On Wed, Jan 4, 2017 at 5:14 AM, Glenn Smith <email@example.com>
> Indeed, I am wondering how many of us feel that there is
> significant amount of important art being produced in any field
> today? And if we answer as I suspect we must, then we must
> turn immediately to the point which Stephen has brought up, and
> which is in truth the "elephant in the room": with the loss of belief
> in the supernatural, where is art to turn to as a source of the
> visionary and transcendent which seem intimately connected with
> important art?
> However! If our community can somehow -- somehow! -- manage
> to begin producing some truly memorable work -- work in which the
> technology is entirely assimilated to a supremely human end -- then
> I think that many of the legitimate difficulties described by Jon in
> presentation, attribution, conservation, and so on will melt away like
> lemon drops; and the precedent I would like to cite is symphonic music.
and, starting from them, I sincerely question what form would these
memorable works take
science and technology have largely replaced the role of religion for what
concerns the supernatural
information, knowledge and networks are the markers of our era
education is a global media
and let's not forget that the artwork in itself is largely less meaningful
than the cultural framework, agitation, tension and social imagination that
constitute its environment, and of the ability not only to create
aesthetically, but also to produce, communicate and share imagination, by
creating communities, attention, focus
for these reasons "memorable works" would probably have forms which we even
might have a hard time as recognizing as artworks
can a workshop be a work of art?
can a company be a work of art?
can a Horizon2020 project be a work of art?
can a university course be a work of art?
can a community be a work of art?
can the sharing of a disease be a work of art?
from what we've seen so far this can all be true.
And these reflections about what the forms for these memorable works may be
are fundamental in describing the role of the arts in the sciences and
the example of symphonic music is particularly meaningful in this. In we
think about it, preserving music is like preserving tutorials, how-tos. The
musical partiture is a how-to about how to play that music. Interpretation
makes these "tutorials" open source. When we are preserving music, we are
preserving knowledge, its essence rendered through aesthetics.
This is the same for cooking, for example. Recipes are the oldest open
source thing we know.
This is also interesting from the point of view of the conflicts about
openness which they represent, for example on the topic of patents on
genetically modified ingredients, on the "secret recipes" of the chefs, on
the sharing of recipes, and on how different subjects reinterpret them, or
on the local declinations of recipes and of the language associated with
them (for example, here in Italy, while you travel along the territory,
recipes transform, mile by mile, slightly changing, having different names
for the same thing, manifesting the historical influences on dishes coming
from the many cultures that lived in our territories), or the origin of
these recipes (for example most of the wonderful dishes of the Italian
tradition start as dishes for the poor, like the risotto, which originates
from the fact that in the beginning of the 1500 rice was started to be
planted in Italy to confront with the famine of rural populations, or like
the Roman culinary tradition which is full of recipes using the interiors
of animals, which poor people use to collect practically for free from the
leftovers of the rich) or on the technological innovations introduced in
the years (for example again risotto, for which in the '800s the rice blast
disease epidemics appeared, and the "originary" rices had to be modified
through innest with asian rices, obtaining the "vialone nano" and
"carnaroli" variants which are at the base of the risotto for their high
content of starch)
in all of this, art is an interconnector – a catalyst – for sciences,
technologies, politics and society
which is a wonderful and meaningful role for what we all are discussing
all the best,
*[**MUTATION**]* *Art is Open Source *- http://www.artisopensource.net
*[**CITIES**]* *Human Ecosystems Ltd* - http://human-ecosystems.com
*[**NEAR FUTURE DESIGN**]* *Nefula Ltd* - http://www.nefula.com
*[**RIGHTS**]* *Ubiquitous Commons *- http://www.ubiquitouscommons.org
Professor of Near Future and Transmedia Design at ISIA Design Florence:
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