[-empyre-] aslemeur, experimental 3D image, Moscow, July 2015

Thu Jul 16 00:17:42 AEST 2015

Dear All,

Do art activities acquire an ethical imperative when they operate 
outside of contained systems -- that is, on the Internet as opposed to a 
machine system set up in a gallery? My love of accident and unconscious 
elements in creation gets expressed in analog media so I don't have to 
worry about contamination of the general pool; it's different on the 
web, isn't it?

CS

On 7/15/2015 4:54 AM, aslemeur at free.fr wrote:
> ----------empyre- soft-skinned space----------------------
> Hi there,
>
> - If I make a programming mistake, then the program would not work. too bad.
> - I can make a 'thinking' programming mistake (I think I code this order, but in fact I am coding something else)
> then it works, but not as I thought it would. Should I keep that offer or not ?
> It probably depends on the artistic aspect it brings ?
>
> here what I like is that the 'thinking' programming mistake - that I very often do- are generating artistic visual ... elements,
> unpredicted, surprising, that can enrich the work (conceptualy/visualy...)
>
> it can appear as technical mistake to the viewer (or not). depends on the level of irreverence/disobedience to the system and its appeal to perfection this element includes. or depends too on the artistic element it brings.
> I like to be inbetween. so the viewer can ask him/herself if what he/she perceives is 'normal'
>
> I wonder what tecnological art pieces demonstrate voluntary ambivalent imperfections...
> and if 'unfinished' technological art pieces are shown ?
>
> regards,
>
> Anne-Sarah
> ----- Mail original -----
> De: "Murat Nemet-Nejat" <muratnn at gmail.com>
> À: "soft_skinned_space" <empyre at lists.artdesign.unsw.edu.au>
> Envoyé: Mardi 14 Juillet 2015 22:07:07
> Objet: Re: [-empyre-] aslemeur, experimental 3D image, Moscow, July 2015
>
> ----------empyre- soft-skinned space----------------------
> Hi Horea,
>
> Actually, we are agreeing. The human (in this instance the artist's)
> inability to control the medium (which the human mind may project as a
> failure of the machine} is exactly what is liberating. With no conscious
> will or intention of the user, it enables the user to transgress the
> logical system, exigencies the machines creates around itself. In one
> sense, the machine "makes a mistakes." In another sense, the machine has
> abilities beyond the human ones.
>
> I talk in detail about the importance of the "inefficiences" of the
> technological medium in the creation of art discussing 19th century
> photographic light in my book *The Peripheral Space of Photography (Los
> Angeles: *Green Integer, 2004*).* In an earlier discussion a few months ago
> here, I referred to an interview with the film maker Renoir where he talks
> about the importance of defects in technology in fil (and art in general).
> The interview is on utube.
>
> Ciao,
> Murat
>
> On Tue, Jul 14, 2015 at 7:28 AM, Horea Avram <horea.avram at gmail.com> wrote:
>
>> ----------empyre- soft-skinned space----------------------
>> Hi Murat and Anne-Sarah,
>>
>> I also believe that it is crucial to define what a "mistake" might be in
>> the context of machines or dispositifs.
>> Is the "technological being" (i.e. the machine/dispositif) able to make
>> mistakes? Or mistakes are entirely human being's responsibility?
>>
>> I think mistakes are not liberation from machines (and here I disagree
>> with Murat), but they are intrinsic part of the machines.
>> And by mistakes I mean those technical shortcomings and imperfections in
>> the interaction process, those delays in what should be a real-time system,
