Kera's Philosophy Presentation

8/14/2019 Kera's Philosophy Presentation

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Framework

Aesthetics


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Aggregation: Being is a Proper Class

What do we learn from paradoxes? That being is far more complex than our minds can fathom. That our

current mode of thinking, despite following logical principles, has lead us to a point at which we mustdecide; either turn around or adapt our thinking. When counter-intuitive conclusions present

themselves as facts we are forced to scale up our framework. If we were using the individual as the

standard of measure we now use culture, if we were using culture we now use the cosmos, if we were

using the cosmos we now use the multiverse and so on. If we trust in infinity we will always be able to

find resolutions to paradoxes or realize that an insoluble paradox points back to our conceptual

limits. These protrusions that we call paradoxes allow us to glimpse a reality beyond our limits.

Irony

Irony is another protrusion into our realities that forces us to reconsider our preconceived notions.

As Donna Haraway writes in A Cyborg Manifesto, Irony is about contradictions that do not resolve

into larger wholes, even dialectically, about the tension of holding incompatible things together

because both or all are necessary and true. The multiplicity is ironic. If a contradiction exists it is

not necessarily ironic, it could simply be an error in ones ability to follow logical steps. However, it

could also be that we are examining a multi-system or meta-system from within the limits of a discourse

which does not allow for multirealism.

Anti-essentialism

Being is large enough and complex enough to contain these contradictions, and for multiple and

disparate realities to exist simultaneously. Being lacks an essence. Realizing that everything that

exists is a part of Being does not help us to understand Being as a whole. This is why Being is a

proper class, an aggregate. By saying that an object has the quality of being tells us almost nothing

about it. We can not adequately define Being, it has the characteristics we ascribe to it but it is notthose characteristics alone.

Nonlocalizability

As a conceptual artist I can say that a particular concept is the most important aspect of a work and

all other attributes of that piece are inessential. Yet, ironically, what is most important to that piece,

the concept, the piece itself will never be, just as a particular triangle will never be the concepttriangle. We can say that everything that exists is part of being but we can never say what we find is

Being. The deep irony for conceptual artists is that which we care most about we will never create, or

even fully know. Instead we create inexact signs and symbols pointing to an unpresentable idea. Being

is even more elusive and unpresentable then concepts. We can use reason to bring us to the edge of

human knowledge, and even that only gives us an infinitesimal view into Being. Where then do we find

hope of knowledge beyond our limits? Where reason is left Behind and we approach the mystical.Where presenting the unpresentable is possible.


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joseph kosuthone and three chairs

1965

Aggregate, nonlocalizeable and using a process of Negative Dialectics to emphasizenonlocalizeability


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rene magritte

the treachery of images1928-29

Irony, Transcoding


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Framing: The Masking of EnantiodromiaCollapsing the wave form

The whole of Being is repressed through Semiosis. As Eco writes A sign is something that

can be used to tell a lie. Repression is the way in which worlds lie about Being. Because

most semiotic systems and worlds repress enantiodromia we rarely encounter the

multiplicity of Being. We have access only to small fragments of the whole. If we are capableof conceiving of multiplicity and multirealism we are no longer in a world but a metaworld.

Coding

Contemplating paradoxes is one way in which we can have a direct experience with the

multiplicity. Paradoxes and irony call into question the semiotic structures we are using andhow they create our current reality. Semiosis is sign manipulation, which can also be

thought of as information manipulation, coding and recoding. Given particular coding

schemas, or languages, certain paradoxes will arise and new coding schemas, while resolving

others, will result in new paradoxes. The whole of being is repressed by semiosis as piecesof it show through the template. Per Wittgenstein, The limits of my language mean the limits

of my world. Paradoxes are so powerful because they force us to acknowledge the limits of

our language, and our world, and give us incentive to create new language and new worlds.

Fluidity

Our world being created by language, and the ability to create new language, allows for an

incredible amount of fluidity in our ability to evolve, mutate and transform. All of the

constructs that we have been told are absolute are not. Simply by recoding well find

infinite resolutions to paradoxes. Information itself is essential, yet, Information asinformation tells us so little about instantiations of information. The fungibility of codes is

endless. Two simple coding schemas can result in the same information, or string of bits,

being presented in disparate forms. Two things that appear different physically could easily

have the same informational pattern; likewise two things that appear the same could have

different informational patterns. Information can be X and not X depending on how it is

interpreted. The power of the only essential quality of Being being information is the ability

this allows for endless transformation. We are shaped by culture and we have the power toshape culture. We can reexamine and recode the mundane, the conventional, the known, and

discover the seminal, the Sublime, the Other, the unknown.


