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  • Front: Books
    Source: Frieze Magazine Issues
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    Experimental magazines, absurdist writing and new fiction, the publishing highlights of 2011
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    February 8

    The projects of German artist, Agnes Meyer-Brandis, flirt with the construction of scientific knowledge, grasping and slipping between the object and. […]
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    LONDON (AP).- There is a vast amount of flesh — clear and smooth or wrinkled and mottled — on display in the latest show at Britain's National Portr. […]
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    PICKPierogi177 North 9th Street, 718-599-2144Williamsburg / Greenpoint / BushwickFebruary 17 - March 18, 2012Opening: Friday, February 17, 7 - 9 PMWeb. […]
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    February 9

    Ernesto Neto, installation view of Crazy Hyperculture in the Vertigo of the World (2012). All images courtesy of Faena Art Center. Brazilian artist E. […]

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  • Artists From The Gallery

    Jack Siegel - Casshole
    Jack Siegel - Casshole
    Jack Siegel - Taline
    Jack Siegel - Taline
    Jack Siegel - Library
    Jack Siegel - Library
    Eric Shaw, Untitled
    Eric Shaw, Untitled
    Eric Shaw, Room with De Kooning
    Eric Shaw, Room with De Kooning
    Jack Siegel - Make Out
    Jack Siegel - Make Out
    Eric Shaw, Untitled
    Eric Shaw, Untitled

  • A few thoughts about the primordial poem

    July 8th, 2010
    By: Paris Ionescu
    Topics: Featured Article, Theory and Criticism

    <Pardon me I’m only 23>

    “And we inherit that, all at once, as if it were reality…” writes Nietzche in 1881 of the primordial poem which humans created, then proceeded to thoroughly forget they wrote. It seems that Joseph Beuys was somewhat late, then, in his simultaneous proclamation and (as Bill Arning points out) imposition that “Jeder mensch ist ein kunstler,” since perception itself was already the art in question. Perception is always a living-with, the partaking in a common but objectless substance, which Giorgio Agamben, with Aristotle in mind, calls friendship. And when Alan Kaprow observed keenly in 1971 that ‘everything is more interesting than art’ (art in the codified tradition of the mark-maker), it becomes clearer through Nietzche what he meant.

    Wolfgang Schirmacher’s portrayal of Nietzche seems to suggest that the most artificial quality of life is its anthropomorphic quality. Artificial life (Schirmacher) is here the epic lie (in the most honest sense) motivated by our will to power, manifested by our emotive capacity with which we map moods and values onto the world, and undersigned later with the forged signature of a Christian God. In the very capriciousness of the story humankind has forged, Schirmacher would have it that the artifice is revealed. For Nietzche it seems that artifical life would show its rangy body nakedly to us after the mask of God has fallen. Schirmacher adds to this that it is the post-technological epoch which is truly chipping away at the patina which conceals our status as Homo Generator (one instance he gives is the post-mortem conflation of Lady Di and Mother Theresa calling natality and mortality into question once again). In the trajectory towards an awareness of Homo generator Schirmacher sets forth, there would have been less autonomy than symptomaticty in Daniel Birnbaum’s titling of the 2009 Venice Biennale, ‘Fare Mondi.’

    Regarding the anthropocentricity of artifical life, Nietzche ruminates: “Nothing is beautiful, only the human individual is beautiful,” and one is reminded of Henri Bergson’ theory of humor that: only in the social and the human is there comedy, and that when we see it in the inanimate we are solely making the comparison to ourselves.

    “In artifical life, only what my life facilitates to be fulfilled can count as real,” writes Schirmacher. I am not yet clear on Schirmacher’s level of commitment to a materialist world view, but for me one of his most piquant critical twists is that ethics are not ‘what one ought to do’ as traditionally formulated, but the question ‘what am I able I do to make a good life for myself.’ How can I not be reminded of late Wittgenstein’s suggestion that we ask not what something means, but what it is for (it makes me smirk to recall that it was Tiravanija who quoted that line, in interview). Without misreading either philosopher too foolishly, I would like to ask how this notion connects to Spinoza’s concept of free will as merely the knowledge that all our thoughts and actions are the only possible products of those conditions which precede them. I believe Spinoza, in Ethics, made reference to the passage of time as the vessel of the future steadily decanting its liquid into the vessel of the past.

    I would also like to inquire into Schirmacher’s assertion that the calculable findings of natural science are instrumental, not artificial, while at the same time they serve as reality substitutes, perhaps heuristics? Does not the progress of science, from Leibniz’ calculus to Darwin’s theory of evolution, Feynman’s quantum electrodynamics, appear to reveal strata of reality without knowledge which calls for unpredictable redefinitions of artificiality in general would be less generative? How do we maintain a stable sense of ethics when the next revelation may negate those ethics?

    Finally, regarding Schirmacher’s conception of ethics as self-determined: “Does my life achieve fulfillment? This is the only ethic question,” I agree that freedom is a secondary concern, but I wish to understand what the contingency plan is when two people’s personal ethics must compete over the same resources? If, as Schirmacher quotes from Schopenhauer, society profits from the failure of certain individuals, is Schirmacher’s personally-defined ethics a form of avoiding or shelving the humanistic project of a rescuing into the fold of the less fortunate, as difficult as this may seem.

    </pardon me I’m only 23>

    brain-in-a-vat-wikipedia

    Peter Bruegel

    Peter Bruegel

    Maurice Benayoun - Tunnel Under the Atlantic - 1994

    Maurice Benayoun - Tunnel Under the Atlantic - 1994

    Frances Flora Palmer for Currier + Ives - Across the Continent Westward the Course of Empire Makes its Way - 1868

    Frances Flora Palmer for Currier + Ives - Across the Continent Westward the Course of Empire Makes its Way - 1868

    Anne Collier - New Beginning - 2007

    Anne Collier - New Beginning - 2007

    Lara Favaretto

    Lara Favaretto

    William Wegman - Reading Two Books - 1971

    William Wegman - Reading Two Books - 1971

    James Croak Chandelier Mistaken for God - 2006

    James Croak Chandelier Mistaken for God - 2006

    Helmut Smits - A Plastic Plant Acting Like a Real One by Losing Its Leaves

    Helmut Smits - A Plastic Plant Acting Like a Real One by Losing Its Leaves

    Comments     156 views
    • Parisionescu
      cool story bro but i'm just really happy to have gotten a comment!
    • Gigglepuss
      <pardon a="" an="" but="" ever="" every="" heard="" here's="" i="" idea="" in="" lecture="" me="" of="" pastiche="" undergraduate="">
      zzzzzzzzzz
      </pardon>
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