My Guess What artist talk at The White House Studio Project was amazing with a great turn out and a lot of interest about the concepts i've been working on. People sure get excited by the unknown.
There may be an audio or video recording of the lecture, but i am not sure if the internet is ready for that. In the meantime here is a photo from the evening.
Showing posts with label learning. Show all posts
Showing posts with label learning. Show all posts
Tuesday, June 7, 2011
Monday, April 25, 2011
Guess What!!??
I've got an artist talk going on this Thursday 28 April 2011 at the White House Studio Project Located at #277.5 Augusta Ave. Toronto, Ont. come out and listen to me talk about fantastic and strange interactions where science and art make contemporary culture.
Matt Mincoff is an artist/sculptor from Hamilton Ontario and has studied at OCAD (BFA 2007) and RMIT Melbourne (MFA 2010). His practice is an exploration of what is unknown and how can we communicate what should be unexplainable. With this focus on the unknown he has worked with the concepts of the mind, ghosts, identity, invisibility, spirit, relationships and n-dimensional geometry through various approaches to objects, installation, images, sounds and video.
The workshop will discuss various topics that Mincoff has been recently working on through his art practice with slide presentations of his work and relevant media to support the concepts under the title “seeing beyond looking through”.
(website: http://mattmincoff.blogspot.com/)
Doors @ 7pm
Lecture starts at 7:30 sharp
PWYC!
Click here for Facebook event page.
Matt Mincoff is an artist/sculptor from Hamilton Ontario and has studied at OCAD (BFA 2007) and RMIT Melbourne (MFA 2010). His practice is an exploration of what is unknown and how can we communicate what should be unexplainable. With this focus on the unknown he has worked with the concepts of the mind, ghosts, identity, invisibility, spirit, relationships and n-dimensional geometry through various approaches to objects, installation, images, sounds and video.
The workshop will discuss various topics that Mincoff has been recently working on through his art practice with slide presentations of his work and relevant media to support the concepts under the title “seeing beyond looking through”.
(website: http://mattmincoff.blogspot.com/)
Doors @ 7pm
Lecture starts at 7:30 sharp
PWYC!
Click here for Facebook event page.
Tuesday, February 1, 2011
Wednesday, January 26, 2011
Understanding: looking through (2011)
Learning is an equilibrium of constructive and destructive thoughts. The processes of Learning facilitate change similar to the additive and subtractive processes that transform this notebook into an abstract identity. Leaning is a holistic process, it can not be understood as a sum of it's parts, it is like a window one chooses to peer through into somewhere else. - Matt Mincoff
Tuesday, September 28, 2010
there really isn't much more to say that hasn't already been said.
After three thousand years of explosion, by means of fragmentary and mechanical technologies, the Western world is imploding. Today, after more than a century of electronic technology, we have extended our central nervous system itself in a global embrace, abolishing both time and space as far as our planet is concerned. Rapidly, we approach the final phase of the extensions of man-the technological simulation of consciousness, when the creative process of knowing will be collectively and corporately extended to the whole of human society, much as we have already extended out senses and our nerves by the various media. (McLuhan, Understanding Media 3-4)
Friday, June 18, 2010
Sunday, March 28, 2010
Monday, January 25, 2010
interacting/processing
yet again i find my self thinking about for e-prime logic and Robert Anton Wilson
especialy while writting that last post, i rewatched these videos thinking about the incapacities of language and our position within it's structure. maybe we'll figure it out one day
especialy while writting that last post, i rewatched these videos thinking about the incapacities of language and our position within it's structure. maybe we'll figure it out one day
Reflection Eternal
Yesterday afternoon Ian Carr-Harris presented a lecture at Toronto’s Power Plant art gallery about his impressions of the two exhibitions currently on display: Recent Snow and Nothing to Declare.
Michael Snow, Condensation, 2009
in discussion of Michael Snow’s Condensation, Carr-Harris brought forth discourse of the relationship of the sublime to the idea of totality: in regards to the inability for a sign to represent the sublime. "In this attempt to represent totality one reaches ideally toward Totalitarianism".