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hans haacke

Framing (the Null Set)


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Joseph KosuthZero and Not

1985-86

In this installation Kosuth partially erased texts by Freud, remaining only

somewhat readable. It becomes both an affirmation of Freuds work as wellas a rejection.

Fluidity, X and Not X


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Anticommunication: A Protrusion fromthe Unmapped

In communicating the unknown one is forced into the bizarre mode of anticommunication.Herbert Brn defines this as a relation between persons and things which emerges and is

maintained through messages requiring and permitting not yet available encoding and

decoding systems or mechanisms. When a message is conveyed in a communicative manner,

using the convenience of recognition, the informational content in the message begins to

decay so that eventually cliches contain almost no information at all. Anticommunication,

on the other hand, retards the decay by making non-trivial, non-status quo connections.The Old in the New

The aim is to discourage the coupling that occurs with communication. It is a very difficult

state to maintain, as Brn said, Nothing is lost sooner than new ways and new languages,

and the privilege to walk the new path and to utter the new tongue is given to us but for a

moment. Discovering new words, new languages, new worlds gives us access, if only for abrief moment, to repressed areas of Being.

The New in the Old

Interestingly, anticommunication is not only achieved by the most intuitive method,difference, but also by repetition. Enantiodromia plays a key role in this paradoxical

relationship. We can reach new systems of signification by seeking out the new or by going

the other way, repeating the old and mundane until it reaches a critical threshold and

becomes something new. As we know, if a word is repeated continuously it eventually

reaches a point at which it becomes foreign. When taken to the extreme, redundancy and

the decay of information will also lead us to anticommunication. Warhol reiterated this so

that we can never forget this paradox.


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Andy Warhol

Orange Car Crash Fourteen Times1963

The New in the Old, The Old in the New


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Diffrance: The Mutability of Significance

A frame is able to be shifted infinitely to present various aspects of Being and anticommunication

acts as a guide of where to shift the template next. Diffrance denotes the infinite process of

readjustment between framing and anticommunication. Terms can be redefined, maps redrawn, andinformation recoded. Diffrance attests to the incompleteness and relativity of codes. When we try

to approach the meaning of particular words it is both deferred to other words and definitions

and is always different then the words and definitions themselves. Contrasts and binary opposites

are constructed by language with no absolute foundations. When we come to this realization

distinctions slip and deliquesce.

Creator and Creation

Meaning is derived from contextual relationships and the system in which one is currently working.

At any given moment we can agree on the meaning of something because we have entered into

intersubjective communities where meaning has been decided, albeit arbitrarily. we are are then

shaped by the language of that cultural community. Art is that which is defined as art within a

community. Just like Being, Art has no essential qualities and is an aggregate. We learn fromlanguage what Art is. Newton spoke of physics as the System of the World. The system of the

multiverse is semiosis. Meaning is determined only in relation to the semiotic system it is a part of.

Interestingly, by contributing to culture we can have an effect on the way we are shaped and the

way we think. By taking part in semiosis we are created by and create the world in which we live.

Transformation

The opposition between man and machine is becoming an ever blurrier and indistinct relationship

and is a relationship of the utmost importance for contemporary artists. Depending on our frame

of reference, we can describe humans, as Ludwig von Bertalanffy did, as both a robot: a closed

system running on a simple algorithm and an organic individual: an open system in the process ofgrowth and change by way of socio-environmental feedback. Haraway describes this blurring as a

Leaky Distinction and says There is no fundamental, ontological separation in our formal

knowledge of machine and organism, of technical and organic. When both can be described as code

many of the previous distinctions begin to fade. The transformation that man is currentlyundergoing is not pretty, in fact it is allowing us a direct experience with the sublime. Our

categories, systems of thought and identities are being destroyed by the synthesis of man and

machine. This destruction comes in the form of overstimulation, noise pollution, onslaughts of

imagery and a plethora of new connections in the network, of which we will never keep up with or

understand.


