Bergson beschouwde tijd niet meer als ‘homogene momenten na elkaar’ maar als een heterogeen en door breuken gekenmerkt proces.Deleuze stelt dat er een breuk in de waarneming heeft plaatsgevonden, waarvan de gevolgen voor zowel de productie als de perceptie van cultuur onderzocht moeten worden.Een Deleuzeaanse kunstgeschiedenis wil de differentie benadrukken en aangeven dat sommige kunstwerken een andere context of paradigma nodig hebben.
Built on Promises, the first collaborative project between architect Matthias Ballestrem and artist Anton Burdakov, seeks to question the intimate relationship between experience and image. How does the world of the sensible transmute into the second dimension? Spatial perception and the imagination this gives rise to are questioned in a series of photographic installations developed in and for PROGRAM’s exhibition space. As visitors move about in the exhibition, so too will their frames of perception shift. What exists, what had existed and what might exist become blurred and challenged.
The American artist Sol LeWitt 1928 – 2007 was an influential figure in minimalism and is considered one of the most important representatives as well as co-founder of American conceptual art. The term “conceptual art” goes directly back to LeWitt: “If the artist carries through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product. All intervening steps – scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations – are of interest. Those that show the thought process of the artist are sometimes more interesting than the final product.” Paragraphs, Artforum, June 1967
Wim Janssen 2010
Statics are two works by Wim Janssen about the phenomenon of television static. The same recognizable and commonly known image of television static is being generated through two completely different techniques. Not the image itself, but the way it is reconstructed and materialised, is the most important part of the Statics-series.
For other uses, see Paradigm (disambiguation).
The word paradigm (pronounced /ˈpærədaɪm/) has been used in science to describe distinct concepts. It comes from Greek “παράδειγμα” (paradeigma), “pattern, example, sample” from the verb “παραδείκνυμι” (paradeiknumi), “exhibit, represent, expose” and that from “παρά” (para), “beside, by” + “δείκνυμι” (deiknumi), “to show, to point out”.
The original Greek term παραδείγματι (paradeigma) was used in Greek texts such as Plato’s Timaeus (28A) as the model or the pattern that the Demiurge (god) used to create the cosmos. The term had a technical meaning in the field of grammar: the 1900 Merriam-Webster dictionary defines its technical use only in the context of grammar or, in rhetoric, as a term for an illustrative parable or fable. In linguistics, Ferdinand de Saussure used paradigm to refer to a class of elements with similarities.
The word has come to refer very often now to a thought pattern in any scientific discipline or other epistemological context. The Merriam-Webster Online dictionary defines this usage as “a philosophical and theoretical framework of a scientific school or discipline within which theories, laws, and generalizations and the experiments performed in support of them are formulated; broadly: a philosophical or theoretical framework of any kind.”