(...) Deleuze used to say that life is an art of dosages. And the art of dosing life with creative potential is one of creative subtraction (Deleuze and Guattari 1987, 6, 21, 98–99). That goes for art as a whole, which as we’ve seen is not separate from life even when it carefully appears to be. You have to strategically subtract to activate an autonomous limit or fuse for a situation. And you have to selectively fuse to sunder. V2 Still no example. BM OK. One thing that’s happening more and more in interactive art is a fusing of vision with movement. This is operating at the same nexus between visual dynamics and kinesthesia as Irwin’s relational art does, but in a very different way because there is in fact interaction. An example I saw a couple of years ago was at a work-in-progress session at Sha Xin Wei’s Topological Media Lab, which works on responsive environment design. One of the projects was by Michael Montanaro and Harry Smoak. (...)
2 comments:
not a single example was used in this supposed explanation about art.
(...) Deleuze used to say that life is an art of dosages. And the art of dosing life with creative potential is one of creative subtraction (Deleuze and Guattari 1987, 6, 21, 98–99). That goes for art as a whole, which as we’ve seen is not separate from life even when it carefully appears to be. You have to strategically subtract to activate an autonomous limit or fuse for a situation. And you have to selectively fuse to sunder.
V2 Still no example.
BM OK. One thing that’s happening more and more in interactive art is a fusing of vision with movement. This is operating at the same nexus between visual dynamics and kinesthesia as Irwin’s relational art does, but in a very different way because there is in fact interaction. An example I saw a couple of years ago was at a work-in-progress session at Sha Xin Wei’s Topological Media Lab, which works on responsive environment design. One of the projects was by Michael Montanaro and Harry Smoak. (...)
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