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marcel duchamp

fountain1917

Contextual Meaning


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Mechanical Destruction

Cyborg Art


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Enfolding: A Labyrinth with Anomalous Fragments

As networks expand and intensify our limits are pushed. We begin to get a sense of Being

as such. As Bataille wrote anticommunication starts from an extreme complexity and

presents the tip of the constellation to us, which, upon further investigation becomes the

labyrinth where what had suddenly come forward strangely looses its way. Confusion,

overstimulation, awe and a feeling of humility are all signs that we are accessing the

Sublime. By modeling after rhizomatic structures we can generate and contribute tonetworks of greater complexity.

Coding the Uncodeable

There is no one code that translates being perfectly, but as codes increase in complexity

the map begins to approximate the territory it charts. We can use negative dialectics to

assemble a definition of Being by first deciphering what it is not and then adding incharacteristics we know Being does have, while acknowledging that neither of these

methods will ever give us a complete picture. Our aspiration should be to acquire an

understanding of Being that is a labyrinthian model at the very limits of our conceptual

and perceptual abilities. We must fully understand the absurdity of this goal but

undertake it anyway. Relative to the whole of being our models will be laughable but they

will be capable of nearly destroying us. If we want to contribute to cultural evolution,

even in a miniscule way, our art, our contemplations, and our philosophies must address

complexity, multiplicity and paradox. It is time for us to envisage aggregation.

Transcendence

It is time for us to present the unpresentable, know the unknowable and accessinformation that our systems of thought, neural networks and senses are unprepared for.

As Wittgenstein said, there are things that cannot be said and things that cannot be

known. However, there is also the possibility of showing or pointing to that which cannot

be said or known. God is the ultimate unknowable, which we can never hope to know. BelowGod there are infinite unknowns, most of which would destroy us and others that are still

far too complex for our systems to grapple with. Regardless, unknowns that are not

meant for us should be the focus of our attention. By transcending the limits of human

faculties and accessing the Sublime we will eventually go deeper into the unknown and be

presented with what was previously unpresentable.


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Victor Burgin

Photopath1967

The Map begins to Approximate the Territory it charts.Now, with new media objects the map is beginning to exceed the territory.


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Sol LeWittWall Drawing # 51, 1970All Architectural Points

connected by Straight Lines

Sol LeWittWall Drawing # 305, 1977

The location of one hundred randomspecific points. (The locations are

determined by the drafters.)

As the draftsman maps out each generatedpoint, he or she writes a description of howthe point was arrived at. They are random in

that method can be used to derive thepoints but specific in their description of

derivation.

As the map (or code) increases so does the complexity


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Robert MorrisCard File, 1962

each card lists the operations involved in the construction of the card file.Ex. Considerations, Decisions, Delays, Interruptions, locations, materials, Mistakes

Self Reference


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Diagram of My Philosophy


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Aesthetics

Overview

My work is an accolade to the unknowable, unpresentable, inconceivable and the sublime.

As a conceptual artist my work begins with an idea or question. I am most drawn to

concepts that are infused with an unusual dynamism and that, upon further examination,

open out into a labyrinthian structure. These concepts present themselves as paradoxes,

anomalies, glitches. It is not just that these concepts appear other-worldly, they are

protrusions from other systems of thought, levels of greater complexity and other

worlds of discourse.

There are a number of ways that I point out the Sublime, or what is beyond the known and

sensed, in my work. I do so by pointing to two different aspects of the sublime, theConceptual Sublime and the perceptual sublime. Of course these two categories can leak

and we are confronted with conceptualized perceptions or perceived concepts. When

approaching the sublime it is difficult to understand, both through reason and our

senses. By investigating the Sublime through various channels my hope is that I will some

day be able to transport people there instantly and we will continue, in our futile butinexorable ways, to piece together this divine puzzle.


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Conceptual Sublime

Experimental artists, and those working at the edge of any field, get to be explorers,discovering new language and shifting the template of the current pistm. In doing so, new

modes of thinking are allowed. There are a number of ways in which the Conceptual Sublime is

currently being addressed including: Leaky Distinctions, Meta-Systems Art, Remapping or

Transcoding and Words as Image, Image as Words.

Leaky Distinctions

Of the utmost importance for contemporary artists is the breaking down of old distinctions,guided by postmodern and post-structuralist philosophy. I see my work as being aligned with

this project, blurring the lines between order/chaos, micro/macro, systemic/antisystemic,

scale invariance/emergence, difference/repetition, inside/outside, form/formlessness, opacity/

transparency and man/machine. I hope to communicate through my work that complexity lies in

ambiguity and the blurring of binary opposites, leaky distinctions. Something pushed to its

limits becomes its opposite. By neatly quarantining concepts as binary opposites we areforced to repress a higher level of complexity. By dispelling this repression, even if it is just

a matter of shifting the template, we allow for new forms of complexity to emerge.

