Saturday, February 27, 2010

The Radicant PG 79-143 Notes

Bourriaud -“The mix tape is the symbol of this culure of postproduction.”

1. Topology- geometry of translation refers to movement

Definition from

A major area of mathematics concerned with spatial properties that are preserved under continuous deformations of objects, for example, deformations that involve stretching, but no tearing or gluing.”

A Möbius strip, an object with only one surface and one edge. Such shapes are an object of study in topology.

MC Escher, Mobius Strip, 1963

Translation, Pg.135

Pierre Huyghe explains that it “refers to a process of translation. However, when you translate something, you always lose something that was in the original. In a topological situation, by contrast, you lose nothing; it is a deformation of the same”

Topology is the fold of a situation, taking an amount of information and inventing a new mode of processing for it. Is the lost information removing the aura of the object?

2. Refer to pg 132 Bourriaud & Freud

How do artists create the links that Bourriaud is referring to Freud concept of artist’s expression? Is the only significant link the signs from our subconscious minds, the things that inspire us to make art? Are our true borders now completely internal?

“Art pierces the chain of reality returning it to the precarious nature, unstable mixture of real, imaginary, and symbolic that it contains” Bourriaud

3. Journal Forms

Erre something like momentum, the momentum something has when what was formerly propelling it stops. Erre is an invisible line that cuts across city centers and downtown areas groups together with nowhere to go.

Today the journey is everywhere in contemporary works, whether artist borrow its forms (journey, expeditions, maps) its iconography (virgin territories, jungles, deserts) or its methods (these of the anthropologist, the archaeologist, the explorer

) Why is this idea only referenced to modern art, isn’t it in human nature to be curious and explore the unknown? The caves of at Chauvet can arguably include this ‘journey’ idea of exploration. The cave painters had to go into the ground to these caves, and reference their own culture onto those walls.

Pierre Huyghe A journey that wasn’t (2005)

Melix Ohanian Island of an Island (1998-2001)

Alfred Hitchcock used the term “McGuffin” to describe the elusive objects chased by the characters in his films. Art Travelers view history as their McGuffin

Wandering vs. beginning point and ending point

Pg.113 "Globalization offers a complex image of the world, fragmented by particularism and political borders even as it forms a single economic zone"

4. Consumer and the consumed

Are you willing to relive for all eternity the moments you are experiencing right now? The same consummation of the 20th century to the 21st century. Doesn’t this idea refer to the supermarket to the flea market with contemporary artists?

Bourriaud, “Aesthetic of the flea market, which will become the formal structure commonly employed by artists”

Bourriaud “The political order that governs the chaos has never seemed so solid; everything is constantly changing but within immutable and untouchable global framework to which there no longer seems to be any credible alternative”

Zymut Bauman-sociologist Waste disposal industry = liquid modern society

Among consumer society’s industries waste production is the most massive

5. Chaos and the Jester

Chaplinesque irony-the irony of the vagabond set loose in the universe of power

“Culture is being threatened when all worldly objects and things produced by the present or the past are treated as mere functions for the life process of society. An object is cultural to the extent that it can endure; its durability is the very opposite of functionality”

Are artists merely parody of culture; the jester to the kingdom, pointing out our weaknesses and flaws for the king’s (society) amusement? “Chaos is preexisting and they operate from the midst of it.” Do artists reflect on a civilization of over production to expose or heal the shattered environment of our modern lives?

“The function of the arts museums has less to do with the storage of objects in a physical space than with the maintenance of a database of information”

Karl Marx from his Theses on Feuerbach “The philosophers have only interpreted the world in various ways, the points is to change it”

Contemporary art commits its most serious act of breaking and entering against our perception of social reality.

6. Contradictory Line and Linear

On page 121 Bourriaud sates, “Although the radicant forms a line, it cannot be reduced to a one-dimensional linearity.” I thought the radicant is like a strawberry plant, is the line the connection from one aspect to another and then is created in a timeless form of abstraction? O how contradictory.

