The disparate but interconnected nature of contemporary artistic practice is examined in the cases of cell automation, computer-generated life, and ceramic sculpture. It is argued that creative systems involve the encoding and implementation of pure information into perceptible modes, manifested, propagated, and proliferated in a process involving the flow of information. This is arrived at, in the context of Dennettâ€™s concept of algorithm, Olsonâ€™s ideas on computer-generated life, and biological and cultural systems. A distinction is made between phenotype and hardware, and symbolic or virtual life and organic life subject to physical laws. The possibility of physical life as opposed to symbolic life being generated by computers of the future is speculatively touched on. This in turn leads to the suggestion that there is a symbolic correspondence between art practices and life processes. An artwork in design space within a given ecosystem is seen as a step in the development of a practice arising from what is called here evolutionary space. Evolutionary space is presented as a way of looking at art practices in terms of how they develop, adapt, and operate, in a dynamic relationship with an ever-changing environment. It extends Esslinâ€™s artist-centric approach to evaluating artistic practice consistent with Andersonâ€™s anthropological, and Bayles and Orlandoâ€™s sociological notions of art. Evolutionary space may be a way of mitigating some of the complications that subjective criteria might cause when discussing differing practices. In conclusion, evolutionary space offers a flexible and adaptable means of considering art practices, their taxonomies, processes, and outcomes, forming a starting point for further discussion and research into the nature of artistic practice and the role of artists.
Six months ago I started with a loose pool of ideas flowing from existential themes. My main aim since then has been to find a cogent argument that reflects my various interests and that could place in different arenas. This quest has been exciting if onerous; I have gone down many wandering pathways. However, I also have had to discipline my thoughts within a varied practice since many of my ideas emerge synchronously with my practice and two years is not that long to develop a coherent trajectory. I know that the Research Statement will need to be started soon and that it needs to be well conceived at the outset in order to avoid time consuming blind allies during the Summer months, a period good for making.
In view of the upcoming RS, I have looked at the problem both taxonomically and mereologically, reductively and holistically. The tension between these two ways of organising thoughts has helped me identify those ideas and practices that would fit a tight set of self imposed requirements:
flexible and focused
leading to a project proposal and higher research
A thesis emerged ten days ago in conversation with Janet, not by logical deduction but in moment of gestalt in which I saw a bigger picture. With few words I was able to state the obvious precipitated out of the wanderings and writings I have done over the past six months. But how could I be sure this would hold together? I wrote a preliminary abstract or outline of the thesis in a surprisingly short amount of time, much shorter than the time it has taken me to get this far on this post. Since then I have been able to add content and ideas without disturbing cogency. I was concerned about having to read scores of papers and dozens of books in search of an idea. Instead, I know where to go and what to read for corroborative material and help to shape the argument.
I shall write about the RS in future post but for now I wish to continue with what I am doing. Instead I have opened a folder for placing material separate to the blog. Today (yesterday) I went to Doncaster to buy materials, time flies.
Briefly the RS tries to bring together in artistic thought:
The Cambrian Explosion
Early Bronze Age civilisations in the Fertile Crescent