Every act of creativity and recombinatory cultural reconfiguration is both additive and subtractive – it is an addition of complexity and structure and is simultaneously the systemic logical negation of existing methods and strategies of organisation and thought.
Broken things and imperfect people are often far more interesting than are complete and whole ones…
We find ourselves endlessly aspiring towards procedurally patterned symmetries of refinement in an iterated and accelerating aspiration towards beauty, knowledge and control.
Does the plausible and probable distributed computation of the hyper-extended cognitive technologies of our material culture generate us just as much as we generate it?
A logic of communication is stored in material artefacts and its expression and distributed embodiment in culture evolves over time.
The art of Leonardo Vargas invokes the ghost of Francis Bacon’s disturbing vision but arguably finds itself arriving in an altogether different aesthetic solution to a representation of human identity and the psychological dissonance of individuation.
Where does art stop and the person begin? Is the frame of the canvas the boundary? Is the wall, the room, the building the boundary? Is the audience the definitive edge and boundary condition between the artefact and the meaning or interpretation?
Information encoding for message transmission is a function expressed in (and as) visual culture and which evolves over time.
An epigenetic self-replication of the spiritual void, manifest as cultural entities in the contemporary Chinese art of Mi Qiaoming.
In this painting of the “human Barbie doll”, Swiss artist Stefania Pinsone reflects the self-conscious self-replication of culture, self and art itself. The painting is titled “Valeria Lukyanova (white noise)”.
Art is that through which we recreate ourselves.
It is a gargantuan investment and leap of faith to assert, predict or seek to influence technological trajectories over a time scale of centuries.
Daedelus Kite 