footnotes for Art Blending

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FOOTNOTES

[2]      See Marcuse, Herbert. (1964, 2007). One-Dimensional Man. Studies  in  the Ideology of Advanced Industrial Society. New York: Routledge.

[3] The author’s pseudonym is ‘animasuri’ (or ‘anima suri’)

[4]      A matrix is an environment or material in which something develops; it is a surrounding medium or structure.

[5] The environment resulting from acts of telling one narrative, or creating one identity copied into various media (perhaps minor differences are implemented within a few media). It can refer to the distribution of the same content across several platforms.

[6]  This is the (participatory) environment (i.e. a collection of potential experiences) resulting from acts of constructing multiple (more or less related) narratives and creating (more or less) associated identities into various media. The acts are intertextual. These acts can be linear but tend to be non-linear in nature. These acts could occur simultaneously though tend to be across (tangible or intangible) space and time. All acts amount to a networked narrative universe enriching the perceptions and experiences of participants/ producers and audiences. It is a responds and an integration of various sign systems’ cultural texts (i.e. painting, animation, sculpture, video, podcasts, games, sound, music, choreography, print, color coding, geometric forms, architecture, digital or analog media, etc) into a networked whole.

[7] Ugliness as well as fearfulness are aesthetic qualities capable of generating feelings of (highly) increased emotion, but which via the alteration of spacetime “decay” to become a pleasurable experience. I loosely follow Edmund Burke’s philosophy on the beautiful and the sublime where the former is pleasing and the latter implies a power to overwhelm to the degree of the destructive. See Burke, E. (1757). A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. Retrieved on January 13, 2012 from http://www.bartleby.com/24/2/

[8] Obviously there have been processes around for decades (and longer) such as brainstorming processes, lateral thinking processes, concept mapping processes, creative and problem solving processes, critical analysis processes (i.e. SWOT, 5 Ws) etc.

[9] D.Sutton, D.Martin Jones (eds). (2008). Deleuze Reframed.A Guide for the Arts Student,. London: I.B.Tauris

[10] D.Sutton, D.Martin Jones (eds). (2008). Deleuze Reframed.A Guide for the Arts Student,. London: I.B.Tauris

[11] categorization is a general word implying the action to provide a collection of bordered off  identities and definitions

[12] To ‘condensate’ is also a term used in psychology as “the fusion of two or more images, ideas, or symbolic meanings into a single composite or new image, as a primary process in unconscious thought exemplified in dreams.” (Oxford Dictionary).

[13] Although there are attributable denotational links between ‘proper’, ‘property’, ‘appropriate’ and ‘to appropriate’, the understanding of the distinctive (connotative) meaning of ‘to appropriate’ in the realm of culture and arts is essential. Despite the fact that the explanation is not comprehensive, Wikipedia does provide some introduction on ‘appropriation art.’ Routledge published works touching the matter as well. One such work is written by Julie Sanders and published in 2006 under its New Critical Idiom category entitled Adaptation and Appropriation. In short here ‘to appropriate’ targets the taking of cultural or artistic form for one’s own cultural comments or creative outputs. Typically, ownership is implied or questioned and to artistically or culturally appropriate that owned cultural or artistic form means the usage of it is often engaged in without the owner’s permission.

[14] For this and related ideas I refer those who wish further in-depth study to the work by Deleuze  & Guattari on ‘territorialization’ and to the work by Homi Bhabha in the 1994 or later reprinted publication entitled The Location of Culture.

[15] Of course, the artist functions as a scientist creating an enabling technology (i.e. the ambiguous style of the visuals) to actually make it possible for me to enter interactively into Alice’s Wonderland.

[16] Lakoff, G and Mark Johnson. (2003). Metaphors We Live By. London: The university of Chicago press. p 4

[17] The Oxford Dictionary’s definition for “ cliché.”

