Andreas Maria Jacobs

Finality A Sketch for a Virtual Sculpture

To afford: to be able to do, manage, or bear without serious consequence or adverse effect [1]


radiatorlowqplus.jpg - -- Finality, a Sketch for a virtual Sculpture © A.A. 2011 Andreas Maria Jacobs

Virtuality vs. Materiality [2]

Translating the virtual to the tangible, in doing so the delusional benefits of the 'arts' in the unreal world of the Internet will be broken and the remnants of the real world will be visible again.

Why should the Internet be a possible artistic, political, societal or whatever future?

These premises are awkwardly wrong and leading away from ourselves and the other. In accentuating the distantness of the virtual , the connection with the World 'as it is' is slipping out of our hands and into the realm of speculations, wishful thinking and other insane consequences of which we are just in the middle.

Contextualizing and virtualizing is destroying the sensual experience

Talking about talking about experiencing is replacing experiencing

"Did you see, That?!"

This phrase is a common way to avoid the reflection on what one actually has been seeing

Instead of experiencing the direct influence the 'world' imposes on the senses, attention is distracted from it, directed away from this experience so not to fully being imprinted by it

Same goes for talking, writing about writing, the Internet and ultimately of art 'ann sich'

By putting the accent on the dialogue the impression looses its grip and frees the spectator from staying caught in the sensual confrontation

To fully understand a work of art one needs to make possible to maintain the contact with its aura, by artifically transporting and seperating this, art looses its workings and what is left are commodifiable artifacts

These artifacts are discussed and analyzed over and over, covering the art work with an acidic manteau of intellectual dust, slowly destroying its intrinsic value

Let's focus on the question: "What did you see" instead of "Did you see, That!"

When approaching art such a way a question is asked and interpretation about the art object is made possible, by exposing the latter the residual, preconceived human opinions about it are communicated and eventually incorporated in the vocubalary of the so called art world and replacing the original with a diluted derivate

Marcel Duchamp's influence

-- Fountain, readymade © Marcel Duchamp 1917

Starting with introducing his conceptual ideas in the art world Marcel Duchamp succeeded in persuading the art world to embrace the intangible and immaterial, resulting in the era of abstract expressionism to conceptual art to pop art and finally web/net art

Apart from establishing a consumer oriented class system in which one's economical status can be measured by its ability to show off its fetishes - i.e. products- the art market flourished as never before resulting in the 50ties succesfull launch of pop art, whose instruments ( Pollock, de Konink , Rauschenberg and later in the - still more consumer oriented world - Andy Warhol) created an enormous flood of consumer artworks. It is examplary that both Rauschenberg and Warhol came from the advertizing industry and the rise of abstract expressionism was sponsored with money from the CIA.[3]

One century of indoctrinating art theoretical bullshit really pisses me off!!

Andreas Maria Jacobs, January 2011

[1] Google search on 'afford', retrieved Tue Jan 25 00:00:33 GMT 2011

[2] Written as a reaction to this post in Netbehaviour, discussion list on networked cultures, retrieved Fri Jan 21 16:00:33 GMT 2011

[3] Frances Stonor Saunders, Who Paid the Piper: The CIA and the Cultural Cold War, viz.: The CIA and the Cultural Cold War Revisited by James Petras; , retrieved Mon Jan 24 12:00:33 GMT 2011