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GMU:Hallucinating computers and dreaming non-machines/David Frommhold (view source)
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'''When non-human actors''' such as '''gods''' in myths, '''animals''' and '''plants''' in fables or '''aliens''' in science fiction novels speak, they usually do so vicariously or allegorically. Even stories in '''animism''' and '''scientific papers''' that tell of natural forces appeal to '''human imagination, spirituality or cognition'''. But how can all those non-human objects that determine our existence, such as '''bacteria''' and '''fungi''', '''the''' '''ocean''' and '''the forest''', '''the climate''', '''the microbiome of the soil''' or '''intestines''', be made to speak? Do we have to learn to tell '''stories in foreign tongues'''? If there is no escape from language, with or without the linguistic principle of relativity for art, the '''question''' arises once again, renewed by the passage of time, as to whether storytelling does not also mean '''action.''' This assumes that works have a power to act that '''transforms''' passive objects into active subjects'''.''' Works of art go beyond being carriers of meaning to become '''carriers of action''' that generate a logic of their own, independent of the artist's stylistic will and intentions and also independent of the viewer's interpretations. A logic of its own that produces a form and an aesthetic that emerges independently of authorship. '''How could such art be created? What conditions can we create for it to take place?''' | |||
[[File:Ovid's Pygmalion.jpg|center|thumb|616x616px|Ovid's Pygmalion]] | |||
'''The Master Thief''' | '''The Master Thief''' | ||
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The squire is too afraid of what the thief will steal next, so he lets him marry his daughter. | The squire is too afraid of what the thief will steal next, so he lets him marry his daughter. | ||
'''The Trickster/ Thief - Prometheus''' | |||
[[File:Prometheus.jpg|center|thumb|708x708px]] | [[File:Prometheus.jpg|center|thumb|708x708px]] | ||
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______________________________________________________________________________________________________________________________________ | ______________________________________________________________________________________________________________________________________ | ||
'''Wikipedia: Apophenia''' (from the ancient Greek ἀποφαίνειν apophaínein '''<nowiki/>'to show', 'to appear', 'to realize'''') refers to the experience of perceiving apparent '''patterns''' and relationships in '''random''', meaningless '''details''' of the environment in schizophrenia[1]. | |||
The term was coined in 1958 by the psychiatrist Klaus Conrad, who defined apophenia as the “groundless seeing of connections accompanied by the special sensation of abnormal significance”. He originally described the phenomenon in relation to distortions of perception that occur in psychoses; however, his term is now also applied to similar tendencies in healthy people who have no neurological or mental illnesses. | |||
Apophenia is a variant of the clustering illusion. It is also a subtype of pareidolia. Apophenia is limited to the aspect of “seeing” something in a random structure, whereas pareidolia also includes the (actively) “sought” perceptions. | |||
'''Comment:''' To a lesser extent, apophony is an integral part of human perception, without which we would be unimaginative beings without creativity. Brains long for meaning. Randomness makes them restless and they are unable to process real chaos. Sensory data is compared with existing experiences, habits and mental states and placed in a relationship that corresponds to our life story. A neurological demon forces us to put random impressions into a supposed order in order to arrive at a coherent story of the self. The grand narrative is therefore about ourselves and is called the ego. It gives meaning, orders the world, organizes perception and creates a psychological home. If we lose the red thread in the ego narrative, we lose ourselves and have to reinterpret ourselves in the environment, reinvent ourselves as a story. | |||
[[File:Tafel 1.jpg|center|thumb|800x800px|Tafel 1]] | [[File:Tafel 1.jpg|center|thumb|800x800px|Tafel 1]] | ||
[[File:Tafel 2.jpg|center|thumb|800x800px|Tafel 2]] | [[File:Tafel 2.jpg|center|thumb|800x800px|Tafel 2]] | ||
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[[File:Tafel 4.jpg|center|thumb|800x800px|Tafel 4]] | [[File:Tafel 4.jpg|center|thumb|800x800px|Tafel 4]] | ||
This Image Selection touches on the idea of truth, collective memory and object oriented visualization methods in an image based world. It is a contiuation of previous works, that ask questions of the displayability of images, object memory and shared interpersonal narratives such as folklore, family matters and concepts like ''history is written by the victors''. | |||
[[File:1.1.1.jpg|center|thumb|667x667px|Collage 1]] | |||
References: | References: | ||
Aby Warburg - https://de.wikipedia.org/wiki/Mnemosyne_(Bildatlas) | |||
https://www.thomasfeuerstein.net/ | |||
https://www.simon-lehner.com/projects/i-love-you-like-an-image/ | https://www.simon-lehner.com/projects/i-love-you-like-an-image/ | ||