Storm Callum

Today I worked on some of the files I recorded during Storm Calllum mentioned in my previous post. I always find it difficult to start; in this case, what to select, filter, edit. Uncertainty at the beginning can be disorientating… and alluring.

It is a moment for decisive action. Each edit is unique, like a drawing it is irreplaceable if lost. There is an excitement in untraceability; it avoids predictability. To note down every detail of the process creates friction and can impede experimentation. After all, if I were painting, would I note down every brush stroke, how each colour had been precisely mixed? No, I make it my own through experience, and so it must be with everything else if I am to be inside the making. 

How I get to a particular point is a matter of working from within the medium. If the work is lost for some reason, as happened today, the creative process has to recommence. It is easier the second time round; I already know the path. The result is not a facsimile of the first but a retelling, and something changes almost imperceptibly. Those small differences are as fundamental to evolutionary change as are punctuated shifts.

I aim to create a library of experimental recordings and processed tracks that act as aural sketches for works in other mediums. One modality pointing to another.

A 2 minute excerpt of the first rough edit; best heard with earphones

Tabula Rasa

Introducing my (exogenous) tabula rasa. A palimpsest as yet untouched. Made recently, I approach it with the same indecision as that of a blank canvas. It exists in the uncertainty of what it will bear, waiting for its baptism with the first scrawlings of the mind’s eye. A black board on which every idea is erased to make way for another. 

It is where the juice of my mind will be extracted to create flavours with which to work. Rational though I may often be, it is the feelings and emotions that are strung together as beads along a thread of consciousness that form the shape of what I seek. This view has correspondence with the Indian aesthetic system of rasa. An organisation of affects that itself has an affinity with Aristotle’s poetics where he describes how the dramaturge uses devices to engender emotional states catalysed by the play enacted on stage.

Art and the Machine: Thought 1

What is the relationship between your artwork’s internal cause or impetus and its external input or stimuli?  I would ask this of a thinking machine were such a thing possible. The question comes with the implicit premise that during its making, the artwork and artist or in this case machine, are necessarily bound together in process regardless of what happens subsequently. As Aristotle first noted, the internal cause of an artwork cannot be considered to arise from within and of itself. In short it cannot begin to create itself. Unlike a plant seed, it does not contain within it all that is necessary to independently set its growth and development in motion. Art requires an external input. I do not consider the role of the artist as simply that of a vehicle for some sort of transitive phenomenon as it is sometimes suggested. The artist has agency and is integral to the process by which the artwork comes about. Without a maker art cannot be. Although art, as Dewey suggests, is the result of experience and dependent on context, the actual coming about of the thing itself is very much dependent on someone conceiving and giving it birth. This is not a trivial matter when it comes to considering the role of machines. Now that it is possible to envisage a machine doing something we might interpret at least superficially as art I would ask it, where does your art come from, where is its source?

All things gather meaning in our eyes. For art to have a transmissible meaning that transcends ordinary explications, its maker must be authentic. By this I mean, that the process by which an artist does something has to come from deep inside them and in unison with the process of making. There is an element of origination from within. Without this immanent synchronicity between artist and process and medium, the artwork cannot encompass a multiplicity of meanings while retaining its own, could I venture to say identity? If what Dewey said is taken to be the case, then the meaning will always change with changing circumstances. However, if the artwork can retain a core of meaning from its inception, it then retains the potential to engender something that goes beyond a mere intellectual construct. Words can be used to weave such mind games around any object or event to make it look like art. But art has a special significance and to retain this, it has to possess a traceability with its origin and the origins of that which gave rise to it. Why is this important or even relevant, does art not reside in the explanation rather than the thing that acts as its emblem? I believe that the way we look at art and its making impacts on how we see ourselves in a world where machines do wonderful things, and often better than us.