[18] More information can be found at: http://en.wikipedia.org/wiki/Synesthesia,  http://en.wikipedia.org/wiki/Multisensory_integration or at http://en.wikipedia.org/wiki/Crossmodal

[19]  Source: Podcast: BBC World Service—Discovery. (2011). Exchanges at the Frontier 2011: Doctor Vilayanur Ramachandran. Retrieved from iTunes Store on December 4,  2011. More information can be found here:  http://en.wikipedia.org/wiki/Vilayanur_S._Ramachandran

[20] I do not necessarily nor specifically refer to Le Corbusier’s Purism, as an artistic style emphasizing purity of geometric form but rather to the “scrupulous or exaggerated observance of or insistence on traditional rules or structures.” (Oxford Dictionary)

[21] As I mentioned previously, here “poem” shall not simply refer to “a piece of writing” but rather to anything that “arouses strong emotions because of its beauty.” (Oxford Dictionary).

[22] The construct of ‘mental forum’ nicely denotes one or more mental places as media where artistic and creative ideas and views can be born, grown, floated around and exchanged.

[23] A quote from Sol LeWitt on Conceptual Art in “Sentences on Conceptual Art”. Art-Language, Coventry, vol. 1, no. 1, May 1969.

[24] ‘Identity’ here refers to its common denotation: “the fact of being who or what a person or thing is” (Oxford Dictionary)

[25]    A matrix is an environment or material in which something develops; it is a surrounding medium or structure.

[26]                   I do not need to care about one or other institution. I do not need to care about present-day polemics.

[27] I agree with Sol LeWitt when he states: “the concept and idea are different. The former implies a general direction and the latter are the components. Ideas implement the concept.” He continues by stating that “ideas alone can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.” LeWitt, Sol (1969). “Sentences on Conceptual Art”. Art-Language, Coventry, vol. 1, no. 1, May 1969:

[28] For more information on this ‘land’ please enjoy an insane visit to http://uncyclopedia.wikia.com/wiki/Lalaland . Please note this is NOT famous/notorious wikipedia. It is an ironic (or add your own stronger superlative) website that claims to offer a “giant mass of misinformation.”

[29] ‘cornered’ or ‘to corner’ here means to be forced to have corners (or nooks) and plays with its formal meaning of “to be cornered into,” meaning to  “force (a person or animal) into a place or situation from which it is hard to escape.” I further play and create the new verb “to nook.” “to be idea-nooked.”

[30] This is an obvious English expression that means one thinks in an original or creative manner.

[31] Here ‘instill’ is used metaphorically and means to put a substance—here ‘poetic form’ as if it were in the form of liquid drops— into the spectrum— as if this were a container.

[32] Serendipity is different from chance in that it does imply a prepared framework and it does imply formal processes and systems but it also implies outcomes that were influenced by variables of which the unanticipated accidental information or subjective results were intuitively accepted and not rationally dismissed; (for those eager to dig even deeper have a look at contra-serendipitous processes ironically labeled as ‘Zemblanity’ and ‘bahramdipity’).

[33] Sol LeWitt is the founder of conceptual art as well as minimalism.

[34] Lawrence Lessig—a well-known Professor at the Harvard Law School—up till about 2007 he has been on the forefront of this exciting movement known as ‘free culture’. He is the founder of the copyright alternative known as the Creative Commons as well as the founder of the Stanford Center for Internet and Society. As such he is an essential reference as outspoken academic on law and specifically copyright in relation to the digital media (i.e cyberspace). Currently he focuses less on copyright-related matters. Many of his resources are legally and freely downloadable from the internet. Find more details on www.lessig.org  or on www.freeculture.org

[35] a transformation makes “some contribution of new intellectual value and thereby [fosters] the advancement of the arts and sciences.” See the August 2005 Blanche v. Koons court decision. LOUIS L. STANTON, U. S. D. J. (2005). court case 2005 U.S. Dist. LEXIS 26299. Andrea Blanch vs. Jeff Koons. New York: Untied States District Court for the Southern District of New York. Retrieved Feb. 15, 2012 from http://tinyurl.com/6tapn6p

[36] see previous footnote on Lawrence Lessig.

