[-empyre-] Practice in Research & odd methods, rude mechanics

[Adrian Miles]

On Monday, 21 January 2013 at 3:34 AM, Monika Weiss wrote:

> Thus I disagree profoundly with the idea of complete independence of art from life (as referent) which the above sentence implies, I think. There is always some type of a connecting tissue, a link with real event, which is why a dialogue is even possible 
Perhaps, though on the surface this risks retreating into romanticism, no? After all, why is life a privileged term here? Life is not special to art, ants and trees both experience life. If I use generative and algorithmic processes to create a work, perhaps with a rule of subtraction, I can make some sort of argument about a 'connecting tissue' to a real event, but I'd think this is not very relevant to what the work is interested in and doing. That you can make that connection is fine, but this is not what makes the work art. I can make connecting tissues of connection with lots of things that aren't art, so it doesn't tell us what art is, and certainly not art in the context of a research activity.  

> I want to ask whether a profound research done by an artist along side the "work of art" that " stands on its own"  takes anything away from the 'art"? -- or, perhaps, it becomes part of it , at least in the best case scenario...
Nice question. For me this is not a question that matters that much in a discussion about art and research only because I think art and research are different things (perhaps I ought to dig out those quotes from "What is Philosophy?"). The tricky bit in scholarship is being able to understand how or what your research question is that your art investigates, but this in no way needs to diminish or risk the integrity of the art work, though I think Sally Jane Norman's reply details this much better than I have :-)


-- 
an appropriate closing
Adrian Miles
Program Director Bachelor of Media and Communication (Honours)
RMIT University - www.rmit.edu.au
http://vogmae.net.au/


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