>> those real-virtual registration and superimposition errors, especially in
>> Augmented Reality and ubiquitous computing devices and applications, etc.
>> These "mistakes", as I see them, not only permit the system function (of
>> course within an estimated and acceptable error range), but they can be
>> seen as a distinctive aesthetic aspect of the technological medium
>> (whatever that is). These flaws can be assumed (especially in artistic
>> projects) as the artist's "trace," or as the tool's "stroke" that can
>> reflect the attributes of the medium(s), the unique play between the
>> accuracy of the machine and our subjective actions, between the
>> transparency of the medium and its reflexive strategy (the flawless machine
>> vs. the subjective, "emotional" machine).
>> Isn't this an aspect of the intersubjectivity human-machine/dispositif?
>>
>>
>> Horea
>>
>>
>> On Mon, Jul 13, 2015 at 12:27 PM, <aslemeur at free.fr> wrote:
>>
>>> ----------empyre- soft-skinned space----------------------
>>> Hi Murat
>>>
>>> so people here are reading extra messages... with links !
>>> good to know !!
>>>
>>> thank you for your note.
>>> I guess I have to define what is a 'mistake' :
>>> mistake in my understanding of how to program my interactive rules ?
>>> and more seemingly mistake in the eyes of the viewer...
>>> when the logic seems not logical 'enough'...
>>>
>>> I will read Cocteau again...
>>>
>>> Have a nice week,
>>>
>>> Anne-Sarah
>>> ----- Mail original -----
>>> De: "Murat Nemet-Nejat" <muratnn at gmail.com>
>>> À: "soft_skinned_space" <empyre at lists.artdesign.unsw.edu.au>
>>> Envoyé: Samedi 11 Juillet 2015 23:21:38
>>> Objet: Re: [-empyre-] aslemeur, experimental 3D image, Moscow, July 2015
>>>
>>> ----------empyre- soft-skinned space----------------------
>>> Hi Anne-Sarah,
>>>
>>> Mistakes are liberation from machines. If you can make a machine make a
>>> mistake, it seems you are liberating yourself from it-- as Cocteau's
>>> infernal machine implies.
>>> Ciao,
>>> Murat
>>>
>>>
>>> On Sat, Jul 11, 2015 at 5:07 AM, <aslemeur at free.fr> wrote:
>>>
>>>> ----------empyre- soft-skinned space----------------------
>>>> Hello !
>>>>
>>>> Anyone in Moscow ?
>>>>
>>>> I am presenting my interactive cylindrical piece, Beyond-Round, in
>>> RuArts
>>>> Gallery, until 31th of July,
>>>> To Look at and To See, french-russian group exhibition,
>>>> with Guillaume Guérin, Christian Lebrat, Alexandra Mitlyanskaya, and
>>>> Natalia Smolianskaïa (and myself).
>>>> https://urldefense.proofpoint.com/v2/url?u=https-3A__www.facebook.com_ruartsgallery&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=r260Bu8LEJcxrOCd3G3LsGYWn4LvKp-utFMpe16qv6g&e=
>>>>
>>>>
>>> https://urldefense.proofpoint.com/v2/url?u=https-3A__www.facebook.com_ruartsgallery_photos_pcb.10154194139743475_10154194138083475_-3Ftype-3D1-26theater&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=jUN_Qv0UqQtVUFq_zg6Np5I_3TuIxV_FBiNRb9kZ6VI&e=
>>>>
>>> https://urldefense.proofpoint.com/v2/url?u=https-3A__www.facebook.com_ruartsgallery_photos_a.10152820709668475.1073741837.370920953474_10154189485038475_-3Ftype-3D1-26theater&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=mCKDDTjKPG06P4ApoGvdH0__gUNdaMYZ2kczcD27F60&e=
>>>> TV report : https://urldefense.proofpoint.com/v2/url?u=http-3A__mir24.tv_video_12892691&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=FTEceKk0MPO-myIXmUJd8ytFky58xuocKZTuoe1latI&e=
>>>>
>>>> Beyond-Round (2000 - 2012) is a perception labroratory, where the
>>>> spectator is experimenting lack of vision and loss of power, untill s/he
>>>> finally understands that the interactive moving image has to be
>>> <<tamed>>