[37] Retrieved on February 15, 2012 from http://questioncopyright.org/ as posted by Nina Paley on 31 Jan 2012 as crossposted from www.Techdirt.com under the heading “Copying Is Not Theft, But Censorship Is.”

[38] http://www.youtube.com/watch?feature=player_detailpage&v=IeTybKL1pM4 shows ‘Copying is not Theft’ in a cute animated manner. The animation and song are by Nina Paley, the arrangement is by Nik Phelps and the vocals by Connie Champagne.

[39]  Retrieved on February 15, 2012  from http://www.youtube.com/watch?v=jcvd5JZkUXY&feature=player_embedded embedded within http://questioncopyright.org/minute_memes/all_creative_work_is_derivative. All Creative Work Is Derivative (Minute Meme #2) was created by Nina Paley and is part of the Minute Memes Series. It was supported by a grant from The Andy Warhol Foundation for Visual Arts.

[40] Retrieved on February 15, 2012 from http://questioncopyright.org/minute_memes/all_creative_work_is_derivative under the sub-heading ‘Why’.

[41] The image of the Coca Cola bottle or even the actual bottles have been appropriated on several occasions for artistic and thus cultural purposes. Andy Warhol is one such artist who used the form as a basis for a larger theme.

[42] LOUIS L. STANTON, U. S. D. J. (2005). court case 2005 U.S. Dist. LEXIS 26299. Andrea Blanch vs. Jeff Koons. New York: Untied States District Court for the Southern District of New York. Retrieved February 15, 2012 from http://tinyurl.com/6tapn6p

[43] ‘Intertextuality’ is a term referring to the forming of the meaning of a text (or a cultural object such as a work of art) beyond the meaning within the text itself but rather by many other texts (or cultural objects). Julia Kristeva (feminist, philosopher, novelist and  critic) first used it in 1966. It was consecutively quasi infinitely redefined by others.

[44] Heller, Steven. (2008). Iron Fists. Branding the 20^th-century totalitarian state. London: Phaidon. p. 33

[45] ” The definition of ‘retarded’ or ‘degenerate’ was certainly not scientific and intended to include several perfectly healthy artists. Additionally, it is interesting to know that healthy in this historic art example meant to be ‘German’, a term which itself had a very specific and exclusive meaning.

[46] Figuratively used: to decide not to proceed with (a project or plan) the publicizing of an (art or cultural) object, either temporarily or permanently.

[47] Retrieved on February 15, 2012 from http://www.humanitiesinstitute.buffalo.edu/initiatives/fluid_culture_series.shtml

[48]  the Latin plural for ‘medium’ is ‘media.’

[49] http://www.katiepaterson.org/eme/

[50] http://contemporaryartsociety.org/become-a-member/artist-member/katie-paterson/398

[51] http://www.youtube.com/watch?v=gIYQtgZ_Cho

[52] http://nathaliemiebach.com/statement.html

[53] http://www.nanobama.com/how/how.htm

[54] http://www.virtual-circuit.org/art_cinema/Arcangel/Shot.html

[55] http://www.dilandau.eu/download_music/vito-3.html

[56]    Here I mainly refer to the architectural concept of a structure made “with rough-hewn or roughened surface or with deeply sunk joints.” It is a reference to something that is “constructed or made in a plain and simple fashion.” Although these citations from the Oxford Dictionary do not imply it I add that the rustic is also a conscious space opposing the hyper-production of the cultural products where objects, agents, actors and other attributes seem calculated as to offer an impeccable polish. In its most extreme even a speck of dust or “dirt” would be consciously placed, and virtually clean. The rustic somehow offers a counterweight to this extreme while urbanity offers a counterweight towards the extremes found within the rustic.

[57]               i.e. meaning, art, content, media and technology.

[58]               i.e. that of designers, architects or other

[59]               Habit is related to custom, practice, routine, pattern, convention, norm, tradition and rule.