Archive for November, 2011
It all started quite innocently. On January 2011, I traveled to Tanzania with the purpose of working with a group subsistence farmers, and engage them in the creation a collaborative, online knowledge base of their practices, needs and innovations. My intention was to propose this knowledge base as an interface for cross-sector communication between farmers and agricultural researchers. I developed an architecture which follows a functional and aesthetic program that seeks to include both forms of knowledge, wanting to interweave the audiovisual narratives of the farmers (oral tradition and observation) together with the text-based analyses of scientists.
I was motivated to create this project upon reading the International Assessment of Agricultural Knowledge, Science, Technology for Development (IAASTD) Report, a 600-page document published by an international team of agricultural scientists in 2009. One of the innumerable contributions of this report is the acknowledgment that scientific knowledge, by itself, is not able to provide solutions to the incredibly complex challenges that agriculture is facing around the world. As the predominant knowledge system, science has failed to stop poverty and hunger. It has failed to link these problems to other non-scientific fields, such as the global markets and political instability. It has also neglected other forms of knowledge, such as the one that farmers have passed on from generation to generation across centuries. By becoming the dominant knowledge system and by resisting to engage in true interdisciplinary, cross-sector research, most scientists have effectively become the blind leading the blinded.
Vispo.com is pretty much my life’s work, such as it is. Most of what I have created is available for free on the site. No, I haven’t zactly got rich on it. I’ve been publishing vispo.com since 1996. It’s my “book.” In the sense that I haven’t published any books but think of myself primarily as a writer and vispo.com as my main work. It’s been an adventure in creating and publishing interactive, multimedia poetry, among other things. So I thought I’d write about that adventure for The Journal of Electronic Publishing and its issue on digital poetry. Specifically, I thought I’d try to explain why I chose the net as my main artistic medium.
I said in chapter 1 that it’s programmability, not interactivity (or anything else) that is the crucial matter to consider in computer art. I want to explain and explore that claim in this chapter.
What makes computer art computer art? We’ve seen that there is a great deal of art that appears on computers that could as well appear on a page or on a TV, in a canvas or on an album. I’m calling that art digital art and computers are not crucial to the display or appreciation of it.
The idea I want to capture in the notion of ‘computer art’ is art in which computers are crucial for the production, display and appreciation of the art, art which takes advantage of the special properties of computers, art which cannot be translated into other media without fundamentally altering the work into something quite different than what it was on the computer, art in which the computer is crucial as medium.
Computer Art and the Theory of Computation: Chapter 2: Greenberg, Modernism, Computation and Computer Art
In a short but influential piece of writing by Clement Greenberg called Modernist Painting written in 1960—and revised periodically until 1982—the art critic remarked that “The essence of Modernism lies, as I see it, in the use of characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence.” Such sweeping generalizations are always problematical, of course. But I want to use the Greenberg quote to tell you an equally problematical story about the birth of the theory of computation and, thereby, computer art. Humor me. It’s Clement Greenberg. Come on.
The work I’ve mentioned by Gödel and Turing happened in the thirties, toward the end of modernism, which was roughly from 1900 till 1945, the end of World War II. So it’s work of late modernism.
Let’s grant Greenberg clemency concerning his conceit, for the moment, that the “essence”—itself a word left over from previous eras—of modernism, of the art and culture of that era, at least in the west, involved a drive to a kind of productive self-referentiality or consciousness of the art itself within the art itself. What work could possibly be more exemplary of that inclination than the work by Gödel and Turing that I’ve mentioned?