HUNTING IN THE DARK

  • Vides (Voids), A Retrospective @ Centre Pompidou

    Het begrip ‘leegte’ wordt in de kunst vaak beschouwd als een vorm van non-presentatie, een weigering kunst visueel te presenteren. Maar je kunt je afvragen wat die leegte nog voorstelt nu zij in de kunst zoveel nieuwe vormen van representatie heeft voortgebracht. Waar is de ‘leegte’, als zij altijd afhankelijk is van een zekere vorm van ‘aanwezigheid’? Toen begin jaren zestig de commerciële markt rondom kunst toenam, reageerden kunstenaars sceptisch op de toegenomen complexiteit die dat met zich meebracht. Representanten van deze markt, zoals galerieën, collectioneurs en musea, werden geprovoceerd met radicaal conceptuele voorstellen. De Britse groep Art & Language ontwikkelde in 1966 The Air-Conditioning Show, een tekst gebaseerd op het zuurstofvolume dat circuleert door het airconditioningsysteem van de galerieruimte, Robert Barry verklaarde tijdens zijn tentoonstellingen in Amsterdam, Los Angeles en Turijn de galerie gesloten Closed Gallery Piece, 1969-1970 en Robert Irwin liet de ruimte van de Ace Gallery in Los Angeles leeg, maar keerde met regelmaat terug om na te denken wat er geproduceerd en gepresenteerd zou kunnen worden Experimental Situation, 1970.

    via Metropolis M » Magazine » 2009-no5 » Voids, A Retrospective.

  • Martin Creed Work No. 812

    Martin Creed Work No. 812.

  • art_theory_map.png PNG Image, 1800×878 pixels

    art_theory_map.png PNG Image, 1800×878 pixels.

  • S(t)imulacrum(b)

    The Hyperreal: “From medium to medium, the real is volatilized, becoming an allegory of death. But it is also, in a sense, reinforced through its own destruction. It becomes reality for its own sake, the fetishism of the lost object: no longer the object of representation, but the ecstasy of denial and of its own ritual extermination: the hyperreal…. The hyperreal … manages to efface even this contradiction between the real and the imaginary. Unreality no longer resides in the dream or fantasy, or in the beyond, but in the real’s hallucinatory resemblance to itself,” (145). The hyperreal is vertiginous: “the whirlgig of representation goes mad, but with an implosive insanity which, far from being ex-centric, casts longing eyes at the center, towards its own repetition en abime,” (146).

    via S(t)imulacrum(b).

  • Introduction to Mind and Consciousness

    The investigation of mind is closely related to the field of epistemology, the part of philosophy that deals with knowledge and whose principal question is: “What can we know?” Epistemology is not so much preoccupied with the process of accumulating knowledge, but with the validity of knowledge and how we can achieve certainty about it. It includes the branch of philosophy that the ancients called logic, which deals with language and thought. Bertrand Russell once remarked tellingly that the theory of knowledge is a product of doubt. Things seem to speak in favour of Russell’s view – most philosophers find it easier to determine what we cannot know rather than what we can know. Perhaps the theory of knowledge should then be called “theory of ignorance.”The other question about knowledge is: “How do we know?” This question pertains to the mechanics of sensation, perception, cognition, memory, and physical brain processes. It also touches upon language and thought, but it takes a more scientific approach to these issues. The latter question is primarily asked by psychologists and neuroscientists, although philosophers recently took a renewed interest in the workings of the brain. Since both approaches are beneficial in their own way, we shall not limit ourselves to a particular one.

    via Introduction to Mind and Consciousness.

  • ryoji ikeda  |  datamatics

    ryoji ikeda  |  datamatics.

  • Kabokov

    The ten characters are “The man who fled into his painting”, “The man who collects opinions of others”, “The man who flew out of his room into the space”, “The untalented artist”, “The little man”, “The composer”, “The col­lec­tor”, “The man who describes his life through other charac­ters”, “The man who saved Nikolai Viktorovich”, and “The man who never threw anything away”. All theses characters appears in other installations, either in “solo installations” or to­geth­er with other characters in “group installations”. As any of Kabakov’s characters, these ten characters display the common feature that they all illustrates a type of dysfunction in relation to normal domestic practices. This domestic dys­function is maybe most blatantly expressed by “The Man Who Never Threw Anything Away”, which apartment thus is filled with objects of no practical use or value.

    via TESKTY.

  • Iconclass

    Welcome to the Iconclass website. Iconclass is a classification system designed for art and iconography. It is the most widely accepted scientific tool for the description and retrieval of subjects represented in images (works of art, book illustrations, reproductions, photographs, etc.) and is used by museums and art institutions around the world.

    The Netherlands Institute for Art History (Rijksbureau voor Kunsthistorische Documentatie, or RKD) in The Hague acquired the Iconclass software in September 2006. Since then, the RKD has been responsible for the daily management and the further development of the Iconclass system. This activity fits in with the RKD’s role as a terminology-managing institution dedicated to ensuring that automated processes are equipped with controlled vocabulary structures, which can be used for digital descriptions of cultural artefacts.

    The Iconclass system is accessible via the Iconclass 2100 Browser.

    via Iconclass | Home.

  • Iconography

    …With the arrival of computing, the Iconclass system, a highly complex way of classifying the content of images, with 28,000 classification types, and 14,000 keywords, was developed in the Netherlands as a standard classification for recording collections, with the idea of assembling huge databases that will allow the retrieval of images featuring particular details, subjects or other common factors. For example, the Iconclass code “71H7131” is for the subject of “Bathsheba (alone) with David’s letter”, whereas “71” is the whole “Old Testament” and “71H” the “story of David”. A number of collections of different types have been classified using Iconclass, notably many types of old master print, the collections of the Gemäldegalerie, Berlin and the German Marburger Index. These are available, usually on-line or on DVD.[8][9] The system can also be used outside pure art history, for example on sites like Flickr.[10]…

    via Iconography – Wikipedia, the free encyclopedia.

  • Exhibition plan

    exhibition plan – Google zoeken.

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