[-empyre-] old media cycles to new: Signal Culture and Jason Bernagozzi

Renate Terese Ferro rferro at cornell.edu
Thu Feb 12 00:18:14 AEDT 2015


 
Dear
Jason and Ben,  
 
Ben you
wrote: Ben you wrote: ³ For me, the really interesting place is at the
intersection of the two where my intentions and cultural values mix with
the
assumptions of the tools and contrast with the dominant media practices.
Unimplemented ideas and exploiting existing media practices are not very
interesting to me. The Dreaming Machine is not meant to create a perfect
illusionary representation of the world, nor is it supposed to project a
prescribed structure into the world; its meant to find a place in between
the
two.²
 
Jason you
wrote of Gary Hill:  "For example, I think Gary Hill in his book
"Art of Limina" hits it right on the head when he describes himself
as a "principle-based" artist and not a conceptual artist. This does
not mean his projects themselves have no concept, but a conceptual artist
has
an idea that is applied to various media. There has been some great works
springing from conceptual art, and it is the premier model for postmodern
art
practice and pedagogy. That being said, this is also a very presumptuous
model
that does not always play well with new technological forms.²
 
Your
discussion of the relationship between ³conceptual² or ³principled² as Gary
Hill has described his own work has been interesting and helpful.  As an
artist trained in fibers and installation and then printmaking, my shift to
technology and art came about only twelve years ago.  My interest and
consequent heavy reading in theory began long before my shift to the
technological but it has been linked to my making.  That said the idea or
the concept usually comes first, however I find working through with
materials
helps me to develop the conceptual premise.  The making and the thinking
are in tandem. Then as the tension between the making and the theoretical
develops there is a criticality that ensues.  That criticality helps me to
figure out if there are political or social consequences in the work.  In
September of 2007 Tim Murray and I hosted a month on -empyre called
Critical
Spatial Practice. For the first post I wrote: "Critical Spatial Practice
entails the claiming of social responsibility at the intersections of art,
geography, architecture, and activism. How might critical approaches to
space
and place empower creativity, enhance artistic activism, and encourage
artistic
practice and collaboration? The alignment of criticality with cyber
configurations of space permits especially creative skins of networks,
resources, and discussions whose resulting configurations range from texts
and
performances to buildings and installations.²  I am thinking now about
Ricardo Dominguez¹ work and his Immigrant Border Tool.
 

Jason you make me think about Sol Lowitt and his writing of Conceptual Art
in Artforum in 1967 with this quote: "In conceptual art the idea or
concept is
the most important aspect of the work. When an artist uses a conceptual
form of
art, it means that all of the planning and decisions are made beforehand
and
the execution is a perfunctory affair. The idea becomes a machine that
makes
the art.² If using Lowitt¹s definition than most definitely conceptual art
may be a bit presumptuous as you write Jason, but I would much rather
think about the model we
proposed back in 2007, a Critical Spatial Practice one where there is a
give
and take between the two and where criticality comes into play in the
development of the implications for development, use, or influence.

 
I think now of Jean Francois Lyotard who wrote so much about art and
philosophy. In his
writing he used art and technology to think through the conceptual and
philosophical matters he was writing about especially in his exhibition at
the
Pompidou ³Immaterials.²  I did a video piece
http://www.renateferro.net/anamnesis.html inspired by the work he was doing
back then and a chance meeting during that time period.  He taught me that
thinking and making are critically connected and because of that early
lesson
the all toggled together in complicated ways.

 
Heavy teaching this week and getting ready for College Art Association
delayed this
response.  For that I apologize.  Anyone on -empyre going to NYC to
the conference? 
Renate


Renate Ferro
Visiting Assistant Professor of Art,Cornell University
Department of Art, Tjaden Hall Office:  306
Ithaca, NY  14853
Email:   <rferro at cornell.edu <mailto:rtf9 at cornell.edu>>
URL:  http://www.renateferro.net <http://www.renateferro.net/>
      http://www.privatesecretspubliclies.net
<http://www.privatesecretspubliclies.net/>
Lab:  http://www.tinkerfactory.net <http://www.tinkerfactory.net/>

Managing Co-moderator of -empyre- soft skinned space
http://empyre.library.cornell.edu/



>



More information about the empyre mailing list