Meta-Systems Art (counter-composition)

By combining systems art and deconstruction into meta-systems art I employ an initial system,

work within that system to find its limits and effectively destroy it. In doing so my work

points to an emergent system which encompasses the initial system but also the edge of the

system and beyond. Just like by scaling up and discovering a system in which a paradox is no

longer paradoxical, meta-systems art addresses what is outside the limits of a system.


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john baldessarithrowing four balls in the air to get a square

(best of 36 tries)1974

Systems Art


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Meta-Systems Art, Using ITERATIVE PROCESSES

Digital Reinhardt

2nd Iteration of painting

Still from video

2nd Iteration of painting with video projection


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Subluxation

stills from Relocation of Significant Structural Damage, 2008


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Remapping or Transcoding

By using Leaky Distinctions paradoxes abound. If what was somethings opposite in one

system can be reframed as a part of the initial element in another system, what results

are we faced with? By further examination we discover ones opposite is always already a

part of them. What we at first glance deem as chaotic may later be deemed as the

creation of a new order or what allowed the conditions for a new order to arise. Frompathologies and glitches we find new systems, new thought processes, new networks,

new worlds. By translating, recoding, reframing some things are lost but new things are

gained. Through a process of negative dialectics we gain a bigger picture of pure being.

By using old source material in new ways, painting over old paintings, and continuously

addressing the same ideas and themes in various pieces I am employing a method of codingand transcoding.

Words as Image, Image as Words

Both artists and writers are employing signs in a process of world making. What happenswhen these processes overlap? Why do icon painters describe what they do as writing

icons? Is it possible for artists to act as writers?


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Strands, 2006

Reuse of source material


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Joseph Kosuth

1966

Joseph Kosuth

Words as Image


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roman opalka1-infinity Series

218303-252314 description of the world

1967

Numbers as Image


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Perceptual Sublime

Our Sensory experiences can help us access the sublime as well. By pushing our senses to their

limits, seeing, hearing, feeling at the limits of sensation and perception we experience other states

of being. Through contemplation of the electromagnetic spectrum we can hope to see ultraviolet

light just as bees do.The longer we investigate noise, pure color, light and nonsense the morepatterns and sense we find. We must commit to nonsense, both conceptually and perceptually,

before we can find sense. The Perceptual Sublime can also be addressed in various ways, including:

Glitch, Entanglement or the Contemporary Icon.

Glitch

Human faculties are not adapted to experience certain levels of information. Our minds generally

deal with this by filtering out what is deemed unnecessary. However, what if we present the mind

with only unnecessary information? Eventually we can tune our minds to consciously experience

larger amounts of information. New technology plays a large role in this endeavor.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to

hold multiple codings of that information in our minds at the same time. Work that presents uswith Simultaneity gives us a sneak preview of this ability. We can examine the past, present and

future at the same moment, we have access to the singularity. Synesthesia also falls under the

heading of entanglement. When the very senses that we use to perceive the world become tangled

we have access to new coding schemas of information. Literally, perceptual entanglement implies a

tangling and confusion of our perceptions. Altered perceptions, however they are achieved, resultin new experiences of old information and help us to have a more direct experience of the

mutability of meaning and interpretations. We may find ourselves responding to entanglement with

confusion, disorientation, de-familiarization and paranoia. All of these are strong indications that

we are approaching the sublime.

Ingress to Multiplicity, The Contemporary Icon

Lev Manovich wrote that in contemporary society an image acquires the new role of an

interface...Thus, image becomes image-interface. In this role it functions as a portal into another

world, like an icon in the Middle Ages or a mirror in modern literature and cinema. New media

objects can function as both tools and portals. Portals can be used to transport us to many

different worlds but the most significant transportation possible is to the continuum or the

plexus, outside of any particular world. A portal to the sublime is the kind of portal we are most

interested in. Medieval icons were trying to represent god, now icons are used to set up the

conditions to bring us to god or point to god. We are no longer trying to bring god to us but,

instead, we are trying to go to god. In order to make this trip our senses and minds will bereorganized.

