Kittler on Metaphors

“Reasoning by analogy is of considerable importance to science; indeed in as far as it is the principle of induction it may well for the basis for all physical and psychophysical sciences. Discoveries frequently start with metaphors. The light of thinking could hardly fall in a new direction and illuminate dark corners were it not reflected by spaces already illuminated. Only that which reminds us of something else makes an impression, although and precisely because it differs from it. To understand is to remember, at least in part.

Many similes and metaphors have been used in the attempt to understand mental abilities or functions. Here, in the as yet imperfect state of science, metaphors are absolutely necessary: before we know we have to start by imagining something……….

There is nothing finished in the brain, no real images; instead, we see only virtual, potential images waiting for a sign to be transformed into actuality. How this transformation into reality is really achieved is a matter of speculation. The greatest mystery of brain mechanics has to do with dynamics, not statics. We are in need of a comparative term that will allow us to see not only how an object receives and stores an imprint, but also how this imprint at any given time is reactivated and produces new vibrations within the object.” – Gramophone, Film, Typewriter

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Ursula Von Rydingsvard

The way she works in layers and fractal-like geometry is just amazing.







See more of her work here: http://www.ursulavonrydingsvard.net/

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How to look at Modern Art in America – Ad Reinhardt

Edward Tufte, known for his work as an info-aesthetician, has a show up right now at ET Modern (his own gallery) that goes through a large diverse collection of his artwork, including this graphic appropriation by Ad Reinhardt explaining Modern Art.



“Here’s a guide to the galleries-the art world in a nutshell-a tree of contemporary art from pure (abstract) “paintings” (on your left) to pure (illustrative) “pictures” (down on your right). If you know what you like but don’t know anything about art, you’ll find the artists on the left hardest to understand, and the names on the right easiest and most familiar (famous). You can start in the cornfields, where no demand is made on you and work your way up and around. Be especially careful of those curious schools situated on that overloaded section of the tree, which somehow think of themselves as being both abstract and pictorial (as if there could be both today). The best way to escape from all of this is to paint yourself. If you have any friends that we overlooked, here are some extra leaves. Fill in and paste up……”









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Gerhard Richter

I remember the first time I saw Gerhard Richter’s book, Atlas, as clearly as if it were yesterday. I was living in Brooklyn at the time, it was 2006 and I had temporarily moved to New York for my job. I decided that during that time I would not make work. This decision was mainly due to the fact that I did not have all my art supplies with me. I was, at the time, working in a mix of landscape photography and alternative photographic methods. I also hadn’t started taking digital photography seriously in my practice, so, all the photos I took with my company’s dslr I regarded as experiments.

I was at a friend’s apartment and it was one of those sticky summer nights. He had no air conditioning, so I was trying not to sweat through all of my clothing. We started going through his vast collection of philosophy and art books when he approached me with this extremely thick book. He asked me, “Have you ever seen Gerhard Richter’s work?” and I said, “The abstract painter?” Until that moment, I had never seen any of his photographic work only his abstract paintings, none of which I was all that impressed with having seen lots and lots of abstract painters during my art studies.

He said, “No, his photographs.” and he handed me the book.

I was sitting on his couch with the book in my lap. I opened it and that was it. That was the first time I had seen so clearly a practice of making images that inspired me to pursue something similar. The multiplicity of shots, the categorization of images, the beauty of the landscapes. To me, the images were one very long and soothing song. It was a very powerful book for me to look through at the time. It inspired me to go down a path of documentation with photography that I had not yet previously considered.

If you have not seen this book, and you are pursuing a practice that involves photography, I highly suggest that you take a look.

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