>documentation/information about your work. We are not so much interested in
>work that involves "regular" production (eg CDROM designers) but rather the
>work of technological artists hired within R & D or development teams, or
>the work of artists that has resulted in patentable developments or
>commercial innovations.
>
>If interested send email to: leo@mitpress.mit.edu
>
>For further information on Leonardo/ISAST:
>http://mitpress.mit.edu/e-journals/Leonardo/home.html
>----------------------------------------------------------------------
now we're talking the straight dope: can "art" outgrow its' cultishness,
cutsiness, masturbatory self involvement, bitchy politics of the
narcissisms-of-minor-difference, and actually "do something" ? Well, it is
easily arguable that some art, at least, IS doing something by just being
there, saying what it has to say. Fine; there are some Eric Fischl
paintings I like as they are, and I wouldn't want him designing coronary
valves for human implantation (unless I have vastly underestimated the
man)... Then, we have a dubious category of gadget-art... highly crafted
machines and doohickeys that go round and look like they ought to be aiming
at a result, but end up being glorified coo-coo clocks... we have idea art
and various conceptual sub-species that may be capable of
xenotransplantation into other domains of thought (outwardly directed
paradigm leakage), just as domains of epistemology and other realms og
language theory leaked into art-paradigm. On the other hand, does artistic
training and experience have what Gregory Bateson would call a "second
order learning quotient", are mental processes and operations that are
attuned to the art manufacture process transplantable into other forms of
productive activity ?
This last modality may be the most generative model in terms of what you
are actually seeking.
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