The radicant artist now takes on history as well as geography, but could these two dimensions be one in the same? A question for Einstein concerning space and time.

7. Additional Confusion

Pg. 137 Department of Eagles and Rosalind Kraus

A sign of regression in cultural outputs (TV, video, art)

Viewing of art is rooted in the modern art era, no longer relevant to art & today?

NOTE: I want to go into an explanation of this idea in our discussion

Artists Referenced

Jason Rhoades-Installations that seem nomadic and inderminate

Gabriel Orozco, My Hands are My Heart, 1991

"I think about time for art more than about space for art"

Jacques Villegie12 septembre 1987, décollage mounted on canvas

Jennifer Allora & Gillermo Calzadilla Landmark-Footprints, 2001

Mark Dion, Thames Dig, 1999

George Abeagbo

Jeremy Deller- folk culture

Jeff Koons- heaviness, surplus value as a kind of gravity

Maurizio Cattelan

Damien Hirst- protect art against putrefaction

Jacques Lacan-philospher

Bruno Serralongue- an artist who employs the techniques of photojournalism to expose the conditions of contemporary humanity

Bruno Serralongue, La Otra, 2006

Seth Price

Simon Starling, Rescue Rhododendrons 1999, Video Still

Simon Starling. Island for Weeds, 2003. Courtesy the artist and the Modern Institute/Toby Webster Ltd, Glasgow. Photo: Jeremy Hardman-Jones, c/o Scottish Arts Council

Joachim Koester, From the travel of Jonathan Harker, 2003

John Bock-chooses the form of lectures as artistic medium. He tries to transpose simple structures from life and artistic tasks into abstract formulae and absurd models. Psychological coping strategies for life are analyzed with mathematical methods and transferred into models of society.

John Bock, Zezziminnegesang, 2006

Phillip Parreno The Boy From Mars 2003, Video Still

Sunday, February 21, 2010

Radicant Notes/ Altermodernity

1. When Bourriaud states, "How can one escape the impression that works are no longer evaluated so much as sorted and graded like eggs on a production line," I think the viewer (us) as a whole need to once again question the value or art vs. the art of production. He

2. On pg 31 Bourriaud states, “The proliferation of long viewing sessions at biennial exhibitions and the increasing artistic legitacy of the documentary genre indicates above all that this type of object is no longer commercially viable outside the art circuit.” If art is life and vice versa, why is HIGH art still the model of the only art with value?

3. The IVY Analogy and the Radicant

The radicant can without injury, cut itself off from its first roots a reacclimate itself.

“Contemporary art provides new models with this individual who is constantly putting down new roots for it constitutes a lab of identities”

If we are relabeling what the artist and their role we need to reevaluate what value means. Bourriaud says that, “our ways of seeing and acting have been transformed in a similarly brutal way by economical globalization” (pg.17) If this is so than why is the art world following the model of bourgeois art fairs and high priced galleries. Anything in a gallery must be expense vs. what it actually is and worth to the viewer.

No single origin but have successive simultaneous, or alternating

4. The radicant is the artist struggling between environment he/she is in and the forces of uprooting (globalization). Are we as artists supposed to fell okay with this or have a dizzying effect with the harshness of a new global market? Is the ‘stateless’ state of an artist a reflection of the migratory influences of generations past? Because we are so interconnected I feel we are only taking the best part from generations past and mixing them with modern culture. Are we really losing anything by blending or gaining the ability to be aware of bits and pieces of every corner of the world?

5. What positive & negative effects are we creating if ‘progress’ is the new art form to follow? What is progress, and who is benefiting from this model? Was the ‘old’ way of doing things so bad?

6. What is Gauguin role from a globalization perspective on the art world? Was his Polynesian experience the beginning on the end of national identification? Is it a continuation of Western society imposing its influences on indigenous cultures but through an artist hands? Who is he to judge as savage? If Victor Segalen was so passionately a supporter of the indigenous culture why didn’t he use his Western influence to preserve it? Is what is exotic to the viewer the only thing of value, a new set of sensory overload to contemplate and ponder?

