mez breeze ecrit:
..how r u d.fining a non_random l.ement?
EXACTLY, mez!!! one could simply say, oh, it's
INTENTION, a non-random element is an INTENTIONAL
element, but, given all the potential for noise in the
channel, how can we say intention isn't itself "dirty"
with randomness? and would the artwork exist at all if
there were no intention whatsoever?
these are the questions that keep me up nights…
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Lewis LaCook
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Re:randomness
-
Type: discussion
Comments
Rob Myers wrote:
it
LL:why introduce random elements into art?
RM:For non-random reasons. When it isn't a bogus
substitute for creativity
randmoness is a minor fetish of the uncontrollable or
unknowable. Which
is made controllable and knowable by inclusion in an
artwork. Picasso's
bullfighting fixation springs to mind.
LL: Then is art using random elements art that
approaches the unknowable? doesn't all art do this in
one way or another anyway, or am i being naive?
LL:are we, when creating art, STILL simply mimicing
> non-man-made pneomena?
RM:No. Painting does not exist in nature.
LL: Just as squares don't exist in nature…ever
notice that? not just perfect squares, mind you, but
anything resembling a square…
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Lewis LaCook
net artist, poet, freelance web developer/programmer
http://www.lewislacook.com/
XanaxPop:Mobile Poem Blog>> http://www.lewislacook.com/xanaxpop/
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>>>>>> No. Painting does not exist in nature.
>>>>Once again, the question of nature. I think it is
interesting that
people separate man from nature,….
the facture,. the overlap,. the abstaction, the
realationships, the
results..
yeah, the question of nature does loom large in these
things–however, must say i do share your view there,
jeremy—as logic it goes something like: man is a
product of nature; man makes these; these things are
products of nature….not as tight perhaps as the
"socrates is a man" routine, but it'll do for the
moment—
i only make a distinction between the two because it's
part of the language i've inherited after centuries of
western thought…and it's easier to get people to see
what i mean—honestly, i see no difference between a
rock outcropping and beethoven: both are as dear to
me…
=====
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Lewis LaCook
net artist, poet, freelance web developer/programmer
http://www.lewislacook.com/
XanaxPop:Mobile Poem Blog>> http://www.lewislacook.com/xanaxpop/
Stamen Pistol: http://stamenpistol.blogspot.com/
Cell:440.258.9232
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On Monday, July 12, 2004, at 10:55AM, Color's Torrid Function! <[email protected]> wrote:
>-honestly, i see no difference between a
>rock outcropping and beethoven: both are as dear to
>me…
Lighthouses don't tend to be put on betthoven.
- Rob.
On 12 Jul 2004, at 20:23, Color's Torrid Function! wrote:
> well, for example–beethoven's tomb…which is a
> different object than beethoven was himself—/
>
> in OOP terms, would beethoven's tomb INHERIT from
> beethoven?
Beethoven's kids would inherit from Beethoven and various mix-ins.
Beethoven's tomb to Beethoven is a HAS-A relationship. Beethoven's tomb
is a container for a singleton (Beethoven), although the object is no
longer live.
- Rob.
My current work is time based. I use probablistic algorythms to create unexpected, but resonable outcomes. This makes the work appear to have a life of it's own - even to me. I believe that this reflects our experience of nature, because it approximates how we misinterpret the deliberate behavior we see around us.
No, Beethoven's tomb is an example of OOP encapsulation.
There is no question here.