http://www.chrisashley.net/weblog/archives/cat_html_drawing.html
They are what they are & Layers
The daily performance of Chris Ashley's weblog is loaded by successive cha=
nges in construction that can be seen as a two-way text in space set in the=
unfolding now of a stream of consciousness. It is constituted by an HTML t=
able and supplements of non-esthetic information. It is this that we introd=
uce under the concept of layers because it is this that has resolutely been=
evaded in the realization (construction) of the very HTML tables - estheti=
c information. Layers thus refer to the date, name, text or poem-explanatio=
n added to the HTML.
It is the additions - the comments which translate, shift the work into per=
formativity (event): Time as History. It happened!
HTML Propositions and directions are given in layers and refer to the objec=
t-HTML ("All drawings start with a small table, say 18 x 16, with each cell=
20 x 20 pixels, everything is on the grid, right angles only, no diagonals=
; everything is hard edged; there are a limited number of colors -216 web s=
afe colors; although one can make more than 216 colors, the number of color=
s actually viewable varies a lot from monitor to monitor") The act of const=
ructing HTML tables belongs to the process of pleasure. Within the chosen f=
ramework there is a daily ritual confirmation of vitality-serializing: modu=
les-units-cells are geometric forms mutually linked into line and surface s=
tructures (Sol LeWitt,Eva Hesse,Robert Morris) and inserted into the proces=
s of a time unfolding-weblog. The idea of serial art appears at the interse=
ction of modernistic autonomy of the discipline of painting (sculpture) and=
post painterly strategies. The repetition confirms -'the supreme principle=
of small differences'- a paradigm of limited supplies of units-colored squ=
ares, while the units of the paradigm, are similar as much as it is needed =
for the difference which separate them to be instantly be visible. For exam=
ple 'It is necessary for the squares on Mondrian's paintings to be simultan=
eously corresponding square forms, but of different sizes and colors-. The =
supply of units-cells is limited ("…. I enjoy the limitations and boundar=
ies because I am presented with a set of solutions that I can't do anything=
about, that I accept") by the number of colors - colors frozen in an alter=
native by their size- in a frozen alternative of relations in a chosen alte=
rnative that rhetorically establishes a specific space - the way space is o=
rganized is decisive for subjectivity. Identities are partially constructed=
by the kind of space they exist within, which is here phallocentric, linea=
r, ascending and affirmative in the tradition of the modernist paradigm.
LAYERS reveal the links and ways of bonding between the units-modules of vi=
sual tables and they open the access to the lateral (if for a second we hav=
e taken the position inside HTML) notes-intrusions. Ashley's own text-layer=
takes on one method of criticism when it chooses one or the other place fo=
r the act-the activity-the space: fragments, German language verbs, Zen Bud=
dhist concepts, names of places in Mexico, 'places where I have slept', bod=
hi, untitled and finally: in memoriam to Susan Zonatg who advocates (this w=
here Ashley locates his stand) an noncritical critique based on the documen=
tal and the act, impersonal and organisational approach and procedure, in w=
hich the artist or the critique him/herself is the collaborator in the arti=
culation.
Textual additions-layers do not break down nor deconstruct the poetic and m=
etaphysical ideals of modernisms. Everything has already taken place and is=
a challenge, a debt to 'official history'. To go back always, to confirm a=
nd add, add, add, because to stop speech means to step out into an irretrie=
vable process.
Thus, the 'intrusion' or the import, most often, of a distant Other - that =
is sunk into history, myth or death. The beginning of conflict is located i=
n the domain of language. The place/the time-the outer world about which th=
e poet TU FU who lived 1000 years ago spoke, leads us and becomes the curre=
nt place of concern about each part of the creativity process. This reflect=
ion on technique is put in the place of the distant Other, into the field o=
f exceptional concern, for the very reason that the technique is the very e=
ssence of all creativity. Dating, the daily inscription into time and for t=
ime, is in the tradition of On Kawara's 'I'm still alive'. The edge place-t=
he directions for looking are the titles- aggressively associative forms.
INTERTEXTUALITY The language conflict between pleasure originating from the=
mantric discipline which uses limitations and noises coming from outside- =
the rest of the world, is solved by colonization-importation-appropriation =
of the Outer-Other (civilizations that built their longlivety and anciency =
through the intuitive, meditative, htonic by which the continuation of both=
sides is established. Although they are imminently separated, they reveal =
something or somebody, which is quite illegible in the very object (HTLM) f=
rom the point of view of the outer, the transient-siginifiant.
The result of this esthetic contemplation is not new knowledge but totality=
of experience. The place of the paradoxes-plot-meaning-limitation has neve=
r been in the merging of the texts, visually organized compositions of tabl=
es and language commentaries (images and words). One stream of consciousnes=
s-visual information flows and fill-comply to the destiny-inertia of formal=
systems that are analytic and do not depend on representing the outer worl=
d. The pictorial autonomy of abstraction organizes the interior in a linear=
way while the plot; events and information come from the exterior. Pleasur=
e is always with the Other and thus Ashley does not give it to the Hero (HT=
LM) nor to the Herald (layers), thus not to anyone or anyplace apart from t=
hat which has already been chosen-imported-appropriated to be the Other.