Artists List

Darren Almond

Interested in the notions of geographical limits and the means of getting there – in particular, culturally specific points of arrival and departure

Darren Almond, Mono Chrono Pneumatic Red, 2007, 155 x 291 x 35 inches, installed at the Matthew Marks Gallery for his 2007 solo exhibition.

Jean Hubert Martins/ Curator & Museum Director

Barthelemy Toguo-Cameroon Artist (Sculpture, Video, Installation, 2-D)

Project-Take your Place, 2007, 208 x 130 cm

Craig Owens allegorical impulse

Mike Kelly-Installation Artist & Musician

ranges from highly symbolic and ritualistic performance pieces, to arrangements of stuffed-animal sculptures

"Extracurricular Activity Projective Reconstruction #s 2 through 32 (Day is Done)"

"All the scenarios for 'Day is Done' are based on images found in high-school yearbooks in this particular case, though I’ve also done a whole collection of similar kinds of images from the small-town newspaper of the town where I grew up. The particular categories had religious ritual overtones, but outside of the church context. They all looked like they were done in public places, or they had gothic overtones. So I said, 'Okay, I’m going to work with these particular groups of images and develop a kind of pseudo-narrative flow.' The rituals run the gamut from something like dress-up day at work to St. Patrick’s Day or Halloween, to a community play or an awards ceremony."
- Mike Kelley

Nathan Coley

Nathan Coley Camouflage Mosque (Gold) 2006, Courtesy doggerfisher and Haunch of Venison

Lawrence Weiner

Bits & Pieces Put Together to Present a Semblance of a Whole, The Walker Art Center, Minneapolis, 2005

Carsten Holler

Please click on this Carsten Holler at the Tate Modern to watch video

Sunday, February 14, 2010

Post-Production By Nicolas Bourriaud Notes

“The artist may very well make use of a terrible soap opera and form a very interesting project”- Nicolas Bourriaud

1. If we are to start to look at the world through a new framework, how do you successfully evaluate the quality of the process and the product?

2. Removing the lines of ownership, changes the perspective of the business model. So does this idea add to the individual or society? Privacy is no longer a luxury United States citizens have, so we put the majority of lives out for all to see.

3. Bourriaud states, “I do not seek to illustrate abstract ideas with a “generation” of artists but to construct ideas in their wake.” Is this a contradictory statement because he is adding to ‘the big picture’ with his commentary? This is all happening within a time frame that the present is the past and the future is now or already gone by?

4. “Man is subordinate to nature”-Karl Marx

5. Supermarket (80’s) to the Flea Marker (90’s) to Supermarket (2000’s) to Flea Market (2010-?) A circular flow of consuming to recycling.

When you don’t have money to buy new, you use what is available to create. In conjunction is the Green Movement, art and society is reevaluting materials we have vs. what we don’t.

How can we make due with what we have, when all we have is shit?

6. If the ‘place’ of art is historically in a gallery or institution, why is it still this way in a post postmodern society? Why cant it take on new forms, as people have the capacity to become artists outside of the traditional sense? Why does society still label artists as outsiders even if we have become the most productive?

7. If imitation is the sincerest form of flattery why are musical and visual artists up in arms, when others imitate their work and remix it? If Girl Talk puts out a song with 21 other musical artists from all genres in it, the odds of a person that generally like hip hop will be opened to lets say country or Hall & Oates, that person will be exposed to music they wouldn’t general like and maybe buy that artists song.

