very interesting
the question of presentation and not representation is also an essentiel question into the postmodernism
The prensence is the important thing
It lets creation becoming by the fact that the moment is unic, and cannot by copyed and reproduced
In fact, the idea is to let things happen
And happenning is one of the forms of postmodernism, isn't it ?
So, in this case we have reality, mediated by a situation, and what is going in its time
And that's all
Simulation and simulacra seem to have disappear in postmodern art
It is just a reflexion that come out of my brain...
colette
> Message du 07/02/10 à 14h03
> De : "derek hales" <hales.derek@gmail.com>
> A : "YASMIN DISCUSSIONS" <yasmin_discussions@estia.media.uoa.gr>
> Copie à :
> Objet : Re: [Yasmin_discussions] it is not a starting point//
>
>
> this might not be helpful...but deleuze or massumi after deleuze might
> describe two modes of simulation
>
> *reality* as construction of norms /system of surface resemblances/ systems
> of replication
> *art* antithesis against entire systems of resemblance and replication
>
> these modes as figured may well be prior to contemporary biological
> malleability (as distinct from biological mimesis) and I wonder if the two
> modes above may converge or collapse into each other
>
> derek
>
> On 6 February 2010 12:40, Simon Biggs <s.biggs@eca.ac.uk> wrote:
>
> > I doubt many artists have worked by copying nature. I don¹t think they can
> > as this presupposes a particular engagement with things that many have
> > argued is not possible. We (artists included) see things through our own
> > preconceptions. Everything we experience is mediated.
> >
> > Artists are not mechanical devices replicating what is before them. They
> > are (can) not (be) interested in the appearances of things but in
> > apprehending them from various points of view. The potential angles artists
> > might work with can include one or more, and not be limited to,
> > sociological, political, historical, conceptual, philosophical, physical
> > and/or emotional. This array of approaches have been pursued by artists for
> > centuries and are not restricted to specific practices. Some artists might
> > choose to intervene very little in that which they are representing and in
> > that sense they could be seen to be ³presenting², in the sense that Jens
> > Hauser means. However, I cannot think of such an example where the artist
> > has not, as part of that, sought to contextualise, consciously or
> > unconsciously, that which they are presenting, effectively re-figuring and
> > thus representing the thing they are working with.
> >
> > It can be argued that no artist (or anyone else, including scientists) can
> > directly ³present² something but only represent it. We can never escape
> > context and condition. This is an application of McLuhan¹s insight
> > regarding
> > the mediated status of things. It can also be argued that no artist (or
> > anyone else, including scientists) can gain direct access to something but
> > only to its representation. Again, this is basic McLuhan.
> >
> > Thus, at best, artists represent representations. That¹s basic Baudrillard.
> >
> > Best
> >
> > Simon
> >
> >
> > Simon Biggs
> >
> > s.biggs@eca.ac.uk simon@littlepig.org.uk Skype: simonbiggsuk
> > http://www.littlepig.org.uk/
> > Research Professor edinburgh college of art http://www.eca.ac.uk/
> > Creative Interdisciplinary Research into CoLlaborative Environments
> > http://www.eca.ac.uk/circle/
> > Electronic Literature as a Model of Creativity and Innovation in Practice
> > http://www.elmcip.net/
> >
> >
> >
> > From: <natasha@natasha.cc>
> > Reply-To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> > Date: Fri, 05 Feb 2010 17:21:15 -0500
> > To: <yasmin_discussions@estia.media.uoa.gr>
> > Subject: Re: [Yasmin_discussions] it is not a starting point//
> >
> > When the painters copy the nature - like for instance in the
> > Renaissance - they don't copy the matter the nature is made of (and
> > its biology, its "substance"...) but its appearance, that is the way
> > it works, its behaviour. Maybe one of the art forms which escape this
> > condition are the bioarts, where some artists, as Jens Hauser wrote,
> > do not *represent* but *present*.
> >
> >
> > Edinburgh College of Art (eca) is a charity registered in Scotland, number
> > SC009201
> >
> >
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