To: design-list
Subject: re: Monkeys and designers
Date: 2002.10.26 12:01
Last night I browsed through an assortment of older Sotheby's and Christie's
Contemporary Art auction catalogs that I recently purchased via eBay. All
the catalogs contain fine color reproductions (fodder for future collages,
etc.) and occasionally a short article on a specific item. Within the
description of Robert Rauschenberg's THIRD TIME PAINTING, painted in 1961
(and estimated in 1990 at $4 million to $5 million dollars) is a reference
to a related Rauschenberg work REVOLVER, 1967, which reads, "This combine
painting includes two separate clocks. One clock was set at the time that
Rauschenberg began the painting and the second clock was set when the artist
finished, clearly associating the passage of actual time with the creative
act in the most pure and direct fashion."
Last night I was thus reminded of a Rauschenberg fact that I have since
forgot. I remember learning of Revolver and it's bracketing timepieces when
I read RAUSCHENBERG / ART AND LIFE (1990) by Mary Lynn Kotz, the only book I
ever bought (and completely read) on Rauschenberg, who at that time was an
artist I really only knew the name of but not the work of.
On 13 March 2002 I wrote the following to design-l:
And through the fanlight flies the fanmail like a pigeon with a fantail.
is from one of my early 1980s "poetry squared" poems. The passage was also
used within the April 1999 design-l thread "test (poem?) by whomevers" [and
the passage was used within the appositional text of THE EXPEDITIOUS
EXPEDITION at www.quondam.com/18/1722.htm ].
POETRY SQUARED was an experiment(s) conducted on my first personal computer,
a 1983 DEC (Digital Equipment Corporation) machine. I had a very primitive
word processing program and a dot-matrix printer. The printer was set up to
type out 4" across with 16 characters per inch and 6 lines (I think) per
inch down--this was the tightest printing the computer/printer allowed. As I
spontaneously wrote on the screen, the goal was to ultimately have a text
that would print out forming a perfect 4" square. Above the square block of
poetry was the time the writing started and below the block was the time the
writing ended (--this labeling procedure turned each poem into a kind of
race to finish the square fastest). I have print-outs of all 80 poems, but
all the equipment that helped create the poems, including the 5 1/4"
floppies of file data, has been trashed some time ago.
You know, there might just be a 'natural' creative pattern oscillating
between wavelengths, calendrical coincidence, and reenactment.
Subject: re: Monkeys and designers
Date: 2002.10.26 12:01
Last night I browsed through an assortment of older Sotheby's and Christie's
Contemporary Art auction catalogs that I recently purchased via eBay. All
the catalogs contain fine color reproductions (fodder for future collages,
etc.) and occasionally a short article on a specific item. Within the
description of Robert Rauschenberg's THIRD TIME PAINTING, painted in 1961
(and estimated in 1990 at $4 million to $5 million dollars) is a reference
to a related Rauschenberg work REVOLVER, 1967, which reads, "This combine
painting includes two separate clocks. One clock was set at the time that
Rauschenberg began the painting and the second clock was set when the artist
finished, clearly associating the passage of actual time with the creative
act in the most pure and direct fashion."
Last night I was thus reminded of a Rauschenberg fact that I have since
forgot. I remember learning of Revolver and it's bracketing timepieces when
I read RAUSCHENBERG / ART AND LIFE (1990) by Mary Lynn Kotz, the only book I
ever bought (and completely read) on Rauschenberg, who at that time was an
artist I really only knew the name of but not the work of.
On 13 March 2002 I wrote the following to design-l:
And through the fanlight flies the fanmail like a pigeon with a fantail.
is from one of my early 1980s "poetry squared" poems. The passage was also
used within the April 1999 design-l thread "test (poem?) by whomevers" [and
the passage was used within the appositional text of THE EXPEDITIOUS
EXPEDITION at www.quondam.com/18/1722.htm ].
POETRY SQUARED was an experiment(s) conducted on my first personal computer,
a 1983 DEC (Digital Equipment Corporation) machine. I had a very primitive
word processing program and a dot-matrix printer. The printer was set up to
type out 4" across with 16 characters per inch and 6 lines (I think) per
inch down--this was the tightest printing the computer/printer allowed. As I
spontaneously wrote on the screen, the goal was to ultimately have a text
that would print out forming a perfect 4" square. Above the square block of
poetry was the time the writing started and below the block was the time the
writing ended (--this labeling procedure turned each poem into a kind of
race to finish the square fastest). I have print-outs of all 80 poems, but
all the equipment that helped create the poems, including the 5 1/4"
floppies of file data, has been trashed some time ago.
You know, there might just be a 'natural' creative pattern oscillating
between wavelengths, calendrical coincidence, and reenactment.