“One of the things Conceptual Art attempted was the dismantling of the heirarchy of media.”—Benjamin Buchloh. 1990. Conceptual Art: From the aesthetics of administration to the critique of institutions. (122).
“Conceptual art replaced both ‘handcrafted original’ and ‘mass produced industrial’ to focus on administrative / legal organisation and institutional validation.”—Benjamin Buchloh. 1990. Conceptual Art: From the aesthetics of administration to the critique of institutions.
“Disturbance of the purity of perceptual experience, but it is performed as well through a literalist act of denying the viewer practically all visual information.”—Benjamin Buchloh. 1990. Conceptual Art: From the aesthetics of administration to the critique of institutions. (116)
Formal arrangements in art is extremely complex in execution - a factor in the individuality of each single work - yet quite simple in theory: it consists largely of repetition and variation and includes symmetry, progression, balance etc.
As matter is appropriated from the continuum to substantiate the form of the expression plane, it is apprehended as having certain elementary characteristics generally thought to be the products of the apprehensive processs.
Fred Lerdahm & Ray Jackendoff describe a cognitive theory of the way in which such ‘mentally produced’…
“THe signifying process that is the source of our meaning has several sources. At the beginning it assumes the selection by a communicator of some sort of material with which to fashion the physical sign: verbal, gestural, auditory etc. This material part of the total sign becomes the signifier and constitutes the expression plane.”—Art, Culture and the Semiotics of Meaning. (13).
“The power of the symbolic mode of signification to represent things or ideas not represented is at the very centre of civilisation, but this very power to stand for but not to be is radically antithetical to the power of art to be that which it represents.”—Art, Culture and the Semiotics of Meaning. (3).
“On the other hand, symbolic conventionality soetimes underlies what we may take as pure iconicity but that on further analysis turns out to be resemblence that we have been trained to see and that others not so accustomed may completely miss.”—Art, Culture and the Semiotics of Meaning. (3).
“The symbol refers to its signifier by convention and is best exemplified by words in a natural language, in which words stand for the things or ideas they name not because they look like these things or have been caused by these things but because arbitrarily accepted conventions have designated it.”—Art, Culture and the Semiotics of Meaning
“these qualities, often described as unique, idiosyncratic, and immediately tangible, interest a kind of scholar, the semiotician, who must see them as uncoded and materially accidental, hence nonfunctional in the production of meaning.”—ECO 1976, 265. Art, Culture and the Semiotics of Meaning.
“adresses the viewer directly as a literal presence in the space.
rather than imagining the viewer as a pair of disembodies eyes that survey the work from a distance, installation art presupposes an emboddied viewer.
the insistence on the literal presence of the viewer is arguably the key characteristic of installation art.”—Claire Bishop. Installation Art- A Critical History. (6).
“by engaging the surrounding space in this intimate fashion, an installation can speak to and about that specific space, to ponder its physical and theoretical being - its identity.”—Mark Rosenthal. Understanding Installation Art. (27).
“the lifelike qualities of installation art group themselves around two paramount matters: space and time. The viewer is asked to investigate the work of art as much as he or she might explore some phenomenom in life, making one’s way through actual space and time in order to gain knowledge.”—Mark Rosenthal. Understanding Installation Art. (27).
“The catalogue can now act as primary information for the exhibition, as opposed to the secondary information…in some cases the exhibition can be the catalogue”—Seth Siegelaub. Conceptual Art and the Politics of Publicity. (73)
“Rather than emphasizing the art object’s formal essence or categorical being, Huebler’s new work fragmented the centred late modernist art object and focused instead on the information system in which certain traces and spaces were priveledges as structural features - as what what Jacques Derrida would in another context call ‘archi-traces’.”—Alberro. Conceptual Art and the Politics of Publicity. (70).
“Huebler constructs a system that deprives the viewer of all illusionistic narrative dimensions, other than those requiring a close-up or direct tracing of the construction of the artistic project itself.”—Alberro. Conceptual Art and the Politics of Publicity. (66)
“Tastes can be diverse and yet depend on common factors and principles. Different people’s evaluations may be governed by the same variables, but the values of these variables that are optimal for some individuals will not be optimal for others.”—D E Berlyne. Aesthetics and Psychobiology. (29) Preoccupations with Uniqueness.
“A ‘sign’ is anything that ‘stands for’ something else. Four enteties are involved in the relation:
1) the sign, which is an object or event from qhich stimuli originate
2) the human or animal organism whose sense organs are stimulated by the sign
3) the interpretant, which is some effect that the sign has on the interpreter
4) the significate, which is the object or event for which the sign stands
The interpretant is evidentally what connects the sign with the significate and is thus the crux of the sign process.”—D E Berlyne. Aesthetics and Psychobiology. (53). Chapter: Signs and Symbols.
“aesthetic stimulus transmitted from person to person through the work of art without giving rise to any corresponding action”—D E Berlyne. Aesthetics and Psychobiology. (43). Chapter: Information Transmission in Art.
Defined in this way, uncertainty has 2 important properties; it increases with the number of alternative classes of events, and, if the number of alternative classes is held constant, it reaches a maximum when the classes are equally probably.
It will be evident that ever element in a work of art is chosen from a set of alternatives that can be regarded as signals. For any particular art form and style, the set of vocabulary from which each element is chosen is limited. The alternatives that can occur in a particular location constitute a sample space. Their reletive frequencies can be calculated and a probability associated with each of them.
Consequently, every location in a work of art, whether spatial or temporal, can be alloted an uncertainty value.
Every _____ must be chosen from a vocabulary provided by a natural language or from a subcategory to which the choice is restricted.
“The seperation of art ideas that are abstract by their very nature from the raw matter on which primary information relies for presentation meant that linguistical and graphic information presented in the catalogue or other forms of printed media played a potentially unprecedented role in artistic communication.”—Seth Siegelaub. 1969.
“Before, meaning ten years ago, you could have said art was about information. Except information before had to do with colour, line, composition, and all that bullshit, in which case the art and the presentation of the art were identical. But here you have a situation where the presentation of the art and the art are not the same thing.”—Seth Siegelaub. 1969.
This project focuses on my location within a Brisbane suburb, highlighting the physical social barriers faced daily, that are broken through online media. The location for this information online, including text and image coincides with the materials of my practice.
I approached Olivia Porgand to carry out a collaboration that focuses on the systems of order that occur between both of our visual practices. This project will result in the analysis of networks created digitally by Olivia through blogging websites, carried out physically in an installation exhibition at QUT Kelvin Grove.