THE PASSIVE SPACE The procedure for taking the mantric form ("A sacred verb=
al formula repeated in prayer, meditation…
WITH THE NAKED EYE-Cris Ashley
-
Type: discussion
Comments
http://www.chrisashley.net/weblog/archives/cat_html_drawing.html
They are what they are & Layers
The daily performance of Chris Ashley's weblog is loaded by successive cha=
nges in construction that can be seen as a two-way text in space set in the=
unfolding now of a stream of consciousness. It is constituted by an HTML t=
able and supplements of non-esthetic information. It is this that we introd=
uce under the concept of layers because it is this that has resolutely been=
evaded in the realization (construction) of the very HTML tables - estheti=
c information. Layers thus refer to the date, name, text or poem-explanatio=
n added to the HTML.
It is the additions - the comments which translate, shift the work into per=
formativity (event): Time as History. It happened!
HTML Propositions and directions are given in layers and refer to the objec=
t-HTML ("All drawings start with a small table, say 18 x 16, with each cell=
20 x 20 pixels, everything is on the grid, right angles only, no diagonals=
; everything is hard edged; there are a limited number of colors -216 web s=
afe colors; although one can make more than 216 colors, the number of color=
s actually viewable varies a lot from monitor to monitor") The act of const=
ructing HTML tables belongs to the process of pleasure. Within the chosen f=
ramework there is a daily ritual confirmation of vitality-serializing: modu=
les-units-cells are geometric forms mutually linked into line and surface s=
tructures (Sol LeWitt,Eva Hesse,Robert Morris) and inserted into the proces=
s of a time unfolding-weblog. The idea of serial art appears at the interse=
ction of modernistic autonomy of the discipline of painting (sculpture) and=
post painterly strategies. The repetition confirms -'the supreme principle=
of small differences'- a paradigm of limited supplies of units-colored squ=
ares, while the units of the paradigm, are similar as much as it is needed =
for the difference which separate them to be instantly be visible. For exam=
ple 'It is necessary for the squares on Mondrian's paintings to be simultan=
eously corresponding square forms, but of different sizes and colors-. The =
supply of units-cells is limited ("…. I enjoy the limitations and boundar=
ies because I am presented with a set of solutions that I can't do anything=
about, that I accept") by the number of colors - colors frozen in an alter=
native by their size- in a frozen alternative of relations in a chosen alte=
rnative that rhetorically establishes a specific space - the way space is o=
rganized is decisive for subjectivity. Identities are partially constructed=
by the kind of space they exist within, which is here phallocentric, linea=
r, ascending and affirmative in the tradition of the modernist paradigm.
LAYERS reveal the links and ways of bonding between the units-modules of vi=
sual tables and they open the access to the lateral (if for a second we hav=
e taken the position inside HTML) notes-intrusions. Ashley's own text-layer=
takes on one method of criticism when it chooses one or the other place fo=
r the act-the activity-the space: fragments, German language verbs, Zen Bud=
dhist concepts, names of places in Mexico, 'places where I have slept', bod=
hi, untitled and finally: in memoriam to Susan Zonatg who advocates (this w=
here Ashley locates his stand) an noncritical critique based on the documen=
tal and the act, impersonal and organisational approach and procedure, in w=
hich the artist or the critique him/herself is the collaborator in the arti=
culation.
Textual additions-layers do not break down nor deconstruct the poetic and m=
etaphysical ideals of modernisms. Everything has already taken place and is=
a challenge, a debt to 'official history'. To go back always, to confirm a=
nd add, add, add, because to stop speech means to step out into an irretrie=
vable process.
Thus, the 'intrusion' or the import, most often, of a distant Other - that =
is sunk into history, myth or death. The beginning of conflict is located i=
n the domain of language. The place/the time-the outer world about which th=
e poet TU FU who lived 1000 years ago spoke, leads us and becomes the curre=
nt place of concern about each part of the creativity process. This reflect=
ion on technique is put in the place of the distant Other, into the field o=
f exceptional concern, for the very reason that the technique is the very e=
ssence of all creativity. Dating, the daily inscription into time and for t=
ime, is in the tradition of On Kawara's 'I'm still alive'. The edge place-t=
he directions for looking are the titles- aggressively associative forms.
INTERTEXTUALITY The language conflict between pleasure originating from the=
mantric discipline which uses limitations and noises coming from outside- =
the rest of the world, is solved by colonization-importation-appropriation =
of the Outer-Other (civilizations that built their longlivety and anciency =
through the intuitive, meditative, htonic by which the continuation of both=
sides is established. Although they are imminently separated, they reveal =
something or somebody, which is quite illegible in the very object (HTLM) f=
rom the point of view of the outer, the transient-siginifiant.
The result of this esthetic contemplation is not new knowledge but totality=
of experience. The place of the paradoxes-plot-meaning-limitation has neve=
r been in the merging of the texts, visually organized compositions of tabl=
es and language commentaries (images and words). One stream of consciousnes=
s-visual information flows and fill-comply to the destiny-inertia of formal=
systems that are analytic and do not depend on representing the outer worl=
d. The pictorial autonomy of abstraction organizes the interior in a linear=
way while the plot; events and information come from the exterior. Pleasur=
e is always with the Other and thus Ashley does not give it to the Hero (HT=
LM) nor to the Herald (layers), thus not to anyone or anyplace apart from t=
hat which has already been chosen-imported-appropriated to be the Other.
THE PASSIVE SPACE The procedure for taking the mantric form ("A sacred verb=
al formula repeated in prayer, meditation…