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Once we have tuned our minds to handle larger amounts of information we will begin tomultiple codings of that information in our minds at the same time Work that presentsE

e we have tuned our minds to handle larger amounts of information we will begin to be able to holdiple codings of that information in our minds at the same time Work that presents us with Simultaneity

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Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to holdmultiple codings of that information in our minds at the same time. Work that presents us with Simultaneitygives us a sneak preview of this ability. We can examine the past, present and future at the same moment, we

have access to the singularity. Synesthesia also falls under the heading of entanglement. When the verysenses that we use to perceive the world become tangled we have access to new coding schemas ofinformation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.Altered perceptions, however they are achieved, result in new experiences of old information and help us tohave a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to holdmultiple codings of that information in our minds at the same time. Work that presents us with Simultaneitygives us a sneak preview of this ability. We can examine the past, present and future at the same moment, wehave access to the singularity. Synesthesia also falls under the heading of entanglement. When the very

senses that we use to perceive the world become tangled we have access to new coding schemas ofinformation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.Altered perceptions, however they are achieved, result in new experiences of old information and help us tohave a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to holdmultiple codings of that information in our minds at the same time. Work that presents us with Simultaneitgives us a sneak preview of this ability. We can examine the past, present and future at the same moment, w

have access to the singularity. Synesthesia also falls under the heading of entanglement. When the verysenses that we use to perceive the world become tangled we have access to new coding schemas ofinformation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.Altered perceptions, however they are achieved, result in new experiences of old information and help ushave a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to holdmultiple codings of that information in our minds at the same time. Work that presents us with Simultaneitygives us a sneak preview of this ability. We can examine the past, present and future at the same moment, wehave access to the singularity. Synesthesia also falls under the heading of entanglement. When the verysenses that we use to perceive the world become tangled we have access to new coding schemas ofinformation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.Altered perceptions, however they are achieved, result in new experiences of old information and help us tohave a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to holdmultiple codings of that information in our minds at the same time. Work that presents us with Simultaneitygives us a sneak preview of this ability. We can examine the past, present and future at the same moment, wehave access to the singularity. Synesthesia also falls under the heading of entanglement. When the verysenses that we use to perceive the world become tangled we have access to new coding schemas ofinformation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.Altered perceptions, however they are achieved, result in new experiences of old information and help us to

have a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to holdmultiple codings of that information in our minds at the same time. Work that presents us with Simultaneigives us a sneak preview of this ability. We can examine the past, present and future at the same moment,have access to the singularity. Synesthesia also falls under the heading of entanglement. When the versenses that we use to perceive the world become tangled we have access to new coding schemas ofinformation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.Altered perceptions, however they are achieved, result in new experiences of old information and help ushave a more direct experience of the mutability of meaning and interpretations.

Entanglement

ce we have tuned our minds to handle larger amounts of information we will begin to be able to holdltiple codings of that information in our minds at the same time. Work that presents us with Simultaneityes us a sneak preview of this ability. We can examine the past, present and future at the same moment, weve access to the singularity. Synesthesia also falls under the heading of entanglement. When the veryses that we use to perceive the world become tangled we have access to new coding schemas of

ormation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.ered perceptions, however they are achieved, result in new experiences of old information and help us to

ve a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will beginmultiple codings of that information in our minds at the same time. Work that presentgives us a sneak preview of this ability. We can examine the past, present and future ahave access to the singularity. Synesthesia also falls under the heading of entanglsenses that we use to perceive the world become tangled we have access to new codiinformation. Literally, perceptual entanglement implies a tangling and confusion of oAltered perceptions, however they are achieved, result in new experiences of old infohave a more direct experience of the mutability of meaning and interpretations.

Entanglement

have tuned our minds to handle larger amounts of information we will begin to be able to hold

codings of that information in our minds at the same time. Work that presents us with Simultaneitya sneak preview of this ability. We can examine the past, present and future at the same moment, weess to the singularity. Synesthesia also falls under the heading of entanglement. When the veryhat we use to perceive the world become tangled we have access to new coding schemas ofion. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.perceptions, however they are achieved, result in new experiences of old information and help us toore direct experience of the mutability of meaning and interpretations.