New Vocabulary

Semionuats- produce original pathways through signs

Creation-to create is to insert an object into a new scenario, to consider it a character in a narrative



‘Post’ means nothing more than a zone of activity


Mike Kelly & Paul McCarthy “French Acconci” 1995

Phillip Johnson

Liam Gillick

Liam Gillick Övningskörning (Driving Practice), 2004, Courtesy The Artist

Sarah Morris

Metro Captial, 2001, House paint on Canvas

Maurizio Cattelan

Untitled, 1996, Acrylic on Canvas

Tobias Rehberger

The Sun from Above, 2000, Installation, Museum of Contemporary Art, Chicago

Andrei Tarkovsky

Kendell Geers

Jens Hanning

Daniel Pflumm-everything is advertising

Sylvie Fleury

Here Comes Santa, Bells- Still from Video

Joan Miller-TV Shows

Hans Steinbach


John Armleder

Furniture Sculpture/Untitled painting 1988-2000, chairs from Bali/painting, pencil on canvas

Rirkrit Tiravanija-where does the kitchen stop and the art begin? New connections, relational aesthetic

How to inhabit the world without residing anywhere?

Pierre Huyghe-a critique of the narrative models


Dominique Gonzalez-Foerster

Dominique Gonzalez-Foerster, TH.2058,14 October 2008 -13 April 2009, Tate Modern, London

Pierre Joseph-Little Democracy

Navin Rawanchaikul

Phillipe Parreno What are the tools that allow one to understand the world?

Welcome to Reality Park, 2005, framed c-print

Speech Bubbles, 1997, Installation, Mylar Balloons & Helium

Vanessa Beecroft

Hans Haacke


Wang Du- Armchair Strategy 1999

Swetlana Heger & Plamen Dejanov & BMW

Techno Nation

Gilles Deleuze-stop interpreting symptoms and try more suitable arrangements

Stanley Brown

Death of the author

2001 & Beyond

Jakob Kolding

The Birds, 2009, Collage on Paper

El Lissitzky

John Heartfield

Gunila Klingberg

Fatimah Tuggar

Installation view and details of “Plain Veracity” and “The Nebulous Wait” (2006). Digital montage (inkjet on vinyl), 0.86 x 2.43 m and 1.01 x 2.43 m. Photo: © Eija Mäkivuoti and Fatimah Tuggar. Courtesy of BintaZarah Studios, New York

Saturday, February 13, 2010

10 Secrets to Finding Happiness During the Recession - US News and World Report

10 Secrets to Finding Happiness During the Recession - US News and World Report

Research has pinpointed ways to feel good even in the worst of times

How can we truly feel happy right now, in this moment when our 401(k)'s and house values are tanking? When our jobs are threatened or already lost? U . S . News posed this question to leading happiness researchers to find out what tools we can employ to stay upbeat in gloomy days. While it's true that some lucky folks are born with sunny dispositions, others, according to the latest studies, can learn to be happy. How? "We need to move away from the concept of trying to fill our days with frequent pleasurable moments and fewer negative moments," explains Todd Kashdan, a professor of positive psychology at George Mason University and author of Curious? Discover the Missing Ingredient to a Fulfilling Life. "What truly provides satisfaction is having a meaning and purpose in life, which is doubly important in the midst of this current economic nightmare." Ten other secrets:

Click here to find out more!

1. Spend $20 on an experience rather than an item.

2. Pursue meaningful life goals.

3. Be open and receptive to what's happening right now, in the moment.

4. Nurture meaningful relationships.

5. Recognize your strengths.

6. Count your blessings.

7. Keep an optimism journal.

8. Seek advice from your neighbor.

9. Get out and sweat.

10. Do unto others.

Notes from RIP! A Remix Manifesto

Im listening to as we speak living no money and listening to a commerical every 6 songs. I think this model works in my favor because I can turn the sound to mute until the commerical is over and listen to any artist that pops into my head. I love this very simple technology but is this considered privacy?


