J.C. wrote:
>We looked at repetitive practices and
> processes of acclimation that spanned diverse formatting principles; we
> spoke about what facilitates these recurrences
Taking into consideration that rhythm is a cardinal trait of the nature and
form of the motion of the matter which is embodied in various oscillations
from the frequency of electromagnetic oscillations which are reflected
from the object's surfaces and the frequency of oscillation of air
molecules
to the frequency of the flashes of the activity on the sun, we could not be
surprised to notice basic and obsessive character of multitude repetitive
actions. We could consider the repetition in physical, symbolical, social,
bio/psycho/technological fields. Memory, art, everyday habit, ritual,
history are based on certain patterns.
Let's take as an example the 'simulacre' in art. According to Gilles
Deleus,
art does not imitate anything, because it repeats all the repetitions, art
reverses the copy to the simulacre. But the notion of the simulacre has
appeared in certain time, in a time of consumer society and perfectly
fits for it's description. We could roughly say that in the process of the
transition from production to re-production epoch the simulacre replaced
the style as well as the schizophrenia replaced the hysteria. There is
question
how the notion of the simulacre is changing on our way from the
consumer's to user's paradigm? If to take into consideration that aesthetic
object could be born in the point of convergence of psychological,
symbolical and technological tendency how the art could be affected by
myltipersonality, polysensority, virtuality (if to use all this stereotypes
to describe shortly what is going on) ?
Olessia Tourkina, Viktor Mazin