NOTES

I.

Pointillism and the pixel. Legibility and an aesthetic of blindness. Transformation. 1,000 years of Primary Forms. Pictures that barely survive. Digital media and the hand. Projections for a built environment. Retaining the gesture. Screens are real. A database of visual syntax. The symbolic process. A genealogy of artists. The art object as a kunstkammer of memories. The Dynamic Monochrome. Personal objectivity. Paintings ripped from stretcher bars and used for shelter.

II.

Abstraction, Obfuscation and the News Media. Partisan, Controlled, and Undecipherable. Empirical Evidence for Unprovable Theories. Abstraction that argues for significance. Architecture for Avoiding Geo-Spatial Imaging. Military Poetics. A Diary of Understanding Pictures. Persistent Surveillance and Personal Abstraction. Irreducible Complexity. Scientific Absolutes and Moral Ambiguities. When "choice" becomes an acceptable synonym for murder. Cloud-based computing and the pictorial interface. Photographs as intelligence documents and maps as potential targets. Art that is under constant re-construction.

III.

A House Of Other People's Ideas. Materials with Multiple Meanings. Art that is being remixed while in the process of being absorbed. The art object as a time capsule of a cultural moment. Text that grows. A perfect environment is no guarantee of a perfect outcome. A decadent society as the prelude to it's destruction. Web-based individualism = Unconscious Conformity. Nature invading nature and man residing in nature. A Library of Circles, Squares, and other Geometries. Google something; Photoshop it; Photoshop it again. The Curatorial Studio. Spectacles that are not for tourists. I see IC. A structure where the earth is raised up and we can peek our head through.

IV.

When artists teach curators. The physical remnants of New Media. Human nature is consistent across all cultures. Dreaming of an audience and the ideal viewer. Unstable artwork that endure for 1,000 years. Classified musings. Transparent Roofs. Painting with other people's pictures. Protesting Machine-made Abstraction. The act of making in the realization that nothing can go wrong. An era of experimentation that is coming to a close . . .

V.

Folding pictorial interfaces. Art as a data and experience visualization kit. Sculptural components from a lost architecture. Narrative boundaries, upward growth, and an increasingly dense internal development that eventually overflows with content. Stealth Sculpture. The Computer as both a capture and drawing tool. All eras in one object. The potential of art objects to reveal personal experiences to viewers is a symptom of the artist's public-private disorder.

VI.

Creative powers that exceed the monument they represent. Gardens + Cities. Humanity's affinity for objects. Speaking in unknowable metaphors. A Laboratory of Knowledge. When everything feels fragile. Defining social conditions that lead to creative ferment. A process of creating or altering information systems. Ambivalent surveillance and agenda-less occupations. Manifestos that fail. Supposed social activism. Changing the world vs. Changing the way people perceive the world. Someonethings and someoneplaces. The artist's vision detached from the artist's hand. Direct and full of content.

VII.

Choose where you live.

VIII.

1. If one does not understand text, it is incredibly difficult to formulate ideas.
2. Ideas always have physical corollaries, but ideas are inherently abstract.
3. Clear communication requires an understanding of the nuances of abstraction.
4. Graphic design has to clearly communicate.
5. Graphic design is abstraction.

IX.

Aggregation, selection, and transformation. The Spatial Scientist. Statements that are simultaneously Formalist and Political. Extra-institutional vs. Anti-institutional. Relax . . . and Research. Real Intelligence vs. Artificial Intelligence. Sensors vs. Living. Art that is a point of reference vs. Art that is referencing points. The combination of observation and invention. The discovery of creation. Posing objective questions with multiple answers. Exploring the role of the exhibition as defined by the artist. The exhibition as an extension of the studio practice. Creating platforms for collaborative work that can also be enjoyed on a solitary basis. Trash Formalism = Design & Detritus. Time and timelessness. Text is what's next . . . but text has it's limits.

X.

Numerical & Textual Knowledge vs. Visual & Spiritual Knowledge. A culture that accepts civil murder. Discussing digital culture without fetishizing digital processes. I'm skeptical of human-made beauty.