space*c open gallery, the private collection of bearbricks

Commonly, people do not think that the collective something lacks the reflection. The usual belief for the collection is represented simply unreasonable immersion. However, as we discover the Google as the power, any collection mirrors the will. And gradually this tendency become stronger. The triad of collecting-reflecting-representing now decisively constructs the central pillar of the house named power. For example the geeky collection of valueless stuffs was blamed for its unproductivity. But even this blame is a element of the discourse which surrounds that unproductivity. And by this discourse, the unproductivity starts to produce something in the form of discourse. Throughout this way, any kind of will to collect is always a latent power. In my beliefs, we can discover this unconscious power machine is working around us. Take a close look how the unproductivity of the work of art eloquently produces the immaterial discourses and the material uselessness by the logical but self-effacing collection of modern museums and individual collectors.

This article mainly covered two aspects how the intermediality appropriated or adapted during the early era of cinema history. The article is written by Ralf Remshardt. Below is abridged texts from full book.

p.42
In this chapter, I am interested particularly in the moment of transition when the apparatus of the early cinema redefined the “real” of the actor in the process of cinematic remediation of stage performances. The process of remediation, “the formal logic by which new media refashion prior media forms”

“The historical relationship of liveness and mediatization must be seen as a relationship of dependence and imbrication rather than opposition”

p.43
The confrontation with the demands of silent film forced actors, who were accustomed to a dominant subject position on stage to accede their objectification and commodification by an apparatus they understood only incompletely.

For instance, the American actor James O’Neill in The Count Monte Cristo (dir. Edwin Porter, 1912) virtually performs his ambivalence about cinema in every frame. Bernhardt and Duse, as I will describe later, either attempted to force a theatrical logic onto the cinema in a gesture of appropriation, or forced themselves to adapt to film.

p.44
The camera does not define and delineate the performance; it only registers a demonstration of sorts, calculated not to fulfil a desire but to summon it: the live performer’s voice and body beckoning beyond the imperfections of the mute and flickering images.

the simulacrum(for it was scarcely real) of an authentic self.

p.45
he himself must transform into the apparatus, … as a machine to a machine.

but if the camera is not making a note of it, you have not accomplished the task the directors has set for you (Sothern 1998: 30-31)

p.46
“the camera has no mercy o the actor who is thinking of other things or is incapable of imagination”

Elizabeth was a kind of ‘test case’ by Bernhardt of how far she could extend the loyalty of her following into the new medium, and more importantly, how far she could make the medium extend itself to her.

the ‘true’ self and the performative self.

“distinction between the actor’s authenticity and the authentication of the character s/he is playing” (1998:21).

p.48
Perhaps she was aware that close-ups would challenge the supremacy of her physical idiom; to allow a close-up would have given the camera the power to extract emotional moment, rather than authorizing the actress’s to project it.

p.49
This “regally attitudinized death” is entirely in keeping with a film that every turn denies its film-ness.

Thus Bernhardt resists making the performance medially transparent by subordinating herself to film’s naturalistic aesthetic and simply disappearing; in salvaging the theatrical she retains what Bolter and Grusin refer to as the medium’s “hypermediacy” – essentially, the continuing visibility of film as a secondary medium through which theater (as the orginary medium) is mediated. It is only in the hypermediated mode that the performer’s autonomy survives erasure.

Thus she appropriated the film in theatrical way.

A devoted filmgoer, she was convinced also that films were not living up to their artistic potential, and she began to conceive of possible film projects for herself.

I want to do nothing that resembles, even remotely, my work of the past.

p.50
In what she felt was her innovation Duse decided not to have the character speak at all, even though the intertitles render her dialogue. Thus, we never see her opening her mouth, and the lines assigned to her appear as if they were mental projections of her will

p.51
This strategy of indirection was used also by Griffith in scenes of what Tom Gunning has dubbed “hidden emotion.”

Duse found that she could not pull off the feat of reappearance. She called film making a “spiritual problem” and complained that she felt “detached” when she saw herself on screen.

Duse adapted herself for quintessential film-ness.

p.52
we lose the very thing that art was supposedly preserving: our point of contact with the irreplaceable, finite person. (Klawans 2004)

working, making, creating is performing.

see Erased de Kooning Drawing, 1953 by Robert Rauschenberg

optic; structured to be seen in mind and brain, plane thing. / haptic; given to be seen

hans belting, the end of art history. the importance of the viewer, audiences. the end of beholder, to fulfill the audiences’s taste.