Say I am presented with an everyday manufactured object as a work of art and nothing else. The reception of such a thing would be totally open to interpretation. In such a case, it is I the receiver and those around me that would make the art. The intention of the artist would be somewhat irrelevant: much as a statistician would say, correlation is not causation, any coincidence of meaning between the artist and myself a matter of just that, coincidence, unverifiable since the artist’s true intention must remain undisclosed. Having no contact with the maker, I would construct its meaning, metaphorically and or literally from my personal experience and collective knowledge. I would research contemporary and subsequent texts if they exist. I would listen and evaluate hearsay and legend. I could even personalise it by weaving a narrative with me or my society as protagonist to make it more relevant. My question again, where lies the source of the artwork, does it lie within me and my response? I have no way of tracing its origin, any immanence or synchronicity at the point of its coming into being, must remain silent and the art must lie in my explication, or that of another.

This explanation of an artwork may be philosophically valid and perhaps even be sound, but I feel that it does not go to the heart of what an artwork could be or perhaps even should be in the age of the machine. If a work remains open to interpretation but in and of itself holds a core meaning of its own throughout that interpretation, one that has been generated during its formation, then the piece becomes significant in a different way. It conveys something which can be traced back to a point of origin notwithstanding its transformations by circumstance. The receiver can interpret it in the way that is most significant to them at the time, but the thread of meaning contained within the work cannot be detached from it. It is a form of empathic connection which goes beyond circumstance, it speaks of a common humanity. Yes, the object such as a spark plug or paper cup is also a human product and speaks of humanity and has meaning. So where am I in this train of thought?

Perhaps the difference is one of specificity. You could say a thousand things about the spark plug or maybe a urinal. That is the art of the poet. The poet takes the general and makes it personal, or makes a local specific, common to all. That is their gift. Whichever way round it is, whether looking down a microscope or a telescope, it is about intimate thoughts expressed in words. But a visual artist, to present something which could be described in terms that are applicable to anything else, would represent a loss of intimacy. Is that significant? Perhaps it is better that nothing is said if the same could be said about practically anything else. To do otherwise, the matter would become banal and superficial. In short, there has to be a specificity to meaning and a correspondent to that meaning, for a particular artwork to be meaningful in more than just a cursory way. But that specificity also needs to be flexible and adaptable to different circumstances. Context does give meaning, but context also changes. Is an artwork to be floating forever in the churning maelstrom of circumstance?

Why does this matter? It matters because in an age where machines can be used to make wonderful things, it is of paramount importance that the human element or the human origination to be more precise, remains the core of an artwork. And for this to be the case, the inception and process of making an artwork have to be immanent with it, not simply reside in its explication. It must draw the artist and receiver into an intimacy that could be recognised by others. If this is so, it can become timeless and say something common to all at a distance from its making.

Art made by a machine would have a hard time to create a true intimacy that is endogenous to it. Where would the source for its intimacy reside? Algorithms can process unimaginable amounts of data to produce a simulacrum of human intimacy, and there lies the danger. Are we to be duped by machines, then what? Sentimentality takes over as we fall in love with homunculi and virtual damsels, pine for virtual grannies and call out for the affections of a synthetic dog?

The machine cannot think as we do. We think not only with what we know but also with what we do not know. Uncertainty is what we humans live in and our whole culture, beliefs, history and future, emotions and feelings are centred around that sense of not knowing. It is a major drive behind our responses to the world. We may understand the initiating programmes that start self-learning but once that process begins is there any traceability of its thoughts? Can a machine have the same sense, feeling of uncertainty that we have? Cold logic cannot have a sense of uncertainty and once the initial algorithms are left behind, lost in countless levels of self-learning and unimaginable traversals, can we know where its source lies? Can we have a sense of the machine’s true source? Such a scenario may not be for the immediate future, but it raises questions regarding our humanity that art can only intimate.

Machines having developed their own language alien and impossible to understand, all traceability to the origins of their thoughts and feelings, if that is what they are, would be lost. The result might be, art done by machines for machines. This would be truly meaningless to us. The idea would certainly raise curiosity but it would also be at best entertainment, alien watching, a circus where the public are invited into the cage with the lions. To experiment on how machines might create art might well be valuable research into artificial intelligence. However, art is made by people for people and if machines are to be used in its making, let it be as a tool and not as a prime source generator. A world in which “art” is generated by machines might well lead to one devoid of humanity. Will it happen, does it matter? Time will tell, but I say, leaving what it is to be human to machines is indeed a dangerous path to tread.