To bring some art into the discussion I would like to refer our
discussants to an exhibition that can be currently viewed in Amsterdam
at NIMK, called 'Versions'. I would like to do this as I think the works in this exhibition somehow relate to Pier Luigi's reference to simulation as a global resource and behaviour (in this sense both physical and mechanical behaviour), and Roberta's questions about visualisations and every day simulations of simulations.
This exhibition holds works that use commentary space and commenting as a method, a material, a process and platform. The interesting thing is that these commentaries are 'versions'. They are copies, mutations, representations. In a sense these versions might be considered as simulations that are reproduced with alterations, that produce meaning and dialogue.
In particular I would like to refer you to
the work of artist and curator Constant Dullaert. Lets look at two examples: The YouTube Play button and the YouTube Loading icon.
The YouTube play button has become a familiar image we press on a daily
basis. The design of the play button simulates the mechanical icon on a tape or video recorder.
Constant Dullaert has taken these everyday 'objects' and has transformed them into icons.
Here is the space where the works on the play button are exhibited:
http://www.constantdullaart.com/site/html/new/youtubeasasubject.html
Interestingly some viewers have reacted by commenting on these works by making versions of the loading button:
http://www.constantdullaart.com/site/html/new/youtubeasasubject.html
Constart Dullaert then reacted by creating a physical version of this loading button (this can be entered in the exhibition space) and replacing it online:
http://www.youtube.com/constantdullaart#p/a/u/2/yGvWL7Vb7I8
To be then again commented on by a viewer:
http://www.youtube.com/watch?v=bRAPHnC9LvE&feature=response_watch
It is interesting how these versions move between realms of digital simulation, mental simulation and physical simulation, forming little 'simulation economies and societies'.
My questions to the discussants would be:
1) Are (commentary) versions a form of significant simulation? Significant in the sense of generating new meaning.
2) If Yes, how have these art projects facilitated this in a way that is different from 'natural' versions of (highly irritating) internet memes such as 'charlie the unicorn' (http://www.youtube.com/constantdullaart#p/a/u/2/yGvWL7Vb7I8)
3) How does YouTube, which in itself might be considered as a simulation of TV, represent the importance of simulation for Humanity as a resource material, a behaviour, a process and a platform?
Jennifer Kanary
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