To change the whole scene, then hold tightly one conviction, and broke it. then whole scene will reconstructed.

* Guy Debourd, the society of spectacle.

Yasmin is the moderated list for art-science-technology interactions around the Mediterranean Rim.

[Yasmin_announcements] NEW YASMIN – INSTRUCTIONS

YASMIN ANNOUNCEMENTS

TITLE=”[Yasmin_announcements] NEW YASMIN – INSTRUCTIONS”>yasmin_announcements at estia.media.uoa.gr

Mon Feb 2 17:52:26 EET 2009

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Dear Yasmin subscribers,

We would like to inform you that on Monday February 2nd the new version of

the Yasmin mailing list will be launched. This changeover is due to

technical problems that the current version of the list has been facing for

some months now, resulting in a large number of you not receiving any

messages. All existing Yasmin subscribers will be automatically subscribed

to the new Mailman version. The new version will consist of two separate

lists, "Yasmin_announcements" and "Yasmin_discussions". You will be

automatically subscribed to both.

The existing version will remain accessible for archival purposes only.

I. LIST STRUCTURE

   ==============

As mentioned above, Yasmin now consists of two lists, "Yasmin_Announcements"

and "Yasmin_Discussions", and you have been automatically subscribed to

both. You can access these lists through the links found at

http://www.media.uoa.gr/yasmin or http://estia.media.uoa.gr/mailman/listinfo

.

II. LOGIN PROCEDURE AND ACCESS DETAILS

    ==================================

a) Contribution of content

Every time something gets posted on these lists (hereby referred to as

"Yasmin" for the sake of brevity), you will receive an e-mail containing the

message. You can contribute to the ongoing discussion(s) by replying to this

e-mail. As you will note, the reply e-mail will be automatically addressed

to the list (i.e. the recipient will be "<LIST_NAME>@estia.media.uoa.gr").

Since you will be using your e-mail to contribute to Yasmin, you will not

need a separate "Yasmin password".

b) Archives

Yasmin's archives are publicly accessible. This means that you will not need

to enter a password to access them. In order to view the archives, you need

to follow the link to the list whose archives you need to access on the main

Yasmin page (http://www.media.uoa.gr/yasmin). Alternatively, you can go to

http://estia.media.uoa.gr/mailman/listinfo directly and click on the name of

the list whose archives you would like to access. This will take you to the

selected list's info page. The first link on this page is found a few

paragraphs down and reads "To see the collection of prior postings to the

list, visit the <LIST_NAME> Archives". This link will take you to the

archives.

Archived posts are indexed according to the date. You can view a date's

posts by thread (i.e. a "chain" of messages with a hierarchical structure

displaying a post and the replies to it), by subject (alphabetically,

according to the "subject" line of the e-mail), by author, and by date. You

have also the option of downloading a text file with an entire day's traffic

("Downloadable version").

III. MEMBERSHIP OPTIONS (INCLUDING PASSWORD AND DIGEST OPTIONS)

     ==========================================================

To access your membership options, you need to visit

http://estia.media.uoa.gr/mailman/listinfo and click on the name of the list

whose options you would like to view / change. This takes you to the

selected list's info page (just like when accessing the archives, which is

described above). If you scroll further down, you will find some fields

intended for new subscriptions. Since you are already subscribed, these

fields need not concern you.

If you scroll to the bottom of the page, you will find a section entitled

"<LIST_NAME> Subscribers". Here, you have the option to enter the admin

password (if you have it) to access the subscribers list. [NOTE: The

sunscribers list is available to administrators only in order to avoid spam

being delivered to your e-mail addresses]

Next, you have the option of unsubscribing from Yasmin or editing your

membership options. To do either of these things, you need to enter your

e-mail address. Once you do so, you will be redirected to the membership

options screen. From this screen, you may change your e-mail address used by

Yasmin, unsubscribe (we hope you won't feel inclined to do so!), have your

password reminded to you if you have forgotten it, or change it altogether.

Further down the page (you may have to scroll down a bit) there are several

subscription options. Most of these are self-explanatory and are accompanied

by a short text outlining their function. However, we urge you not to change

any options you don't completely understand.

