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

Thu Jul 16 01:32:51 AEST 2015

Hi Anne-Sarah,

I wonder if such a thing as "voluntary imperfection" exists, ambiguous or
otherwise. First, if it is voluntary, it is not an imperfection. Second,
doesn't imperfection imply a loss of control on the maker's side? In
another context (in the essay "Questions of Accent") I describe this as one
being "unable to hear his or her own accent."

Ciao,
Murat

On Wed, Jul 15, 2015 at 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://www.facebook.com/ruartsgallery
> >> >
> >> >
> >>
> https://www.facebook.com/ruartsgallery/photos/pcb.10154194139743475/10154194138083475/?type=1&theater
> >> >
> >> >
> >>
> https://www.facebook.com/ruartsgallery/photos/a.10152820709668475.1073741837.370920953474/10154189485038475/?type=1&theater
> >> > TV report : http://mir24.tv/video/12892691
> >> >
> >> > 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)
> >> > http://aslemeur.free.fr/projets/outre_r_eng.htm
> >> >
> >> >
> >>
> http://www02.zkm.de/videocast/index.php/aktuell/440-anne-sarahlemeurbeyondround.html
> >> > https://vimeo.com/44651679
> >> >
> >> > 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
> >> > http://www.proektfabrika.ru/
> >> >
> >> >
> >>
> http://www.proektfabrika.ru/#events/artist-talk-c-ann-sara-le-merquothudozhnica-v-rezidenciiquot-cti-fabrika
> >> >
> >> > 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
> >> > http://aslemeur.free.fr/projets/agenda_eng.htm
> >> > **********************************************************************
> >> > Anne-Sarah Le Meur is represented by Charlot Gallery, Paris
> >> > http://www.galeriecharlot.com/fr/39/Anne-Sarah-Le-Meur
> >> > **********************************************************************
> >> > _______________________________________________
> >> > empyre forum
> >> > empyre at lists.artdesign.unsw.edu.au
> >> > http://empyre.library.cornell.edu
> >>
> >> _______________________________________________
> >> empyre forum
> >> empyre at lists.artdesign.unsw.edu.au
> >> http://empyre.library.cornell.edu
> >> _______________________________________________
> >> empyre forum
> >> empyre at lists.artdesign.unsw.edu.au
> >> http://empyre.library.cornell.edu
> >
> >
> >
> > _______________________________________________
> > empyre forum
> > empyre at lists.artdesign.unsw.edu.au
> > http://empyre.library.cornell.edu
> >
>
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
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