{"id":2722,"date":"2015-11-22T17:59:54","date_gmt":"2015-11-23T00:59:54","guid":{"rendered":"http:\/\/blogs.unsw.edu.au\/tiic\/?page_id=2722"},"modified":"2015-11-22T18:03:43","modified_gmt":"2015-11-23T01:03:43","slug":"leaf-experimental-arts-qa","status":"publish","type":"page","link":"https:\/\/blogs.unsw.edu.au\/tiic\/neaf-experimental-art-education-workshop\/leaf-experimental-arts-qa\/","title":{"rendered":"LEAF: Experimental Arts Q&A"},"content":{"rendered":"

National Experimental Arts Forum 2015<\/h1>\n

in Collaboration with Leonardo Education Arts Forum and National Institute for Experimental Arts.<\/h2>\n
\u00a0<\/span><\/p>\n

Experimental Arts Q&A<\/h1>\n
<\/div>\n<\/div>\n
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We do need to have artists discussing and reflecting problematic mediaThe conversation becomes a weird binary around materialism and the immaterialvideo and sound are material<\/p>\n

the excitement of technologies; resisting the excitement<\/p>\n

what is missing with the rebellion<\/p>\n

thinking about rigor, critical thinking, developing a visual vocabulary<\/p>\n

relying on \u201cease\u201d<\/p>\n

we might like the struggle<\/p>\n

how do we rebel against excitement to find experimentation?<\/p>\n

beyond students, artists also have this resistance<\/p>\n

moving away from working with the screen<\/p>\n

doesn\u2019t have to be working electronically<\/p>\n

working with ipads and laptops, yes, but it\u2019s also about whatever you\u2019re doing with the screen, you are working in other spaces<\/p>\n

it\u2019s not about the technology,<\/p>\n

the experimental is about quality of ideas, interaction, process<\/p>\n

technology is in multiple locations<\/p>\n

moving to socially engaged space can be experimental<\/p>\n

learn by doing every minute<\/p>\n

technologies of painting, the tubes of paint allowing for landscape painting<\/p>\n

it\u2019s what it adds to art that is the important question<\/p>\n

tech enables, we\u2019re the drivers, hopefully<\/p>\n

trying to define words for what experimental might be about<\/p>\n

developing language<\/p>\n

developing language to empower someone to be experimental<\/p>\n

rebellion<\/p>\n

apologia for fine arts from Paul, foreclosed by time constraints<\/p>\n

if we\u2019re thinking about experimentation it\u2019s also about play, play with purpose<\/p>\n

purpose seeks results, not necessarily commercial results, but for the medium itself<\/p>\n

experimentation can involve ideas, understanding, reflection, historical reflection<\/p>\n

changes and revolution for which we lack language<\/p>\n

artists are the best people, the supposed lack of boundaries<\/p>\n

to be the counterbalance to the utilitarian neoliberal purposes<\/p>\n

biology as a test case<\/p>\n

new ontologies and understandings<\/p>\n

artists being the ones to develop a new language that is more reflective, with different purpose.<\/p>\n

problem finding vs problem solving<\/p>\n

what we have learnt, is that there are endless possibilities, the inability to define art matters.<\/p>\n

some art but not all art has become iterative of itself, mimicking itself (artists looking at themselves)<\/p>\n

Is this true?<\/p>\n

teaching sci students sci and art students art: when students take a science course they imagine the experimentation in the lab. In an art course, getting students to experiment is harder; they have \u201cmastered a technique\u201d and have commercial outcome desires<\/p>\n

chip away at their baggage? expectations?<\/p>\n

not defining an essence of something<\/p>\n

dematerialization in art<\/p>\n

70s, 80s, Lippard, removing the idea of the fetishized object<\/p>\n

what good vibes here.<\/p>\n

experimental art in general or in relation to technology?<\/p>\n

as an art historian, in a modern or contemporary art concept, if art isn\u2019t experimental, it isn\u2019t art<\/p>\n