Entanglement

e have tuned our minds to handle larger amounts of information we will begin to be able to holde codings of that information in our minds at the same time. Work that presents us with Simultaneitys a sneak preview of this ability. We can examine the past, present and future at the same moment, wecess to the singularity. Synesthesia also falls under the heading of entanglement. When the verythat we use to perceive the world become tangled we have access to new coding schemas oftion. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.

d perceptions, however they are achieved, result in new experiences of old information and help us tomore direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin tomultiple codings of that information in our minds at the same time. Work that presentsgives us a sneak preview of this ability. We can examine the past, present and future at

have access to the singularity. Synesthesia also falls under the heading of entanglemsenses that we use to perceive the world become tangled we have access to new codinginformation. Literally, perceptual entanglement implies a tangling and confusion of ouAltered perceptions, however they are achieved, result in new experiences of old inforhave a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will beginmultiple codings of that information in our minds at the same time. Work that present

gives us a sneak preview of this ability. We can examine the past, present and future ahave access to the singularity. Synesthesia also falls under the heading of entanglesenses that we use to perceive the world become tangled we have access to new codininformation. Literally, perceptual entanglement implies a tangling and confusion of oAltered perceptions, however they are achieved, result in new experiences of old infohave a more direct experience of the mutability of meaning and interpretations.

Entanglement

ce we have tuned our minds to handle larger amounts of information we will begin to be able to holdltiple codings of that information in our minds at the same time. Work that presents us with Simultaneityes us a sneak preview of this ability. We can examine the past, present and future at the same moment, weve access to the singularity. Synesthesia also falls under the heading of entanglement. When the veryses that we use to perceive the world become tangled we have access to new coding schemas of



ltiple codings of that information in our minds at the same time. Work that presents us with Simultaneityes us a sneak preview of this ability. We can examine the past, present and future at the same moment, weve access to the singularity. Synesthesia also falls under the heading of entanglement. When the veryses that we use to perceive the world become tangled we have access to new coding schemas of



e we have tuned our minds to handle larger amounts of information we will begin to be able to holdiple codings of that information in our minds at the same time. Work that presents us with Simultaneitys us a sneak preview of this ability. We can examine the past, present and future at the same moment, wee access to the singularity. Synesthesia also falls under the heading of entanglement. When the veryes that we use to perceive the world become tangled we have access to new coding schemas ofrmation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.red perceptions, however they are achieved, result in new experiences of old information and help us to

e a more direct experience of the mutability of meaning and interpretations.

multiple codings of that information in our minds at the same time. Work that presentsgives us a sneak preview of this ability. We can examine the past, present and future athave access to the singularity. Synesthesia also falls under the heading of entanglemsenses that we use to perceive the world become tangled we have access to new codinginformation. Literally, perceptual entanglement implies a tangling and confusion of ouAltered perceptions, however they are achieved, result in new experiences of old inforhave a more direct experience of the mutability of meaning and interpretations.

Entanglement


Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to bmultiple codings of that information in our minds at the same time. Work that presents usgives us a sneak preview of this ability. We can examine the past, present and future at thhave access to the singularity. Synesthesia also falls under the heading of entanglemensenses that we use to perceive the world become tangled we have access to new coding scinformation. Literally, perceptual entanglement implies a tangling and confusion of our p

Altered perceptions, however they are achieved, result in new experiences of old informathave a more direct experience of the mutability of meaning and interpretations.

Entanglement

e we have tuned our minds to handle larger amounts of information we will begin to be able to holdiple codings of that information in our minds at the same time. Work that presents us with Simultaneitys us a sneak preview of this ability. We can examine the past, present and future at the same moment, wee access to the singularity. Synesthesia also falls under the heading of entanglement. When the veryes that we use to perceive the world become tangled we have access to new coding schemas ofrmation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.red perceptions, however they are achieved, result in new experiences of old information and help us to


Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to holdmultiple codings of that information in our minds at the same time. Work that presents us with Simultaneitygives us a sneak preview of this ability. We can examine the past, present and future at the same moment, we

have access to the singularity. Synesthesia also falls under the heading of entanglement. When the verysenses that we use to perceive the world become tangled we have access to new coding schemas ofinformation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.Altered perceptions, however they are achieved, result in new experiences of old information and help us tohave a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will begimultiple codings of that information in our minds at the same time. Work that presegives us a sneak preview of this ability. We can examine the past, present and futurehave access to the singularity. Synesthesia also falls under the heading of entangsenses that we use to perceive the world become tangled we have access to new codinformation. Literally, perceptual entanglement implies a tangling and confusion ofAltered perceptions, however they are achieved, result in new experiences of old inhave a more direct experience of the mutability of meaning and interpretations.

