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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