Re: [-empyre-] Re: Method Manifesto

Dear all,

oh, I have to write many replies...:-)

At 1222 20020923, wrote:
> The idea that art exists as pure disembodied "idea", or "method" in your case, is difficult to maintain when you're producing objects that, of their nature and according to their materiality, signify beyond themselves. 

Yes, of course, I know that "this is difficult."
This problem is maybe the same to Plato's or Kant's, very old and historical ones.
I say I am tolerate to show the materials as the result (not as the purpose).
Maybe this point is one of the differences ... not big differences ... between 
Kosouth or other 60's-70's conceptual artists and me.  

Tautology can never be a true model for art, because a tautology is a tautology ;-), not an artwork. As soon as a tautology becomes an artwork, it becomes dependent on context (the discourses of the art-world, gallery,, etc.) which is precisely what a tautology is NOT. 

My understanding is that tautologies are seen in every art and every science 
of the twentieth century as their essencial problems.
I do not think tautologies are the models for art...I am sorry that I do not 
understand exactly your word "model" in this sentence... and tautologies are 
not artworks to be sure I agree.
BTW I also know that in the past the saying "tautologies are not artworks" 
was effective as the criticism against Kosouth.
BTW my understanding toward the tautologies is that which were seen also 
in the Socrates' age.

And BTW (sorry for many "BTW"s),
my interest toward tautologies are this point:
(Visual) art is art.
Poem is poem.
Music is music.
These three sentences have the same form, that is, tautology.
This point is the reason why I begin methodicism as of art and of poem and 
of music, but not as composite art, as pure art.  (In this meaning I use 
the word "pure art" as the antonym for composite art.)


Hideki Nakazawa
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