[-empyre-] Moore N

[G.H.Hovagimyan <ghh@thing.net>]

Here's my algorithm for art.

Let's say that you've graduated from art school. You decide to make 
something or do something. Let's call this something S. You use all the 
techniques (T) that you've learned in art school to make/do S. You then 
show this to a friend. Your friend doesn't recognize [EQUIV] it as art 
A even though you've used all the techniques (T) and procedures [FUNC] 
you've learned in art school. You know that S is art. You now have two 
choices[SELECT]. You can go back and remake or redo S to make it 
conform to what your friend thinks is art, this is the way traditional 
art is made. Or you can insist that S really is art and bring your 
friend around to your point of view. This is the position of anti-art 
-A. There is a third way that is to not insist that what you do is art 
and to ignore your friends puzzlement.  You allow what you have made or 
do to exist outside of the art/ anti-art dialectic. This is the 
N-state. Here's a crude algorithm;
[SELECT]
T[FUNC]S =  A
T[FUNC]S = -A

A [EQUIV] -A :: (T[FUNC]S)-A = A

if A -([EQUIV] -A) then
N
else
A

Nicolas Bourriaud in his book relational aesthetics proposes something 
similar. The issue with Relational aesthetics is that the 
relationiships are still within a sanctioned art space such as a museum 
or project room. The mark of an official space makes what is presented 
into art.  The problem is that if you go outside of the art world you 
will be called a crank.