maandag 15 augustus 2016

grawlixes: the filth and the fury

Basic Grawlixes appeared in a copy of The Daily Mirror in  1976 after rigid social conventions that were assumed to be generally accepted on British television were radically  broken by the Sex Pistols in their first Tv interview

woensdag 6 juli 2016

Asger Jorn: Notes on the Formation of an Imaginist Bauhaus

What was the Bauhaus?
The Bauhaus was an answer to the question: What kind of “education” do artists need in order to take their place in the machine age? 

How was the Bauhaus idea implemented?
It was implemented with a “school” in Germany, first at Weimar, then at Dessau. Founded in 1919 by the architect Walter Gropius, it was destroyed by the Nazis in 1933. 

What is the International Movement for an Imaginist Bauhaus?
It is the answer to the question where and how to find a justified place for artists in the machine age. This answer demonstrates that the education carried out by the old Bauhaus was mistaken. 

How has the idea of an International Movement for an Imaginist Bauhaus been implemented?
The Movement was founded in Switzerland in 1953 as a tendency aimed at forming a united organization capable of promoting an integral revolutionary cultural approach. In 1954 the experience of the Albissola gathering demonstrated that experimental artists must get hold of industrial means and subject them to their own nonutilitarian ends. In 1955 an imaginist laboratory was founded at Alba. Conclusion of the Albissola experience: complete inflationary devaluation of modern values of decoration (cf. ceramics produced by children). In 1956 the Alba Congress dialectically defined unitary urbanism. In 1957 the Movement is promulgating the watchword of psychogeographical action. 

What we want
We want the same economic and practical means and possibilities that are already at the disposal of scientific research, of whose momentous results everyone is aware.
Artistic research is identical to “human science,” which for us means “concerned” science, not purely historical science. This research should be carried out by artists with the assistance of scientists.
The first institute ever formed for this purpose is the experimental laboratory for free artistic research founded 29 September 1955 at Alba. This type of laboratory is not an instructional institution; it simply offers new possibilities for artistic experimentation.
The leaders of the old Bauhaus were great masters with exceptional talents, but they were poor teachers. The students’ works were only pious imitations of their masters. The real influence of the latter was indirect, by force of example: Ruskin on Van de Velde, Van de Velde on Gropius.
This is not at all a criticism, it is simply a recognition of reality, from which the following conclusions may be drawn: The direct transfer of artistic gifts is impossible; artistic adaptation takes place through a series of contradictory phases: Shock — Wonder — Imitation — Rejection — Experimentation — Possession.
None of these phases can be avoided, though they need not all be gone through by any one individual.
Our practical conclusion is the following: We are abandoning all efforts at pedagogical action and moving toward experimental activity.

vrijdag 1 juli 2016

Breaking the Frame

"Like other art forms, comics provide frames through which we are invited to see the
world, ways of seeing that suggest ways of being(..)
 The trick, for a radical artist, is to demonstrate, somehow, that this substitution of a world for the world, of a trammeled and blocked-in "worldview" for the "unspeakable" plenitude and plurality of things as they are, is the stuff of everyday life under domination (..)
We are always seeing the world through frames, a world as seen through
"enframing" (Heidegger). The anarchist project demands that we find ways
to reframe the world, to see it anew by breaking with the framework of
conventional perception, transforming the means of perception into its own object,
calling attention to the frame as frame, making ourselves aware that it is a frame -
and not the limits of the world itself."

(Jesse Cohn. Breaking the Frame: Anarchist Comics and Visual Culture (Belphegor 2013) 


 Ernst Riebe. Mr. Block; He Tries the Courts (1912)

Grawlixes appear when a routine is cut off by an unexpected event. And
when they appear the anticipated frame-squence is put to a full stop.
The emotional response (in this case 'patriotism') to the unexpected frame-break indicates towards a deeply felt possibly innate connection to the anticipated path of the routine.

zaterdag 7 mei 2016

Grawlixes: Pataphysica

Grawlixes first appeared in the daily strips of the early 20th century newspapers.
Grawlixes pop up after the path of a rigid, mechanistically operating character towards a goal or ideal was cut-off by an unexpected event .
When Grawlixes appear in the cartoon, the character’s cognitive and motor-skills appear distorted, linguistic structure disintegrates, and destructive imagery of death, explosions and swastika’s appear in the company of spirals and swirls. (see also programming with grawlixes)