Entanglement

our minds to handle larger amounts of information we will begin to be able to holdhat information in our minds at the same time. Work that presents us with Simultaneityiew of this ability. We can examine the past, present and future at the same moment, weingularity. Synesthesia also falls under the heading of entanglement. When the veryo perceive the world become tangled we have access to new coding schemas ofy, perceptual entanglement implies a tangling and confusion of our perceptions.however they are achieved, result in new experiences of old information and help us toperience of the mutability of meaning and interpretations.

Entanglement

s to handle larger amounts of information we will begin to be able to holdrmation in our minds at the same time. Work that presents us with Simultaneityhis ability. We can examine the past, present and future at the same moment, wety. Synesthesia also falls under the heading of entanglement. When the very

ve the world become tangled we have access to new coding schemas ofptual entanglement implies a tangling and confusion of our perceptions.r they are achieved, result in new experiences of old information and help us toe of the mutability of meaning and interpretations.

Entanglement

ds to handle larger amounts of information we will begin to be able to holdormation in our minds at the same time. Work that presents us with Simultaneitythis ability. We can examine the past, present and future at the same moment, we

ity. Synesthesia also falls under the heading of entanglement. When the veryeive the world become tangled we have access to new coding schemas ofeptual entanglement implies a tangling and confusion of our perceptions.er they are achieved, result in new experiences of old information and help us toce of the mutability of meaning and interpretations.

EntanglementOnce we have tuned our minds to handle larger amounts of information we wilmultiple codings of that information in our minds at the same time. Work thatgives us a sneak preview of this ability. We can examine the past, present and fhave access to the singularity. Synesthesia also falls under the heading of esenses that we use to perceive the world become tangled we have access to neinformation. Literally, perceptual entanglement implies a tangling and confusiAltered perceptions, however they are achieved, result in new experiences of ohave a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of informationmultiple codings of that information in our minds at the same time. Workgives us a sneak preview of this ability. We can examine the past, presenthave access to the singularity. Synesthesia also falls under the headinsenses that we use to perceive the world become tangled we have accesinformation. Literally, perceptual entanglement implies a tangling and c

Altered perceptions, however they are achieved, result in new experienchave a more direct experience of the mutability of meaning and interpret

Entanglement


Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to holmultiple codings of that information in our minds at the same time. Work that presents us with Simultgives us a sneak preview of this ability. We can examine the past, present and future at the same momehave access to the singularity. Synesthesia also falls under the heading of entanglement. When thesenses that we use to perceive the world become tangled we have access to new coding schemas of

information. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.Altered perceptions, however they are achieved, result in new experiences of old information and helphave a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we will begin to be able to holdmultiple codings of that information in our minds at the same time. Work that presents us with Simultaneitygives us a sneak preview of this ability. We can examine the past, present and future at the same moment, wehave access to the singularity. Synesthesia also falls under the heading of entanglement. When the verysenses that we use to perceive the world become tangled we have access to new coding schemas ofinformation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.

Altered perceptions, however they are achieved, result in new experiences of old information and help us tohave a more direct experience of the mutability of meaning and interpretations.

Entanglement

Once we have tuned our minds to handle larger amounts of information we wimultiple codings of that information in our minds at the same time. Work thagives us a sneak preview of this ability. We can examine the past, present andhave access to the singularity. Synesthesia also falls under the heading ofsenses that we use to perceive the world become tangled we have access toinformation. Literally, perceptual entanglement implies a tangling and confuAltered perceptions, however they are achieved, result in new experiences of

have a more direct experience of the mutability of meaning and interpretation

Entanglement

Once we have tuned our minds to handle larger amounts of information wemultiple codings of that information in our minds at the same time. Work thgives us a sneak preview of this ability. We can examine the past, present anhave access to the singularity. Synesthesia also falls under the heading osenses that we use to perceive the world become tangled we have access toinformation. Literally, perceptual entanglement implies a tangling and confAltered perceptions, however they are achieved, result in new experiences o

have a more direct experience of the mutability of meaning and interpretatio

Entanglement

Once we have tuned our minds to handle larger amounts of informmultiple codings of that information in our minds at the same timegives us a sneak preview of this ability. We can examine the past, phave access to the singularity. Synesthesia also falls under thesenses that we use to perceive the world become tangled we haveinformation. Literally, perceptual entanglement implies a tanglingAltered perceptions, however they are achieved, result in new exphave a more direct experience of the mutability of meaning and int