>>>> to be looked at. (I am using peripheral vision and slowness as key
>>> elements)
>>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__aslemeur.free.fr_projets_outre-5Fr-5Feng.htm&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=ATzNRqiBxVuRTln2YLwr7_NSNVywR7_88Zs6sm64wG8&e=
>>>>
>>>>
>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__www02.zkm.de_videocast_index.php_aktuell_440-2Danne-2Dsarahlemeurbeyondround.html&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=ovVLHtKdAKqlPKHQe7FTY3UziMUYBtSVpLH0V9d-QuQ&e=
>>>> https://urldefense.proofpoint.com/v2/url?u=https-3A__vimeo.com_44651679&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=Uu471gWVchLnCQVevSjva8t4O-JF9BZECfGoJBSbYnY&e=
>>>>
>>>> and will have a artist talk at Fabrika :
>>>> friday 17.07, 4:00-5:30 PM, Artist Talk Anne-Sarah Le Meur, French
>>>> animation Festival, Fabrika
>>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.proektfabrika.ru_&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=VxS6_pvxVIoHIBIgyF8450DjYmnKo5fs_VN5D1YCYc8&e=
>>>>
>>>>
>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.proektfabrika.ru_-23events_artist-2Dtalk-2Dc-2Dann-2Dsara-2Dle-2Dmerquothudozhnica-2Dv-2Drezidenciiquot-2Dcti-2Dfabrika&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=tHZCcVlqXZ_IbsuJFgjkDYjehbl1Hu_sO6ygiqy8w54&e=
>>>> I will speak on the influence of painting and programming language on
>>>> generated 3D images and will present my exploration of unconventional 3D
>>>> images.
>>>>
>>>> I would be happy to meet anyone there, or for any occasion somewhere
>>> else
>>>> in Moscow,
>>>>
>>>> Anne-Sarah Le Meur
>>>> Artist, Assistant Professor, Pantheon-Sorbonne Paris 1 University
>>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__aslemeur.free.fr_projets_agenda-5Feng.htm&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=MkXZshyp8R7JtIgqqLS9G6v9JVcIv2UyV7amuktXDUs&e=
>>>> **********************************************************************
>>>> Anne-Sarah Le Meur is represented by Charlot Gallery, Paris
>>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.galeriecharlot.com_fr_39_Anne-2DSarah-2DLe-2DMeur&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=jX8gYRbE_PT84PA_q1p0_vdoE38_ta6pMHe6Gj7kwjw&e=
>>>> **********************************************************************
>>>> _______________________________________________
>>>> empyre forum
>>>> empyre at lists.artdesign.unsw.edu.au
>>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__empyre.library.cornell.edu&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=NE0-z-Ga5klTM8xZ_O3LcsEIHgAXSlH3cJx4HSv5Yv0&e=
>>> _______________________________________________
>>> empyre forum
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>>> _______________________________________________
>>> empyre forum
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>>
>>
>> _______________________________________________
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
>> https://urldefense.proofpoint.com/v2/url?u=http-3A__empyre.library.cornell.edu&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=NE0-z-Ga5klTM8xZ_O3LcsEIHgAXSlH3cJx4HSv5Yv0&e=
>>
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> https://urldefense.proofpoint.com/v2/url?u=http-3A__empyre.library.cornell.edu&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=NE0-z-Ga5klTM8xZ_O3LcsEIHgAXSlH3cJx4HSv5Yv0&e=
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> https://urldefense.proofpoint.com/v2/url?u=http-3A__empyre.library.cornell.edu&d=AwIGaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=rMhkFzJJd1Ylr7YtWAk9EZ8kWeBgJWGU9szcRcCgZ6Y&m=JQO9blj3tsJn118mcHfXxzwH9IAa2ksQFYccB-tx5nA&s=NE0-z-Ga5klTM8xZ_O3LcsEIHgAXSlH3cJx4HSv5Yv0&e=