![]() When Oppenheimer and I had an introductory conversation with CCAM director Dana Karwas, Dana was explaining the setup and mentioned, Oh, we can put sensors on all 60 students, and have them move as one meta-organism. I myself had never been inside a motion capture studio all I knew was that there were going to be opportunities for data sonification. We’d already talked about Renaissance perspective, and now we’re inside this Cartesian space. ![]() So it made sense for us to bring the students into motion capture. We’re linking that through all these different types of image, or representation. In our first class, we had talked about indexicality, and direct mark-making: Physical traces in the material world. Ours is the only official interdisciplinary course for everyone in the four disciplines of the school, and it’s a requirement for all first year students.īack in October, we brought the seminar to the Leeds Motion Capture Studio at CCAM. Mainly: What does it actually take to make something? What if we have that as the site of our class? This is very interesting to both of us. This idea of poiesis, the act of creation, and all the tools and technical concepts. Later, when we discussed the possibility of teaching the seminar, she saw it as an opportunity to collaborate via pedagogy, or pedagogy as collaboration: What would that look like? So here we are! Broadly speaking, instead of focusing on the hermeneutics of completed pieces of art, we’re looking at the poetics. She was asking these very pointed, fascinating questions-it’s always great when you come across someone whose lines of inquiry resonate with yours we were talking about phase oscillation, something she’s been working with spatially, and something that I’d been thinking about because of my work with modular synthesizers. We first crossed paths at a site visit for Cleveland’s Front International Triennial, in Oberlin College’s electronic music studio. I’m co-teaching the Yale School of Art Critical Practice Seminar with Sarah Oppenheimer. It feels very important to start wrapping our heads around what the digital is, what it can do, and what it can’t do.ĭetail of Tingle, Hayal Pozanti, 2018. ![]() They are obviously part of it, but in order to approach something like serendipity they need to sample what we understand as reality. In order to add that element of the random, or of entropy, or of newness-what is the random, if not a flash of newness?-computers need to go back into the world. Whatever a computer actually is, something about the irrational or the unknowable-and here I think of Mallarmé’s A Throw Of The Dice Will Never Abolish Chance-is always going be outside their purview. Computers are good at generating pseudo random numbers: Look at this chip, look at this timing. Computers compute: It’s a wonderful, basic thing. Acrylic on canvas, 41” x 121”.Īll images courtesy of the artist and Jessica Silverman, San Francisco.Ĭomputers can’t generate random numbers.
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