examples?<\/p>\n

does all art think it\u2019s experimental?<\/p>\n

institutional art vs art art<\/p>\n

no privileged medium
\nyou could be experimental with oil painting<\/p>\n

at what point do you move from problem finding to problem solving, and does that moment mean entering process rather than experimentation?<\/p>\n

art does something new and challenges things<\/p>\n

Chipping away needs to be done by getting rid of final exhibitions<\/p>\n

consequence of practice based practice being put into monumental artworks<\/p>\n

the stuff of the studio<\/p>\n

curatorial challenges<\/p>\n

teaching to produce something that can be shown<\/p>\n

students of cage; they struggled after learning from how to do something new<\/p>\n

the vast opening leaves nothing left to do<\/p>\n

frustration at vast openings
\nas a scientists i do experiments all the time<\/p>\n

looking to experimental medicine and experimental art, interchangeability<\/p>\n

yes please<\/p>\n

an experiment is something that can fail<\/p>\n

sometimes failure is the result<\/p>\n

failure can be good in both science and art<\/p>\n

amazing and good are different words<\/p>\n

you can do experimental art not based on technology<\/p>\n

chipping away happens crossing between disciplines<\/p>\n

what is art, what does it mean to the scientist\/biologist?<\/p>\n

maybe the chipping away happens in crossing the disciplines<\/p>\n

last question<\/p>\n

memories<\/p>\n

vocabulary from art epistemology<\/p>\n

missing the vocabulary of politics<\/p>\n

australian art, is it product oriented, europe doing philosophy, more freedom?<\/p>\n

there is always a philosopher standing behind you, squeezing you<\/p>\n

the core aspect is freedom to be experimental<\/p>\n

making money means everyone stops and tries to find their line of aesthetics<\/p>\n

different connotations of experimental<\/p>\n

experimental tends toward new media<\/p>\n

\u201cwith media\u201d<\/p>\n

experimental never came up until extra long artist residency<\/p>\n

expectations of huge outcome<\/p>\n

instead, changing mindset, excorcism,<\/p>\n

wow that was a lot of stuff<\/p>\n

we\u2019ll try our best<\/p>\n

we\u2019ll circulate some things to read, comment on and edit<\/p>\n

we look forward to outcomes of infinite nothingness and practicality<\/p>\n

risk taking<\/p>\n

take out taking?<\/p>\n

half of it?<\/p>\n

operating in the area of \u201cI don\u2019t know\u201d<\/p>\n

tough, i already wrote it down, paul<\/p>\n

problem finding is an area of not defining too soon<\/p>\n

ferment<\/p>\n

foment<\/p>\n

incubate<\/p>\n

let\u2019s all quietly imagine a glass of wine<\/p>\n

space around education and art<\/p>\n

steam stem<\/p>\n

problem finding : why there needs to be art in stem space<\/p>\n

going into situations with \u201cbuild a bridge\u201d thoughts<\/p>\n

we\u2019ll distribute some links<\/p>\n

ooh the wiki<\/p>\n

you could also come find me outside the room and i\u2019ll type it in, or you can.<\/p>\n

thank you.<\/p>\n

we\u2019ll link to the interview from Paul too<\/p>\n

we work at UNSW<\/p>\n

Never stand still<\/p>\n

last desperate thoughts<\/p>\n

political about experimentation<\/p>\n

we need to be more radical<\/p>\n

rebellion<\/p>\n

no prescriptive pedagogy<\/p>\n

generational differences re rebellion<\/p>\n

what are we rebelling against?<\/p>\n

who are the avant garde?<\/p>\n

scientists, geoengineers have avant garde ideas<\/p>\n

the trouble with the arts re invisibility until it\u2019s visible<\/p>\n

codifying art<\/p>\n

hell bent on seeing things that resemble art<\/p>\n

opening ourselves up to experimentation<\/p>\n

awkward<\/p>\n

applause!!!<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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