meaning

Relational Art and Complex Systems

Friday, April 8th, 2011

From the wikipedia post on ‘Relational Art‘:

The artwork creates a social environment in which people come together to participate in a shared activity. Bourriaud claims “the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever scale chosen by the artist.”[15]

In Relational art, the audience is envisaged as a community. Rather than the artwork being an encounter between a viewer and an object, relational art produces intersubjective encounters. Through these encounters, meaning is elaborated collectively, rather than in the space of individual consumption.[16]

I find ideas in relational art relate a lot with complex systems thinking.  Some of the connections I describe in the Complexity and Creativity talk for Research Club. Basically, the study of complex systems focuses on the relationships between parts, how such interdependence can affect the dynamics of the whole and how properties of the whole system can give rise to complex interactions.

An artist who works in relational aesthetics considers similar systemic properties in designing a piece of art.  In thinking of the audience as a community (producing meaning collectively), an artist explores how the audience may interact with one another, and how the environment can cultivate particular interactions.  Instead of designing an individual experience, the artist designs that collective experience. Such a design can both empower the audience members by giving them some creative control, and also produce unique and personal experiences for each member.

In Portland I used relational aesthetics to inform a couple projects.  pdx i love you was a collaborative public performance piece, a platform to encourage individual creativity as well as collaboration. hexagon followed a structure of composition to encourage the process of discovery in the composition, exploring how simple rules could produce complex behavior.  The performance sought to decentralize a musical experience, by surrounding the audience.

Currently the relational aesthetics approach informs soup night and whirl.  People’s interpersonal interactions can be used as a medium of art, and as a way for an artist to produce meaning.

Complexity and Meaning

Monday, January 17th, 2011

As an artist and designer, I find meaning an essential concept to understand- you must understand the implications of what you make and how they measure up to your actual intentions.

I had the pleasure of giving the Patterns and Meaning lecture at the 2011 NECSI winter school.  It was my favorite lecture when I took the course, so preparing a talk on the subject was an exciting opportunity.  I’ll begin with the contents of the lecture, in particular how they unify many important ideas regarding meaning, and then describe how these ideas can be applied to designing experiences for groups and individuals.  I will follow that with a summary of my own explorations on meaning.  The lecture was originally developed as an exploration of complex systems as applied to art.

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Fairy Tales

Thursday, April 1st, 2010

meme : fairy tales

1. a fairy is born

2. the straw, the coal, and the bean

Based on the German fairy tale documented by the Brother’s Grimm

3. father frost

Based on the Russian fairy tale included in Andrew Lang’s Yellow Fairy Book

4. the enchanted canary

Based on the French fairy tale included in Andrew Lang’s Red Fairy Book

5. the water demon

Based on one of the Czech fairy tales about Vodnik.

6. the rose

Based on the German fairy tale documented by the Brother’s Grimm.

7. the snake prince

Based on the Punjabi folk tale included in Andrew Lang’s Olive Fairy Book

8. the gold spinners

Based on the Estonian fairy tale included in Andrew Lang’s Blue Fairy Book

9. the fairy grotto

Based on the Chinese fairy tale documented by Wolfram Eberhard in Folk Tales of China.

About:

I devoted much of the summer of 2008 on researching fairy tales, writing lyrics and music, and compiling this album.  The initial inspiration came from the thought that some part of every interaction and conversation is imagined.  Each one of my friends and acquaintances is represented in my mind in some way, and to an extent my imagination extends who they are whether or not I am aware of this.  It is most evident in passionate relationships where a lover could be aggrandized to evoke the sense of a god or  demon far beyond their actual capabilities or intentions.

What if you just increased the degree of imagination you instilled in your reality?  In the people and things and experiences around you? What does it mean to do this?