In 1914 in his book “The Curves of Life” Theodore Andrea Cook writes;
“The Lucky Swastika,” (..)is “one of the most ancient and widespread of all symbols,” connected both to the orientation of the sun and to the growth of the lotus flower, the latter itself, according to Cook, considered a “sacred” spiral form .
Within a few short months of the publication of The Curves of Life, much of
Europe would be at war, (..)and vanguardist European artists of diverse and even antago-nistic allegiances had begun to draw on the figure of the spiral not to express “the profound significance of mankind” as eternal beauty, but precisely as absurdity and hideousness.”


Alfred Jarry’s (..) play Ubu Roi and the novel The Exploitsand Opinions of Doctor Faustroll, Pataphysician, both(..) prominently feature spirals of this new, destructive type, and both (..) were acknowledged by Italian Futurists as important precursors.

(..) the author of Ubu declares ’pataphysique to be “the science of that which is super-added to (..) metaphysics, whether within or beyond the limits of metaphysics.”

If metaphysics ostensibly studies that which is beyond the physical, ’pataphysics (whose little recoiling spiral apostrophe, Jarry claims, is used “to avoid a simple pun”) extends “as far beyond metaphysics as the latter extends beyond physics.”
Yet despite this ostensibly long reach, ’pataphysics is turned not toward the universal, but toward the particular and, especially, the “accidental.” Accordingly, it “examines the laws that govern exceptions.

"Faustroll’s little parable concludes, charmingly, “the unforeseen beast Clina-
men ejaculated onto the walls of its universe.” In Jarry’s text, (..)spiral forms are thus associated with sexuality and power, sexuality-as-power. This power would allow “’pataphysical” contemporary art-of-the-future to “dash itself ” against thearchitecture of the decaying old and, unforeseen, “ejaculate against the walls”with its destructively primal, primary, priapic/pudendic colors. In this explo-sively violent vision, body limns machine: indeed, body is a kind of sex- and art-making machine."

"Jarry’s ’pataphysics, thriving on the accidental, thus offers (..) exceptionally exemplary models for destructive production.The Italian Futurists responded, in part to Jarry’s provo-cation, with a call to “wreck the cities pitilessly,” to torch libraries and museums, and to embrace the hard sleekness of the machine.(..)

emphasis mine 

Nico Israel.
Spirals: The Whirled Image in Twentieth-Century Literature and Art,
Columbia University Press (February 3, 2015)

Grawlixes and Art: Ad Reinhardt; How To Look At Spiral (1946)

From: Ad Reinhardt; How to look at Spiral (1946)

Ad Reinhardt's How to Look: Art Comics. Hatje Cantz/David Zwirner (February 28, 2014)

Lines; Ad Reinhardt

From: Ad Reinhardt; How to look at iconography (1946)

Ad Reinhardt's How to Look: Art Comics. Hatje Cantz/David Zwirner (February 28, 2014)

donderdag 28 april 2016

Kandinsky; POINT AND LINE TO PLANE (1926)

A line is a track following "the destruction of the intense self-contained repose of the point.

"When a force coming from without moves the point in any direction, the first type of line results; the initial direction remains unchanged, and the line has the tendency to run in a straight course to infinity."

the simple curved line is really "a straight line which has been brought out of its course by constant sideward pressure — the greater was this pressure, the farther went the diversion from the straight line"


woensdag 27 april 2016

Vilém Flusser - 1988

"When alphabet was invented, mythical thought gave way to historical thought. Because the structure of linear writing is a uni-dimensional, uni-directional line. So that, by and by, people started to think historically in a causal way and in a critical way."(..)

 Linguistic communication, both the spoken and written world, are no longer capable of transmitting the thoughts and concepts which we have concerning the world. […] It has been clear for several centuries now that, if we want to understand the world, it is not sufficient to describe it by words. It is necessary to calculate the world. So that science has had ever more recurrence to numbers which are images of thoughts. […] Numbers are being transcoded into digital codes and digital codes are, themselves, being transcoded into synthetic images. So it is my firm belief, that if you want to have a clear and distinct communication of your concepts, you have to use synthetic images, no longer words. And this is a veritable revolution in thinking.