Looking at the twentieth century through the effect of endeavors of totality/totalitarianism we see the ultimate outcome was the Second World War. The failure of Totalitarianism was both catastrophic and far-reaching. Ironically the atrocity of the Second World War mirrors the inability for totality to be represented, in its attempt at totalitarian rule. The more the idea of totality is applied to a review of the twentieth century an apparent theme begins to develop. The twentieth century took place on a finite earth, an earth that over the course of that great century would attempt to have every piece accounted for, an earth that for the first time would be shown a picture of itself, an earth which would eventually become infinitely small through technology. Even without totalitarianism at the helm the representation of totality would remain the intension and preoccupation of the Twentieth century, as every faculty would have to account for this new paradigm of finiteness.
Liz Magor Racoon (detail), 2008. Photo by Scott Massey
Later on in the lecture, the subject of melancholy entered Carr-Harris’s discussion of the work of Liz Magor: more specifically the sense of melancholy in postmodernism in contrast to the more optimistic modernist endeavors to find new forms. The motivation for this modernist effort to find new forms appears to be reactionary to the failure to represent totality. Abstract painting for example in its abandonment of realism during the modern era shows an escape from the desire to capture the real and took on an optimistic experiment to express without reference to the real. While postmodernism seems to just accept that the real can not be represented and melancholically pursues expression through what ever processes suits it’s expression best even including realism. Not as a judgment of Postmodernism, as it co-exists within the continuation of modernism, but certain implications of this melancholy create fundamental differences to modernism.
But reaching back towards thoughts of totality, we see that the artist always muses with the representation of the unrepresentable, pushing outwards the boundary of what the sign is capable. While the ghosts of totality haunt a progressive century unmatched in technical and intellectual accomplishment, the artists of this new century will be faced with the challenge of moving past the history that created the environment for their practice to exist. Again paradoxically these problems are too enormous themselves to have a containable resolve.
Again melancholy rears it’s head as a prolific era’s accomplishments are left behind or stepped upon in a continual effort to move forward and redefine the art of a new century. An ideal of death and rebirth comes to mind with these thoughts of composting the last century. A birth of a new paradigm cannot take place without first the death and grievance of the old mode. It seems this death was the initiation of Modern form and later the grievance was the melancholy of the post-modern.
Only time will tell what new growth will sprout from this compost of grandeur. Possibly either the success of the representation of the real or a new goal disregarding the total of history, creating new symbols referencing nothing? Again the failure of language is inescapable and we find our selves in exactly the same place, trapped in the twentieth century even a decade into the twenty first century.
“To try to write love is to confront the muck of language: that region of hysteria where language is both too much and too little, excessive and impoverished.” Roland Barthes
Michael Snow, Condensation, 2009
in discussion of Michael Snow’s Condensation, Carr-Harris brought forth discourse of the relationship of the sublime to the idea of totality: in regards to the inability for a sign to represent the sublime. "In this attempt to represent totality one reaches ideally toward Totalitarianism".
Looking at the twentieth century through the effect of endeavors of totality/totalitarianism we see the ultimate outcome was the Second World War. The failure of Totalitarianism was both catastrophic and far-reaching. Ironically the atrocity of the Second World War mirrors the inability for totality to be represented, in its attempt at totalitarian rule. The more the idea of totality is applied to a review of the twentieth century an apparent theme begins to develop. The twentieth century took place on a finite earth, an earth that over the course of that great century would attempt to have every piece accounted for, an earth that for the first time would be shown a picture of itself, an earth which would eventually become infinitely small through technology. Even without totalitarianism at the helm the representation of totality would remain the intension and preoccupation of the Twentieth century, as every faculty would have to account for this new paradigm of finiteness.
