"Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art."
Brian Eno (via jessiethatcher)
I could reblog/post this every day as a constant reminder.
(via notational)
Amen, Eno.
(via absolumentmoderne)(via absolumentmoderne)
"What’s the impulse behind art? It’s saying in whatever language is the language of your work, “If I could move you as much as it moved me … if I can move anyone a tenth as much as that moved me, if I can spark the same sense of mystery and awe and surprise as that sparked in me, well that’s why I do what I do."
Greil Marcus on the essence of art. (via explore-blog)
(Source : , via notational)
Marina Abramovic & Ulay
light / dark, 1977
__________________________________.original gif
Jerszy Seymour, The Universe Wants To Play, Installation View at Galerie Crone, 2013. Courtesy: Galerie Crone Photo: Marcus Schneider.
(Source : nerdgrinder, via streetetiquette)
Rectangular tubes series D, original 1967, sheet steel, traffic island Offenbach 1967 | Charlotte Posenenske
I started this site with a simple criteria: collect freeware games that were posted by the developer and received no comments from that community for at least six months. (I later changed it to three.)
Three hundred games fit this heuristic. It’s hard to tell how many more are currently out there. Are yet to be made.
It’s never been easier to make games. It’s never been easier to make a game that goes overlooked.
Two hundred games ago, I highlighted the diversity of these games. Games of every genre. Featuring pixel art, 3d models, hand-drawn sprites, ASCII. Traditional and experimental mechanics and experiences. By new and established developers.
We need more.
More developers. More games. More voices. A system to support them.
More communities which foster a culture where developers of all backgrounds and skill levels can receive constructive feedback on their games.
More journalists and curators who are willing to dig deep in forums, tool-specific sites, massive game jams. Who realize that most games don’t have expiration dates. Who can appreciate the interesting ideas in otherwise unpolished games.
(via notational)
Archives Dada: Walter Benjamin, L'oeuvre d'art à l'époque de sa reproductibilité technique, 1936
Les dadaïstes attachaient beaucoup moins de prix à l’utilité mercantile de leur œuvres qu’au fait qu’elles étaient irrécupérables pour qui voulait devant elle s’abîmer dans la contemplation. Un de leurs moyens les plus usuels pour atteindre à ce but fut l’avilissement systématique de la matière même de leurs œuvres. Leurs poèmes sont des ”salades de mots”, ils contiennent des obscénités et tout ce qu’on peut imaginer comme détritus verbaux. De même leurs tableaux, sur lesquels ils collaient des boutons ou des tickets. Par ces moyens, ils détruisirent impitoyablement toute aura de leurs produits auxquels, au moyen de la production, ils infligèrent le stigmate de la reproduction. Devant un tableau d’Arp ou un poème de Stramm, on n’a pas, comme devant une toile de Derain ou un poème de Rilke, le loisir de se recueillir et de l’apprécier. Au recueillement, qui est devenu pour une bourgeoisie dégénérée l’école du comportement asocial, s’oppose ici la distraction en tant que modalité du comportement social. Effectivement les manifestations dadaïstes produisirent une distraction très puissante en faisant de l’œuvre d’art un objet de scandale. Il s’agissait avant tout de satisfaire une exigence : provoquer l’outrage public.
De spectacle attrayant pour l’œil ou de sonorité séduisante pour l’oreille, l’œuvre d’art, avec le dadaïsme, se fit projectile. Le récepteur en était frappé. L’œuvre acquit une qualité tactile.
(Traduction Maurice de Gandillac, revue par Reiner Rochlitz,PAris, éditions Allia, 2010, p.65-66.)
"That’s the nature of any creative activity — you’re mostly going to be rejected."
The New Yorker’s Bob Mankoff at a recent TED salon. When Mankoff quit psychology school in 1997 to become a cartoonist, he submitted 2,000 cartoons to the New Yorker that year. Of them, 2,000 were rejected. Today, he is the magazine’s cartoon editor.
Pair with the fantastic Fail Safe and Ray Bradbury’s advice on perseverance in the face of rejection.
(via explore-blog)(via notational)
