artintelligence

Nietzsche took Schopenhauer’s notions of Will (artintelligence) and Kunsttrieb (art drive, art impulse) and transformed them into his own Will to Power (Moore 2002). Nietzsche effected this transformation by connecting the art-drive with the theory of evolution. This is of considerable significance because evolution is the most creative process of which we know, it created the mind that now reflects upon it. (more…)

The video footage provided below consists of an extract from a major presentation given by Toshio Iwai at Ars Electronica: Simplicity the Art of Complexity, in 2006. In this segment he gives insight into the inspiration for his remarkable visual-musical interfaces such as his gallery-based interactive visual music installations, his compilation of such ideas into Electroplankton for the Nintendo DS and his invention of a new visual based musical instrument the Tenori-On, which Iwai developed in conjunction with Yamaha (link 1 [uk] link 2 [global]). (more…)

Rebecca Belmore represented Canada in the 51st Venice Biennale, 2005. She presented an installation which was of interest because of its faithfulness to Claire Bishop’s description of installation art as differing from “traditional media (sculpture, painting, photography, video)” because it “addresses the viewer directly as a literal presence in the space’ (Bishop 2005: 6). (more…)

This is a lecture I gave to my students; as it touches on some basic problems regarding the role of language, narrative and metaphor in contemporary fine art I thought I would share it with you. You will need to click the image to the left twice to get it full size.

Since the 1960s the dominant discourse in fine art is what I will refer to as “deconstructive art”. I am using my own terminology here (Coulter-Smith 2006) mainly because the dominant discourse of which I am speaking doesn’t have an institutionally agreed upon name yet, in the manner of ‘abstraction’ or ‘expressionism’. (more…)

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Mike Kelley’s contribution to the Sculpture Project 07 is Petting Zoo (Streichelzoo), 2007, an installation with live animals. Like most of Kelley’s work Petting Zoo plays with narrative, but that does not mean that it makes any sense. (more…)

Dominique Gonzalez-Foerster, still from Beach, 2001. 35mm colour, 15min. A hypnotic panorama shot in the early morning from a hotel room in Rio de Janeiro overlooking the Copacabana accompanied by a soundtrack of voices, music and bursting fireworks.

Gonzalez-Foerster’s installations could be described as oneiric (dream-like) mises en scène. Mise en scène is the process of arranging actors and scenery on a stage or film set. Gonzalez-Foerster combines being a filmmaker with being an installation artist and the intersection of the two media in her work is of interest because in installation art the mise en scène becomes the work of art. (more…)

EXTRACT FROM DECONSTRUCTING INSTALLATION ART

Since the 1980s it has been de rigueur to use French poststructuralism as the principal frame of reference for addressing deconstructive art. But although there is much that is beneficial in this framework vestiges of romanticist mystification indicate that a more empirical approach to creative process could be of advantage. In this paper I will attempt to shift away from the orthodoxy of French theory and deploy an alternative model of creativity in the form of David Hume’s foregrounding of the autonomous association of ideas. (more…)