. More info: https://areyouhungup.wordpress.com/2013/07/31/umberto-eco-what-is-freeing-what-is-liberating-about-an-open-work/
4. John Cage
http://johncage.org/
5. Judith Rodenbeck
Book ‘Radical Prototypes’, Allan Kaprow and the Invention of Happenings.
In Radical Prototypes, Judith Rodenbeck argues for a more complex etiology. Allan Kaprow coined the term in 1958 to name a new collage form of performance, calling happenings “radical prototypes” of performance art. Rodenbeck offers a rigorous art historical reading of Kaprow’s project and related artworks. She finds that these experiential and experimental works offered not a happy communalism but a strong and canny critique of contemporary sociality. Happenings, she argues, were far more ambivalent, negative, and even creepy than they have been portrayed, either in contemporaneous accounts or in more recent efforts to connect them to contemporary art’s participatory strategies.
6. Christian Marclay - ‘Shuffle’
Christian Marclay is known for using a range of media--video, sculpture, installation and performance--in his artwork to address the ways that music and sound impact our experience of the world. While he frequently uses photograms and found images in his work, most people don't realize the extent to which photography has become a tool of choice for this subtle but influential artist. For this project, a limited-edition boxed card set, Shuffle, Marclay photographed the appearance of musical notation in his everyday wanderings--finding examples on shop awnings, chocolate tins, T-shirts, underwear and other unexpected places. This body of work reveals Marclay to be an obsessive photographic note-taker with a flair for uncovering musical "clues" hidden in the landscape and adorning our world--musical notes just waiting to be called into action. Each of the 75 images collected here is presented on an oversized playing card, and the entire deck is enclosed in a distinctive package. Part Fluxus box, part John Cage-ian "chance operation" or Eames House of Cards, this highly collectible edition offers a compelling, serendipity-driven visual experience, as well as the components for a spontaneous musical score: a player need only shuffle the deck and let the cards fall where they may in order to produce a unique, experimental sequence. With text and instructions by Marclay.
7. Dieter Roth
‘The Literatuur Wurst’ - http://en.wikipedia.org/wiki/Literaturwurst
http://www.moma.org/interactives/exhibitions/2004/dieterroth/flash.htm
Conditional Design Manifest
A manifesto for artists and designers. Through the influence of the media and technology on our world, our lives are increasingly characterized by speed and constant change. We live in a dynamic, data-driven society that is continually sparking new forms of human interaction and social contexts. Instead of romanticizing the past, we want to adapt our way of working to coincide with these developments, and we want our work to reflect the here and now. We want to embrace the complexity of this landscape, deliver insight into it and show both its beauty and its shortcomings.
Our work focuses on processes rather than products: things that adapt to their environment, emphasize change and show difference.
Instead of operating under the terms of Graphic Design, Interaction Design, Media Art or Sound Design, we want to introduce Conditional Design as a term that refers to our approach rather than our chosen media. We conduct our activities using the methods of philosophers, engineers, inventors and mystics.
Process
The process is the product.
The most important aspects of a process are time, relationship and change.
The process produces formations rather than forms.
We search for unexpected but correlative, emergent patterns.
Even though a process has the appearance of objectivity, we realize the fact that it stems from subjective intentions.
Logic
Logic is our tool.
Logic is our method for accentuating the ungraspable.
A clear and logical setting emphasizes that which does not seem to fit within it.
We use logic to design the conditions through which the process can take place.
Design conditions using intelligible rules.
Avoid arbitrary randomness.
Difference should have a reason.
Use rules as constraints.
Constraints sharpen the perspective on the process and stimulate play within the limitations.
Input The input is our material.
Input engages logic and activates and influences the process.
Input should come from our external and complex environment: nature, society and its human interactions.