The options you will likely use more often are the first two, namely "mail

delivery" and "set digest mode". The former allows you to disable traffic

directed from the list to your e-mail account. If you disable this option

and then forget about it, you won't receive any further messages from the

list, so please ensure that you will remember to turn this option back on

when you are ready to receive e-mail from the list again.

The latter option ("Set digest mode") specifies whether you will receive a

daily digest containing every day's proceedings. This option was very

popular on the old Yasmin list. If you do require a digest to be sent to you

daily, you will have to turn this option on. New subscribers are asked

whether they would like to turn digest on; however, you were automatically

subscribed and, consequently, will have to enable this option manually (you

only need to do it once).

Do not forget to click the "submit" button at the very bottom of the page to

confirm any changes you made.

ATTENTION: Your initial password will be contained in the welcome message.

You can change it from the options page, as described above.

IV. OLD YASMIN ARCHIVES

     ===================

As of now, the old version of Yasmin exists for archival purposes only. This

means that you will be unable to post new messages or subscribe to the old

Yasmin. You may access the old Yasmin archives through an appropriately

named link found at http://www.media.uoa.gr/yasmin.

[NOTE: the archives are not currently accessible, but they will be soon]

V. NEW SUBSCRIPTIONS

    =================

One can subscribe to the lists through the info page. On that page, there is

a section titled* *"Subscribing to Yasmin_announcements". There, prospective

members can enter their e-mail address and (optionally) a password. If no

password is entered, one will be generated automatically and sent to

prospective subscribers via e-mail.

VI. CONTACT DETAILS

     ===============

For suggestions, clarifications, comments, etc. please contact us at

tech.yasmin at gmail.com.

Kind regards,

The Yasmin administration team

For Roger F. Malina, the “hard humanities” are the arts and humanities disciplines essential to the cultural transformation necessary within the next two generation. And the intimate science by artists and micro scientist at all levels of society are important components of this, the hard humanities. from Intimate Science and Hard Humanities, Roger F. Malina, Leonardo 2009 42:3, 184-184

All these words are from the editorial note form Leonardo, one of the leading journal for promoting the collaboration of art and science. Throughout the long history of the techne, the doubled word which holds the combined meaning of the art and technology from the ancient Greek word. The adjectives, intimate and hard are the piercing view-point which analyze the current situation of our intellectual boundaries. This doubled trait of today’s technology and art also can be a hint for our next step for better society which escapes from our arrogant and bitter stupidity.
What we see is what we believe. but this does not mean that we believe as they are seen.

After the storage of the human spatio-information, the clean and innocent money will blow up the balloons of information-visualization. or the perceptibilization. Anyway, the change is unable to predict. We just step the very first step to the infinite change beyond our moral evaluation.

See the links.
SENSEable City Laboratory, MIT
Mapping the Cultural Buzz: How Cool Is That? from nytimes.

Usually, the researchers think that the info-vis is the engineering or visualizing with the perceptible methods. However, due to the innate characteristic in the computing machinery, almost every kind of attempts to make the invisible visible will be the structuring. It’s not about the representation. It’s about the re-constructing. See the second life. See how they shine.

2 Korean blog post interrogated how the Judith Butler’s ‘Gender Trouble’ mis-cited Dr. Page’s paper on the chromosomal which decides biological sexuality. J. Butler cited Dr. Page’s paper to assert that ‘a good ten percent of the population has chromosomal variations that do not fit nearly into the XX-female and XY-male set of categories.’ But 2 Korean bloggers found that Dr. Page had never publicized that sort of experimental results.

1st interrogation; 주디스 버틀러의 10%
and 2nd. 10% 의 진실: 말이 몇 다리를 건너면 어떻게 바뀌나 (수정).

At least, we can have a chance to speculate that the academic errors can be corrected ever faster than the age of non-internet, especially of Google Scholar service. :-0 If you have background knowledge how J. Butler has been highlighted by her academical achievements in the field of philosophy, especially in the area of gender and sexuality with sociocultural insight, this fallacy seems very critical or even very hard to ignore.

Turn the power off!

