50 square meters of the public space

[youtube=http://www.youtube.com/watch?v=HCDy0oAVNkI&fs=1&hl=nl_NL]

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I’m too sad to tell you (1971) – Bas Jan Ader

[youtube=http://www.youtube.com/watch?v=vUzBCl6iVoc&fs=1&hl=nl_NL]

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I’m not sad enough to cry

[youtube=http://www.youtube.com/watch?v=RPZK7fgUxME&fs=1&hl=nl_NL]

by Gijs Milius (http://gijsmilius.blogspot.com/)

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YouTube – PretzelFlash GameVlogging GTA IV,

[youtube=http://www.youtube.com/watch?v=F2WmwuMekcc&fs=1&hl=nl_NL]

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WAI WAI SPACE

 

 

WALT VAN BEEK @ Platform Garanti,ISTANBULIntervention/appropriation #1 > tree + plastic basket.Ref. Le Corbusier, Casa Curutchet, La Plata, Argentina, 1949.Installed @ Kurtulus Cd, Istanbul, Turkey, Nov. 2010

via WAI WAI SPACE.

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Realisme in beeldende kunst en filosofie

Volgens Gibson (1986) is perceptie in principe niet reduceerbaar tot sensaties en daarom is het onmogelijk om de ”act of perception” bewust te analyseren. Waarschijnlijk doet de schilder ”iets” met deze act of perception, waarvan hij alleen achteraf herkent dat het overeenkomt met de werkelijkheid. Door reductie tot invarianties wordt de werkelijkheid door de schilder gemanipuleerd tot een schematisch beeld. Hoe schematischer hij werkt en niet alles invult, des te sterker werkt het beeld op de toeschouwer. Er is in feite maar heel weinig voor nodig om een compleet beeld te krijgen. De interne waarnemingsschema’s van de toeschouwer worden waarschijnlijk op dezelfde manier geactiveerd als dat in een natuurlijke situatie zou zijn gebeurd.

Phantom sensations zijn de projecties van de toeschouwer op het door de kunstenaar aangeboden materiaal (Gombrich, 1982, p.171), die zich over het algemeen zich probleemloos verbinden met hetgeen de kunstenaar wil laten zien. Interessant wordt het als deze projecties niet meer overeenkomen met deze bedoelingen en de toeschouwer op het verkeerde been wordt gezet, hetgeen vergelijk baar is met een hongerig iemand die in alle aangeboden beelden voedsel ziet. Deze beelden worden door Gombrich pre-images genoemd (Gombrich blz. 192, 1982).

Het schijnt voor de mens bevredigend te zijn iets te herkennen of van externe stimuli iets herkenbaars te maken. Een kunstmatig opgewekt waarnemingsproces biedt als het ware de belofte van de bevrediging van de behoeften van de kijker.

via Realisme in beeldende kunst en filosofie.

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Semiotics

Semiotics, also called semiotic studies or semiology, is the study of cultural sign processes (semiosis), analogy, metaphor, signification and communication, signs and symbols. Semiotics is closely related to the field of linguistics, which in its part, studies the structure and meaning of language more specifically. Semiotics is usually divided into three branches, which include:

* Semantics: Relation between signs and the things to which they refer; their denotata, or meaning

* Syntactics: Relations among signs in formal structures

* Pragmatics: Relation between signs and the effects they have on the people who use them

Semiotics is frequently seen as having important anthropological dimensions; for example, Umberto Eco proposes that every cultural phenomenon can be studied as communication. However, some semioticians focus on the logical dimensions of the science. They examine areas belonging also to the natural sciences – such as how organisms make predictions about, and adapt to, their semiotic niche in the world (see semiosis). In general, semiotic theories take signs or sign systems as their object of study: the communication of information in living organisms is covered in biosemiotics or zoosemiosis.

via Semiotics – Wikipedia, the free encyclopedia.

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Deconstruction

Deconstruction (or deconstructionism[1]) is an approach, introduced by French philosopher Jacques Derrida, which rigorously pursues the meaning of a text to the point of exposing the supposed contradictions and internal oppositions upon which it is founded – showing that those foundations are irreducibly complex, unstable, or impossible. It is an approach that may be deployed in philosophy, literary analysis, or other fields.

Deconstruction generally tries to demonstrate that any text is not a discrete whole but contains several irreconcilable and contradictory meanings; that any text therefore has more than one interpretation; that the text itself links these interpretations inextricably; that the incompatibility of these interpretations is irreducible; and thus that an interpretative reading cannot go beyond a certain point. Derrida refers to this point as an aporia in the text, and terms deconstructive reading “aporetic.” J. Hillis Miller has described deconstruction this way: “Deconstruction is not a dismantling of the structure of a text, but a demonstration that it has already dismantled itself. Its apparently-solid ground is no rock, but thin air.”[2]

via Deconstruction – Wikipedia, the free encyclopedia.

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Essay: Concept Art / Henry Flynt

“Concept art” is first of all an art of which the material is “concepts,” as the material of for ex. music is sound. Since “concepts” are closely bound up with language, concept art is a kind of art of which the material is language. That is, unlike for ex. a work of music, in which the music proper as opposed to notation, analysis, a.s.f. is just sound, concept art proper will involve language. From the philosophy of language, we learn that a “concept” may as well be thought of as the intension of a name; this is the relation between concepts and language. The notion of a concept is a vestige of the notion of a Platonic form the thing which for ex. all tables have in common: tableness, which notion is replaced by the notion of a name objectively, metaphysically related to its intension so that all tables now have in common their objective relation to `table’. Now the claim that there can be an objective relation between a name and its intension is wrong, and the word `concept’, as commonly used now, can be discredited see my book Philosophy Proper. If, however, it is enough for one that there be a subjective relation between a name and its intension, namely the unhesitant decision as to the way one wants to use the name, the unhesitant decisions to affirm the names of some things but not others, then `concept’ is valid language, and concept art has a philosophically valid basis.

via Essay: Concept Art.

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Steve Reich – Different Trains part 1-America before the war on Vimeo

via Steve Reich – Different Trains part 1-America before the war on Vimeo.

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