iple codings of that information in our minds at the same time. Work that presents us with Simultaneitys us a sneak preview of this ability. We can examine the past, present and future at the same moment, wee access to the singularity. Synesthesia also falls under the heading of entanglement. When the veryes that we use to perceive the world become tangled we have access to new coding schemas ofrmation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.red perceptions, however they are achieved, result in new experiences of old information and help us to


ltiple codings of that information in our minds at the same time. Work that presents us with Simultaneityes us a sneak preview of this ability. We can examine the past, present and future at the same moment, weve access to the singularity. Synesthesia also falls under the heading of entanglement. When the veryses that we use to perceive the world become tangled we have access to new coding schemas of



nce we have tuned our minds to handle larger amounts of information we will begin to be able to holdultiple codings of that information in our minds at the same time. Work that presents us with Simultaneityives us a sneak preview of this ability. We can examine the past, present and future at the same moment, weave access to the singularity. Synesthesia also falls under the heading of entanglement. When the veryenses that we use to perceive the world become tangled we have access to new coding schemas offormation. Literally, perceptual entanglement implies a tangling and confusion of our perceptions.ltered perceptions, however they are achieved, result in new experiences of old information and help us toave a more direct experience of the mutability of meaning and interpretations.

tanglement

mounts of information we will begin to be able to holdat the same time. Work that presents us with Simultaneity

amine the past, present and future at the same moment, wefalls under the heading of entanglement. When the verytangled we have access to new coding schemas of

implies a tangling and confusion of our perceptions.result in new experiences of old information and help us tof meaning and interpretations.Entanglement

larger amounts of information we will begin to be able to holdur minds at the same time. Work that presents us with Simultaneitye can examine the past, present and future at the same moment, wesia also falls under the heading of entanglement. When the verybecome tangled we have access to new coding schemas oflement implies a tangling and confusion of our perceptions.

chieved, result in new experiences of old information and help us toability of meaning and interpretations.

Entanglement

d our minds to handle larger amounts of information we will begin to be able to holdf that information in our minds at the same time. Work that presents us with Simultaneityeview of this ability. We can examine the past present and future at the same moment we

Entanglement

ed our minds to handle larger amounts of information we will begin to be able to holdof that information in our minds at the same time. Work that presents us with Simultaneity

Entanglement

Once we have tuned our minds to handle larger amounts of information we wimultiple codings of that information in our minds at the same time. Work tha

gives us a sneak preview of this ability. We can examine the past, present andhave access to the singularity. Synesthesia also falls under the heading ofsenses that we use to perceive the world become tangled we have access to

Entanglemen

Once we have tuned our minds to handle larger amounts of in

multiple codings of that information in our minds at the samegives us a sneak preview of this ability. We can examine the pahave access to the singularity. Synesthesia also falls under


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RYOJI IKEDADATA.TRON, PART OF DATAMATICS SERIES, 2005-

Technological Sublime, Technology as Portal

Q


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Questions:

Which comes first:

- The cultural conditions (or pistm) that allows for individuals tocreate new work or the new work that creates the conditions for a newepisteme to form?- the movement or the manifesto?- Culture or Language?

Danto:Without theory, who could see a blank canvas, a square lead plate, atilted beam, some dropped rope, as works of art?...Perhaps the samequestion was being raised all across the face of the art world but forme it became conspicuous at last in that show of Andy Warhol at theStable Gallery in 1964, when the Brillo box asked, in effect, why it wasart when something just like it was not. And with this, it seemed to me,the history of art attained the point where it had to turn into its ownphilosophy. It had gone, as art, as far as it could go. In turning intophilosophy, art had come to an end. From now on progress could only beenacted on a level of abstract self-consciousness of the kind whichphilosophy alone must consist in. If artists wished to participate in thisprogress, the would have to undertake a study very different from whatthe art schools could prepare them for. They would have to becomephilosophers.

- Language and Image: What happens when the two overlap?- Why do icon painters describe what they do as writing icons?- Is it possible for artists to act as writers?- how do I incorporate words and text in a new way that doesn't comeacross as contrived or as just a supplement? Joseph Kosuth's work is agood guide but what I'm imagining is more of a unified work, like a piece ofliterature, as opposed to distinct pieces in different media. Postmodernliterature has achieved something really remarkable. Can theirtechniques be translated to other disciplines?- Where do we think art should go from here?- Now that art can be anything, what do we want it to be? (synthesis ofModern and postmodern)

Documents

Kera's Philosophy Presentation