To recap the elements of electronic art, if we throw ourselves to the extent of the utmost analysis, finally we can reach to the electricity. Is it really impossible to imagine the artwork with interactivity and other machinic traits, but without electricity? And can’t we engross ourselves to create the interactive art form without electricity? I think it is not different from premising the illusion without artificial light. Regardless of the machinic traits which comes from the computing machinery and reality-augmenting devices, still we have chance to inquire the new media art without electricity. And still questions are remained. Is this question worth to ask in the area of new media art?

Let’s go back to the moment of the invention of internet. The inter-textuality that is regarded as bloomed from the advert of internet, was exactly mentioned by Bartes for more than 20 yrs before the internet age. In the same context, it makes sense that the retinal art in the age of computing machinery has its own aesthetic or philosophical concepts and novelty and has theoretical background.

The traits of new media art are always investigated from the aspect of electronic devices. But if those materialistic traits are engenders from the newness which lies inside the immaterial characteristics, It will be possible to re-posit the hidden aspects of electronic art as result of socio-cultural changes.

Richard Baquié. Sans titre. Étant donnés, 1°) la chute d’eau, 2°) le gaz d’éclairage (Musée d’art contemporain de Lyon, 1991)

컴퓨터기반 시각예술작품에 나타나는 들뢰즈의 안면성

컴퓨터 기반의 시각예술작품은 상호작용성을 획득하기 위해 다양한 종류의 입력장치를 가지고 있다. 그리고 이렇게 받아들인 신호를 처리하여 시각적인 결과물을 다양한 종류의 스크린에 투사한다. 관객의 적극적 참여가 필요하다는 점에서 컴퓨터기반시각예술작품은 예술작품에 대한 새로운 시각을 요구한다. 기존의 시각예술에 비해 컴퓨터기반시각예술작품은 매우 동적이다. 프로그래밍을 이용한 상호작용성은 관객의 행동에 다양한 방법을 반응한다. 센서를 통해 입력된 신호는 컴퓨터의 처리를 거쳐 면에 투사된다. 사용자의 반응은 컴퓨터 처리 과정에 개입하여 투사된 결과에 영향을 준다. 이러한 일련의 과정은 얼굴이 반응하는 과정과 동일하다. 얼굴은 타인의 시선, 움직임에 반응하여 표정을 바꾼다. 표정없는 얼굴은 다른 사람을 마주하면 표정을 드러낸다. 이러한 과정은 컴퓨터 기반의 시각예술작품이 기능하는 것과 많은 유사점을 가진다.

A computer-based interactive art as a white wall / black hole system in Deleuzian understanding

For Deleuze, the white wall / black hole system represents the intersection of two axes, signifiance and subjectification.

Signifiance is never without a white wall upon which it inscribes its signs and redundancies. Subjectification is never without a black hole in which it lodges its consciousness, passion, and redundancies†.

Usually, the audiences in interactive art believe that they are manipulating the artwork by themselves. Every sensing device which is connected to the computer system detects human activity so precisely that the computer system as an artwork functions as programmed by artist. At a glance, this system undoubtedly gives the right to operate the artwork to the audience. Moreover, the fact that the artwork does not function until the audience starts to act gives more probability to that belief. But the odd thing, in the view-point of software engineering, is that the audience is not so much an active subject as an adopted catalyst. As a participant, spectator, operator, whatever, the person who is involved in the interactive art behave as a set of pseudo-class. Basically, modern computer program is executed on the basis of the philosophy of Object Oriented Programming. In this concept, every behavior which is done by the audience is formulated by the programmer. As a result, the boundry of audience’s behavior must be narrowed. During this process, audience’s regulated behavior can be translated as a pseudo class in the whole program. For Deleuze, the problem of expression reveals on the point where the subjectfification and the signifiance intersects. At this point, the white wall / blackhole system start to work as an abstract machine which is called as the face.
Thus, we can restore the matter of expression to the white wall / black hole system. In the computer-based artwork, every sensing device became the black-hole that carries out the process of subjectification. Also, every represented

Before the audience reacts to the artwork, the artwork itself is just an expressionless face. Regardless of the fact wheather the computer-based artwork has its subjectivity or not, through the inclusion of audience to artwork (white wall / black-hole system), the artwork starts to function as a field of subjectification and signifiance. In this state, the artwork has its specific expression (visage) which is differentiated by the audience.

† Deleuze, Guattari, and Massumi, A Thousand Plateaus: Capitalism and Schizophrenia (University of Minnesota Press, 1987). p.167