Jim Andrews
Since the beginning
Works in Victoria Canada

ARTBASE (2)
BIO
Jim Andrews does http://vispo.com . He is a poet-programmer and audio guy. His work explores the new media possibilities of poetry, and seeks to synthesize the poetical with other arts and media.
Discussions (847) Opportunities (2) Events (14) Jobs (0)
DISCUSSION

Re: -empyre- in jan06: Computational Poetics


> no poetics is the new poetics

> komninos

I'm reading the novel Snow by Orhan Pamuk. I already knew, from the back
cover, that the main character is a poet. The first paragraph hooked me:

"The silence of snow, thought the man sitting just behind the bus driver. If
this were the beginning of a poem, he would have called the thing he felt
inside him the silence of snow."

A beautiful introduction to the mind of a poet, how he traverses feeling and
language. And also to the poetics of the novelist. A beautiful beginning to
a real novel involving an imagined beginning to a poem not so much as poem
but as way of contemplating what he is feeling, feeling it, contemplating.
Poetics is what we mediate experience and language with.

'No poetics is the new poetics' doesn't mean no poetics but naive poetics.

ja
http://vispo.com

DISCUSSION

-empyre- in jan06: Computational Poetics


The featured guests of -empyre- in January 2006 are Kenneth Newby, Martin
Gotfrit, Alexandra Dulic, and Andreas Kahre in Vancouver Canada. They are
working together in a project called Computational Poetics that "aims to
articulate a poetics of digital art performance while developing a tool-set
to enable artists working in the computational medium to create, present and
document their work." Computational Poetics is also creating a series of
works combining live animation, performance documentary, and music
techniques for performance and installation. The project involves both
creating art and creating tools for artists. Some of the questions they
consider, along the way, are:

1. How is artistic expression mediated through computing technology or the
logic machine?
2. What useful models can be found for emerging technologies in cultural
traditions outside of contemporary practice?
3. How to support these cultural traditions in the context of computational
art?
4. How does one create applications and processes that demystify the
computer and empower the artist?

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DISCUSSION

Re: Re: Re: not so sad, Re: The sadness of the dream of Pixar.


> The Art world is a business, that has very little to do with Art.
> Always was, always will be that way.
> Sell your art investments now, before everyone else forgets about them.
> And good luck.
> A Knowledge based telepresence will out them all...., I promise.
> Eric
> +

Business is a part of it, as it is a part of many other endevours.

But that isn't all there is to it. The 'markets' of ideas, insights, song, poetry, dance, emotion, feeling, belief, faith, human generosity, color, the vivid...are at least as much about these things as about business, and are more worthwhile, are sustained by these.

Sufis say 'easier to be a sage on the mountaintop than in the marketplace.' living near the marketplace is where most of us live, and it's an important challenge to an artist--and sustaining--but not so much because of the business and competition as the human vitality, the ideas, insights, song...

There's a wonderful book by the Hungarian poet George Faludy called My Happy Days in Hell. It's about his days in a Hungarian concentration camp after the communists came to power after WWII. The ones who survived were the ones who kept up their art, or their intellectual interests, or their religious practice, whatever it was, for them, that sustained them inwardly.

Business is usually a part of art, but there is more to it than that. I think you're right that "the Art world is a business that has very little to do with Art," but it does have *something* to do with Art, which cannot be so easily said for many other businesses, though of course the cosmic drama is omnipresent in why people do what they do.

ja
http://vispo.com

DISCUSSION

Re: not so sad, Re: The sadness of the dream of Pixar.


> Being an artist isn't something
> that you do "on [your] own time". It's a full-time job. It's not a
> hobby. Sometimes artists need a job on the side to pay the bills but
> being an artist takes a lot of devotion. Devotion that you're not
> going to muster if you're working a pion 8 am to 10 pm job at Pixar.
> Sure, if that's what you want, go for it. But don't fool yourself
> into thinking that you're going to be able to have a meaningful art
> practice on the side.
>
> Pall

Some arts are not this way. Wallace Stevens (poet) was an insurance
executive. William Carlos Williams (poet) was a doctor, though not a very
good one, I gather. He wrote poems between patients. Geez I can't read this
prescription. What does it say? "A poem is a machine made out of words"???
Can someone help me with this??

But with the sort of work some of us do, yeah, it's more time consuming and
demanding of different types of full concentration than some other job
permits.

You may have heard this one only with a different name and situation, I'm
thinking:

So Margaret Atwood is at some cocktail party talking with a brain surgeon.
He tells her that he loves writing and plans to become a novelist when he
retires. "Isn't that funny," she replies, "I plan to become a brain surgeon
when I retire."

ja
http://vispo.com

DISCUSSION

Re: Re: Re: Re: geo letter


> no,
> there are no constructs anymore.
> the machine creates meaningful relationships from memory.
> only sentient beings derive meaning from memory, and they are
> hard to come by. just the machine..,just the machine..,just the
> machine..,just the machine..,just the machine..,just the machine..,

Nah.

Happy holiday.

ja