hmm
I wonder why discourse should have relevance at all, I think what
matters is to uncover a field which is *inherently* pre-discursive
and *existent but not known* and consequently *before* any
possibility of interpretation.
Artists task is to observe - from their own subjectivities - a
*probable* - because not yet commonly perceived - future
understanding of the phenomenal appearances of perceived/sensual
*reality*
Also I do think that just that makes it possible to (re)gain
*truthful* insight in *reality*, wether technological, political,
societal or personal and where aesthetics plays no role. (i.e.
whether it is boring or not, does not matter, because that again is
discursive and supposedly based on previous knowledgeability of the
mental gestalts of being bored, surprised, touched etc etc )
The conservative - literary - *art worlds* collect, maintain and
indeed conserve quasi-religious fetishized material forms, which are
but indicators of what lies beyond them
Andreas Maria Jacobs
"The void is *all* there *is*"
On Dec 7, 2011, at 3:34 PM, Eduardo Navas wrote:
........
I think that if we really thinkg about the term “intrinsic” it only
functions once we accept a specific context in which to discuss a
thing to which an extra value based on discourse is added.
Glitches have values that are material (before that are recognized
as glitches) and these values once recognized within the field of
glitch art allow people to add on their own interpretations and
develop a discourse. This is what is relevant.
Eduardo Navas
On 12/6/11 10:33 PM, "Evan Meaney" <[email protected]> wrote:
so, my point.
if glitches depend on specified contexts to function in the moment
and if they are functions of re-presentation and curatorial (or
curator-as-artist)
intent, then any critical work about a glitch is really critiquing
the context and
the curator, and not the glitch itself.
tl:dr - we appropriate glitches to our own purposes. let's stop
pretending that they
have intrinsic value when we classify them.
xo.
evan
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