Liz Magor Racoon (detail), 2008. Photo by Scott Massey
Later on in the lecture, the subject of melancholy entered Carr-Harris’s discussion of the work of Liz Magor: more specifically the sense of melancholy in postmodernism in contrast to the more optimistic modernist endeavors to find new forms. The motivation for this modernist effort to find new forms appears to be reactionary to the failure to represent totality. Abstract painting for example in its abandonment of realism during the modern era shows an escape from the desire to capture the real and took on an optimistic experiment to express without reference to the real. While postmodernism seems to just accept that the real can not be represented and melancholically pursues expression through what ever processes suits it’s expression best even including realism. Not as a judgment of Postmodernism, as it co-exists within the continuation of modernism, but certain implications of this melancholy create fundamental differences to modernism.
But reaching back towards thoughts of totality, we see that the artist always muses with the representation of the unrepresentable, pushing outwards the boundary of what the sign is capable. While the ghosts of totality haunt a progressive century unmatched in technical and intellectual accomplishment, the artists of this new century will be faced with the challenge of moving past the history that created the environment for their practice to exist. Again paradoxically these problems are too enormous themselves to have a containable resolve.
Again melancholy rears it’s head as a prolific era’s accomplishments are left behind or stepped upon in a continual effort to move forward and redefine the art of a new century. An ideal of death and rebirth comes to mind with these thoughts of composting the last century. A birth of a new paradigm cannot take place without first the death and grievance of the old mode. It seems this death was the initiation of Modern form and later the grievance was the melancholy of the post-modern.
Only time will tell what new growth will sprout from this compost of grandeur. Possibly either the success of the representation of the real or a new goal disregarding the total of history, creating new symbols referencing nothing? Again the failure of language is inescapable and we find our selves in exactly the same place, trapped in the twentieth century even a decade into the twenty first century.
“To try to write love is to confront the muck of language: that region of hysteria where language is both too much and too little, excessive and impoverished.” Roland Barthes
Thursday, January 14, 2010
Sunday, January 3, 2010
people who make me proud of Canada
Louis Reil
Paul-Émile Borduas
Manly Palmer Hall
Marshall McLuhan
Pierre Trudeau
Steve Mann
Paul-Émile Borduas
Manly Palmer Hall
Marshall McLuhan
Pierre Trudeau
Steve Mann
Wednesday, December 23, 2009
Fearless
this is now my favorite movie. i encourage you to watch it... you can from within this clip.
Sunday, June 14, 2009
datamosh
in a couple of the last videos i posted as well as some previous posts included a technique being called datamosh.
Sunday, May 3, 2009
Thursday, April 16, 2009
Tuesday, April 14, 2009
Monday, April 6, 2009
Tuesday, February 17, 2009
The Hyperdimensional Election of Barack Obama?
i've been following Richard Hoagland for about 3 years now. i had first discovered his Mars/Moon connection vhs lectures at suspect video in the discount bin, but soon found on the internet his topics were all bizarre & fantastic.
sometimes not the swiftest speaker & often over supported with data Richard Hoagland is one of the most genius & gifted researchers in the world, and will inform you of crazy realities worlds away from where we live our daily lives. i like how here he mashes hyperdimensional physics up with popular media & the Obama campaign. & all throughly supported but numerous sources.
anyways, if you have 3 hours to learn about some crazy stuff no one will believe you about, i bring you Mr Richard Hoagland
The Hyperdimensional Election of Barack Obama and 2012 part1
The Hyperdimensional Election of Barack Obama and 2012 part2
sometimes not the swiftest speaker & often over supported with data Richard Hoagland is one of the most genius & gifted researchers in the world, and will inform you of crazy realities worlds away from where we live our daily lives. i like how here he mashes hyperdimensional physics up with popular media & the Obama campaign. & all throughly supported but numerous sources.
anyways, if you have 3 hours to learn about some crazy stuff no one will believe you about, i bring you Mr Richard Hoagland
The Hyperdimensional Election of Barack Obama and 2012 part1
The Hyperdimensional Election of Barack Obama and 2012 part2
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