Coaxing signatory systems towards emergent basins of attraction, the process
works by chaotically and combinatorically searching for novel and personally
useful graphical languages, which stimulate associative or haptic grammars,
engaging the viewer in a 'feedback loop' of reflexive and affective identifications
and 'readings'. GenAe is a philosophically stylized investigation of cognitive
mimesis and graphical syntax, as subjectively vitalistic embodiment of
the entangled relationships linking material and mental processes - a
rapport with the apophenic phenomena of the world, akin to a contemporary
adaptation of magic.
The methodology is that of the 'patascientist, a hubric joke and frankenstinean
cognitive experiment. alchemically attempting to give name and face to
stochastic generative systems: to paint with the artifice's own life,
it's own latent artifical intelligence, or its demonology. A creative
practice syncretically improvised from a localized interpretation of shamanic
animism, and a student's grasp of semiotic cybernetics and psychoanalytics.
The process demands an attentive engagement, and accentuates consciousness
of the editorial co-authorship negotiated between these material 'forces
of nature' and our cognitive 'virus of culture'. As uncontrollable aspects
of the process, chance procedures stir up that mimesis which otherwise
quietly governs our highly selective perceptions and partitions off that
cone of orderly silence in which we identify ourselves and discern our
very 'home' in reality.
Generating graphic artifacts to illustrate and articulate that permeable
margin dividing mediated languages, working with visual-audile-social
means as performative-affective mediums. Stimulating that mimickery and
enfolding by the body with it's haptic and synaesthetic 'readings' of
the situation, they work at creating an encounter and resolution with
something experientially - yet paradoxically and parasitically,-'alien':
our subject's place within the body itself.
These techniques work through direction and redirection, rubbing attentions
against presumptions. Our art oscillates and makes malleable the habits
by which images are imagined [or metaphorically, how the word becomes
flesh]. Ink is observed by the eye to transition into a 'becoming' of
thought and signification, and vice versa. As an idea leaps across the
synaptic gap of what is and is not 'there', the meat emulates an association,
and so our ideas are threaded. A sympathetic concept begins to accumulate,
like a tiny homunculus, a golem: a simulacra.
I crave these historically feral proliferations. Through the repetitions
and differentiations of these surprisingly effective and communicable
techniques, a type of cognitive freeware is distributed, tools for developing
tactics to generate great abundance of abstractions, figurations and iconoglyphs.
Markings and meanings become active on all scales, imagined together by
a multitude of peoples.
Scouring the plenum for those fleeting nodal points of autonomic creative
flux, reflecting on the uncannily affecting mark of a loosely calligraphic
'accident', these series of 'drawings' are my efforts to open and enlarge
my facility with the lexical field of ink and paper through rapport with
it as an active medium. Between stabilized planes and panels, a sprawling
matrix of lateral and synaesthetic mnemonic associations emerges. To express
and explore these object/subject-relations, my procedures summon up their
own markings, like other-dimensional shadows stepping forth from the interstice.
Generative arts function to establish and maintain a reciprocal and equivocal
relation between the self and the world - a rapport of phenomenal and
sensual engagement. The 'rorshach' image invites this intimacy, and polysensually
enfolds a contact between complimentary surfaces: thoughts fondling a
material sign. A haptic image always implicates the viewer-as-reader-as-artist.
an equivocal participant in the subtle schema and shifting strata of their
own encounter with culture, nature, and life.
Illuminating and destabilizing those classical and classist biases of
attraction and revulsion, those basins of sympathy which direct and often
impede our freedoms for creative reconceptualization and cognition, art
begins as an embodied social work, with an unleashing of libido suppression
and liberation from slave-mentality, unlearning our own self-defeating
behaviors and enculturated stupidities - deprogramming our very 'civilized'
and stubborn obedience to a tradition of folly and needless suffering,
through emancipatory practices of contemplation and creativity.