All Points West experience, elaborately dressed people moving around to remixes

Mashups computer is an instrument

Day job samples biogical data

Moves your body to pop culture

Society of fast pace, over stimulated images and sounds, constant

Girl Talk takes these sounds and clips and blends them

Creative process more important then the product

Intellectual property

Copy right vs. copyleft (free exchange of ideas, to protect the culture of the future)

Removing of the control

Culture and Inspiration make new art, the old inspires the new weether for the better or the worst

Muddy Waters

Is seeing a color in the world and recreating it in a painting, copyright infringment to nature?

Happy Birthday is owned by Warner Chappell

Copyrighting genes

Napster-peer to peer music sharing network

Lars Ulrich & Chuck D

18 months of the largest library ever for free

Jake Black Be Kind Rewind, 2008

Lawrence Lessig- copyright lawyer & wrote the Remix manifesto

Stanford University

Fair Use-small amount of copyrighted materials to create an argument

Coms274, animated version

Billy Faithful “Darth Blues”

“Imagine with George Bush”

Walt Disney

Updated the past to be relivent of the modern times

Was a mash up artist

Alice in Wonderland

Snow White


Steam Boat Willie

Dan O’Neill, Air Pirates- Mouse Liberation Front

Mickey Mouse

Baile Funk in Brazil

Open SOruce Cinema is currently of line

Sunday, February 7, 2010

Reaction to A Whole New Mind by Daniel Pink

A Whole New Mind By Daniel Pink 2005

  • Information Age to a Conceptual Age economy
  • Observational Non-Fiction
  • Pink's brain scanned as part of a project conducted at the National Institute of Mental Health in Washington D.C.
  • Shares his experience to illustrate normal brain function, misconceptions about the way the brain divides work
  • Most people integrate both left and right brain activity, R-Directed Thinking will increasingly be relied upon in the future, by people that want to succeed in business or life.
  • America's economy is currently organized around accountants, doctors, engineers, executives and lawyers.
  • "Knowledge workers" excel at the ability to acquire and marry facts to data, and these abilities are typically good for standardized testing
  • Outsourcing of white-collar jobs (knowledge work) to nations in Asia will have profound "long term effects" on the economic well-being of Western countries
  • Factory jobs flowed out of the country during the eighties, globalization of white-collar jobs will soon follow
  • Need to come up with a new skill set that is not abundant overseas
  • Abundance and Asia aren't transforming America, rest assured that Automation is.
  • Transaction jobs soon start declining.
  • Can computers do it faster?
  • Can overseas labor do it cheaper?
  • Are your skills in demand?
  • Are your skills overly abundant?
  • Eventually we'll all have to find new jobs, Pink theorizes.
  • The Agricultural Age and Industrial Age have fallen away, and the Information Age is fading fast.
  • We're hurtling into the Conceptual Age, where the majority of jobs will be held by people that create something, or by people that are capable of empathizing with others. Most of these jobs will require care, humor, imagination, ingenuity, instinct, joyfulness, personal rapport, or social dexterity.
  • MBA vs. MFA
  • IQ and Emotional Intelligence
  • Baby Boom Generation-newfound gravitation toward meaning and transcendence, and away from the allure of wealth.

A historical narrative starts the book outlining four major 'ages':

1. Agricultural Age (farmers)

2. Industrial Age (factory workers)

3. Information Age (knowledge workers)

4. Conceptual Age (creators and empathizers)

L-Directed Thinking in America and the economy is diminishing due to:

1. Abundance (consumers have too many choices, nothing is scarce)

2. Asia (everything that can be outsourced, is)

3. Automation (computerization, robots, technology, processes)

Objective: Creativity gives you the competitive edge.

Part 2: Essential senses:

1. Design - Moving beyond function to engage the sense, asset above function

2. Story - Narrative added to products and services - not just argument. Best of the six senses.

3. Symphony - Adding invention and big picture thinking (not just detail focus).

4. Empathy - Going beyond logic and engaging emotion and intuition.

5. Play - Bringing humor and light-heartedness to business and products.

6. Meaning - the purpose is the journey, give meaning to life from inside yourself.