Reading Calvino’s Invisible Cities and Anias Nin’s Children of the Albatross I kept thinking about the many deep realities that were created, rich in metaphor and detail–> rich in imagination. Months earlier I had read Die Rose (track 6 is based on this) in the Brothers Grimm and was struck by how such a short fairy tale could be so powerful yet enigmatic.  There was something more to this fairy tale for sure, there was some way to make sense of it.  Fairy tales seemed like a good route to explore as they present characters as simply good an evil.  The complexities of beings in reality removed to create simpler symbolic characters.

Having access to an electronic studio I began creating sonic environments for these fairy tales, and wrote lyrics based on folk tales from around the world.  I focused on using simple sounds created through subtractive synthesis using a cs-15 and arp 2600, as well as the Subtractor in Reason.

The thought occurred, what if these stories were actually real in our minds?  As in they provided the metaphors and symbols to understand interactions and experiences in a deeper and more meaningful way.  I wrote the first track as an introduction to frame the listeners experience, in the form of an invocation to these characters which exist only in thought, but could be real.  Traveling around India and New Mexico, I found places around the world where folk stories are very real to the local communities, the magic and imagination in them is instilled in the environment.

By the end of the summer I was recommended Hero with a Thousand Faces by Joseph Campbell and many ideas began to come together.  He describes the invariant characteristics of folk tales and mythologies from all around the world, and considers how the stories could be so similar in form if the regions are disconnected geographically.  He was a student of Jung, and includes many elements of Jungian framework of the unconscious in analyzing folk tales, connecting them to human growth and development, as well as providing collective meaning for a society.  In some part I found what I was looking for: in all of the examples people were understanding reality and experiences by actively creating meaning with imagination through the use of symbols and narrative.

Interview with a Sacred Geometrist

Saturday, December 12th, 2009

Sacred_Geometry

A film by Shawn Patrick Higgins, Andrew Kurtz and myself created initially for the Deep Leap microcinema night of films relating to sacred geometry.  Soon after Shawn approached me about the topic I met Rachel Zuses, a sacred geometrist.  She was excited about the interview and we were excited to further explore the topic for the film with someone who passionately studies and teaches sacred geometry.

We are curious about how far sacred geometry extends beyond the platonic solids and euclidean forms, how it is conceived of as the architecture of the universe, how sacred geometrists see sacred geometry influencing their lives, and to what extent sacred geometry affects people who are unaware of it.

What initially sparked my interest in this topic was attending the masks showing at Launchpad Gallery and talking to Jeff Betz about his masks and their relationship with the ideas of Joseph Campbell and Carl Jung.  Many of the masks evoked a sense of facets of the self as represented in the unconscious; one gets a feeling that each could be an image of an intense emotional state or  developmental event within.  One of the feelings that struck me upon going to India was the spirituality and meaning which pervaded the environment, with spiritual symbols everywhere, and meaning attached to details all around: a garland on a tree branch, candles, patterns, images of gods and goddesses.  You walk into a store, or up to a food stand, and you will see a statue of a deity, you will see an altar.

Symbolic meaning and becoming shone through vividly in Betz’ masks and we discussed how that degree of meaning and connection to the unconscious isn’t as present within our culture.  Jung mentions in Man and his Symbols that this detachment separates our culture from our unconscious since the symbols which express the bubbling unconscious of a society and thus produce meaning are repressed.

However, just because the images of gods or other spiritual symbols are not as present in our society does not mean that our unconscious is not expressed in our culture.  Through what framework could the collective unconscious be expressed?  It became apparent upon learning more of sacred geometry that it could to some extent fulfill such a role.   The “gods” in our culture could be platonic ideals and a focus on rationality and meaning in that dimension expressed through the geometry of our architecture.  Such geometry laden with meaning could be a subtle expression of our collective unconscious.

interview with a sacred geometrist. from Shawn Patrick Higgins on Vimeo.

The film “Interview with a Sacred Geometrist” will be shown on December 15th as part of the Deep Leap Microcinema Sacred Geometries screening starting at 7:30 pm at the Waypost, 3120 North Williams Avenue, Portland, OR.