Archive for December, 2017


The second album: CHILDHOOD – INSIGHT INTO THE CAOTEE: 06 Heal Boy Heal


// hacking the very substance of art [part II]: scratching at the surface


If we look at the material culture of pre 20th century art we find the basis of high art lies in the thin effluent layer of paint that sits on a diaphanous canvas like some flotsam. The thing is that this flotsam, as with any wreckage, carries a lot of highly charged information [The where, what, why, when]. It carries the story of the history of the medium that was a practical solution to the problem of permanence, practicality and technique. In this century the oil paint myth* is one of nostalgia. The concept is as outdated as [non WYSIWYG]. The oil paint myth is a myth that goes beyond the medium of painting; it is part of the myth of the fine art disciplines – sculpture, printmaking, etc.


// Answer the question of what the oil paint myth is here
// make it brief!


An oil paint artIST stands in front of his canvas, pondering on the blue stripe in front of him. His main issue is whether it should be changed. He debates the issue silently for a moment, then comes to a ‘conclusion’: “There always is a reason for making a change, but often with that change will come a host of other unforeseen changes. Maybe if I change that blue stripe, then the painting will be just right and maybe not.”
// Gordon J Hazlit in ARTnewsONLINE Jan2002 The conclusion is that when the first stroke of oil paint is applied to the innate surface, what ever be it, the meaning of seven centuries of flatulent content is reconfigured and conveyed as !the! meaning. The artwork becomes the sum total meaning of its material make-up [Too much meaning for any image to carry]. The meaning is the meaning behind the meaning that is not even an indication of the meaning.

// Can materials carry meaning


The print of the substance is embedded in its use or application. If oil paint has been used by colonising countries to depict a way of seeing the world, then yes. Most 20th century art after Duchamp has recognised this truism. The breakdown of matter into non identifiable items has enhanced the effect. Modern art has been a war against matter. Newton started the decomposition of unifyable meaning by separating components in nature. Now we know that these components, while made up of the same things, are in a tangent of possibilities.


// Are we junkies to the past and its material culture


Most of the time the meanings are hidden in the code of the material itself. The average user is looking for a point of reference that is understood in isolation of material contexts. The single context scenario is a product of pre-20th century affliction.


// What’s with materials


As John Brochman has said: “new materials = new perceptions”. He contextualises this in an a priori premise that begins with reality as man-made. He says: “our images of our world and of ourselves are, in part, the models resulting from our perceptions of the technologies we generate as products”.


// What are the “perceptions of our technologies”


The dark


// somewhere around here a programming error slips in unseen and unheard
// look into it next time


idea of what is new is better, is still lurking in the alpha type view, hence the ^above truism. This truism has supplanted the ‘oil paint theory’ and has resulted in a birth of abortive attempts to come to terms with the explosion of ‘digiti’ in this new epoch. I’m talking about film and the effects of the computer age. At first film was seen as a means to understand the world and for numerous reasons [the oil paint fallacy] obtained a low art status in the beginning of the 20th century. Yet, in this century, through digitalised processes, it has obtained the gold accolade of mediums. The digitised art methodologies are the new perceptions of this century…


After fixing my puter, it came to a conclusion the next morning /I woke up with a stiff neck\ that pleasure and pain is the name of the game. Next time more on the perceptions of our technologies.