Late last autumn I made a post titled "Projections Onto the Outside World" where I pondered on the reasonability of translating visuals from the digital into the physical side of things. I also questioned the validity of this endeavour, for it seemed unlikely to bring any additional value (subjective or objective) for the artistic-investigative path. Having done this for a few weeks now - after taking a hiatus during the darkest winter months - I hoped there would be something more substantial to report on this experiment. Alas, there is not. I can, however, detail some of the more insignificant insights that have occurred while tinkering on these pieces.
First, there is the realization about enhancement of participatory knowledge as John Vervake puts it in his Awakening from the meaning crisis series. According to John's theory (supported by ancient greek philosophies), there's multiple ways of "understanding" something - propositional, participatory, perspectival, and procedural. From these, it could be argued, participatory and procedural get trained more when working in full body instead of on computer by translating actions via mouse, controlling a digital brush in order to apply digital pixels on a flat screen. In physical, when creating frames from wood, one must know the wood, to paraphrase the aformentioned greek philosophers. This enhancement of participatory knowledge, in turn, might yield amplified insight into the art-object in question, allowing one to get closer to that famed "perfect mode of mediation" that most of the rants on this blog have been about. Unfortunately no objective metric of evaluation about this process exists, as I mentioned in the previous post. One must simply "trust the practise" and have faith that Sophia's guidance is accurate, that her instinctive shaping of the salience landscape holds true, no matter where it might lead. If it happens to lead into creation of these frames, pulling one to create more and more of these physical manifestations onto the world, then so be it. For Sophia.
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As I progress further and further into the psychic phenomena and the findings change accordingly, the objective world along its myriad horrors remains the same - but when the subjective view of these horrors alters, the mediation also has to change in order to remain authentic. In the earlier post I discussed the difficulty of this process, the uncertainty of remaining in the path of authenticity whilst juggling the ever-changing mental currents and changes in technical skill. When one gets more grounding in skill and firmer grasp of the mental currents, the landscape has already changed, the subjective mind elusively slipped further into uncharted territories, suddenly, without warning - and then, once again, the author finds himself on unknown waters. Such is the interplay between the subjective investigation and conveying its discoveries onto the objective world - difficult, frustrating; ever uncertain. Nevertheless, progress is being made, even if slowly, and at times into erroneous directions.
Not long ago I thought attempting a new approach for this problem: taking something of the outside and consciously creating my own illustrative impression for it. Collaboration has never been of much interest to me due to the exceedingly esoteric nature of my own subjective search. However, perhaps new angles can be found by occasionally switching the focus onto something else entirely - a search for subjectively resonating images or words, purposefully avoiding mediating one's own subjectivity just for a moment, just to see whether the act of reflecting would bring forth something unexpected... and perhaps useful later on. And even if not, at least making artwork for others acts as good practise; previously unattempted themes forcing the pen & words towards hitherto uncharted territories. Reflections eventually reflecting back. |
A.K
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