2006. acrylic on floor and canvas. 170x2160x1440 cm. Berlin

Probably my fav contemporary artist now is Katharina Grosse. Her wok blurs the boundaries (frescoes, murals, set design, architecture and etc.). It is very large scale painting. It looks like Augmented Reality and it is very simple and painterly at the same time – finally something new! Too bad its not sustainable.

Blowflies by Alexis Rockman
Blowflies by Alexis Rockman. 2007. Courtesy of NYEHAUS gallery.

Here is interesting interview from SEED magazine of an artist Alexis Rockman and astrophysicist Neil Degrasse Tyson that touches on art as knowledge management software.

And a bit on a previous statement about the dawn of the digital.
“To get from here to there, watch for this kind of marks.. Or, in order to kill that animal do this and that. (Evaluate, iterate.)” “Digital” appeared with first knowledge management software, namely the tribal songs, cave paintings, because encapsulation and compression of meaning into painting requires some modeling of thinking process. (I think Duchamp first used arrow in painting as an abstract navigation device.)

And a bit on Z, from one of my previous posts.
rules governing self-similar landscape:
inter-scalar self-similarity (representation?)
intra-scalar self-similarity
dynamic relationships across different scales

From great artist and thinker, President of RISD and etc.

The simplest way to achieve simplicity is through thoughtful reduction.
Organization makes a system of many appear fewer.
Savings in time feel like simplicity.
Knowledge makes everything simpler.
Simplicity and complexity need each other.
What lies in the periphery of simplicity is definitely not peripheral.
More emotions are better than less.
In simplicity we trust.
Some things can never be made simple.
Simplicity is about subtracting the obvious, and adding the meaningful.

And the answer is…

The preliminary answer to my previous question is – works that feature selfsimilarity in Z.
Then I thought, that it can not be implemented without basics of color
theory. So that it is quick, short but selfsimilar in Z. It is just very difficult
to go into Z using only 2bit, or whatever luma based grisaille there is.. because the perceived power of contrast of luma (black vs white) is much weaker than chroma (say yellow vs purple).. Also selfsimilarity in alternative geometries of Z, as it was expressed in works of Leonardo (multi), byzantine art (opposite), spherical (in works of Russian painter Petrov-Vodkin) and others. Luma is important for detail, but not so for Z.

Perception oversturation

Upon watching masses of art, design and other imagery on the internets becomes apparent that the density of imagery, detail, symmetry and stylistic homogenousness is close to the threshold of saturation. Here comes the trivial question – whats next?
It would be timely to disagree with Donald Kuspit on the dawn of the digital here. I think that what is referred to as “digital” in Kuspit text was known way beyond the nineteen century and emerged with humans starting to consciously codify reality, that is, with first drawing, first spoken word. Logic that its user is aware of is a code. We dont have immediate perception of surroundings, like ants, birds and viruses. Our reality is mediated. Language and codes are ingrained in surroundings of other creatures. Humans are conscious encoding-decoding machines.

Low-complexity art and matrix of sensations.

I found two of prominent scientists that develop a framework that is instrumental to what I do. They push forward the idea of aesthetics of information and aesthetics as information. One of them is renowned American art critic, curator and professor of art history at the State University of New York at Stony Brook and professor of art history at the School of Visual Arts and Andrew White professor at large at Cornell University – Donald Kuspit. He comes up with a term – “a matrix of sensations”. He posits that there was a transition from analogous to digital art at the end of nineteen century when a flow of perceptual sensations corresponding to an object gained independence from representation of that object and the very matrix of sensations became codified in works of pointillists.
And another one is Jürgen Schmidhuber who since 1995 has been co-director of the Swiss AI lab IDSIA in Lugano, since 2004 also professor of Cognitive Robotics at the Tech. University Munich, since 2006 also in the faculty of the University of Lugano. Jürgen develops a theory of “low-complexity art” among another exciting things. That is, the art that feature best compressibility and novelty. Note link on demo scene in wikipedia article. Exciting!