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Lorna Mills and Sally McKay
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THREE YEARS OF BAT BOY
Carlo Lowfi on webjam
Sunday - The Isley Brothers
Summer Breeze (my guiltiest pleasure in the universe)
That Lady
It's Your Thing
Lay Lay Lady
blingee by L.M.
Could an artwork actually function as an empirical experiment to study consciousness? If so, the viewer would be simultaneously situated as both the subject of the experiment and the scientific observer. This might sound fishy from a scientific perspective, seeing as the scientific method is structured specifically in order to bracket subjectivity off from observation. But scientists who study consciousness are faced with the epistemological problem that consciousness can only be directly observed by the subject who is conscious.
Even if we set aside the problem of AI, the science of consciousness is particularly challenged in the pursuit of empirical evidence. Because we cannot directly experience another’s conscious state, even neuroscientists using MRI are forced to rely on self-report, meaning that subjects tell the observers how they feel, and the observers then correlate that information with the imaging data they collect. And of course this only works for humans. Monkeys provide the most detailed imaging data on neurons and synapses because invasive experiments are done with them that aren't done with humans. But monkeys can’t tell the scientists how they think or feel. So there is another order of correlation going on, which is that between less precise MRI imaging in humans and more precise imaging in monkeys. Much of what neuroscientists understand about the fine structures of the brain are based on inter-species extrapolations. To add to the complexity of the problem, even within species, as Gerald Edelman points out, “no two brains are identical, even those of identical twins.” Gerald Edelman, Second Nature: Brain Science and Human Knowledge, 2006. pg.28
Jade Rude and Bruno Billio in Empire of Dreams, Phenomenology of the built environment, Contemporary Artists from Toronto at the MOCCA, 952 Queen Street W., Toronto. Until Aug. 15, 2010.
Curated By David Liss.
Russian Mountain and Yellow-Black Tower 2010 Russian Mountain: Canadian lumber, gold acrylic mirror
Yellow-Black Tower: Styrofoam, lacquer
Yes, I like this show.
David's The Oath of the Horatii is in Toronto right now and so is the sketch treatment of the painting by Ingres. They are part of the AGO show Drama and Desire: Artists and the Theatre, "featuring artwork inspired by the theatre, presented 'on stage' with live performers, full-scale sets and period lighting." It's a fantastic summer show. There's a bunch of hilarious Neo-Classical paintings, over-the-top romantic paintings and etchings of scenes from Shakespeare, there's work by Ingres, Delacroix, Degas, Aubrey Beardsley...tons and tons of really canonical drawings and paintings from the history books. The whole thing is staged in a fabulously cheesy theatrical setting with velvet drapery, proscenia and chandeliers, interactive props, and actors in costume wandering around spouting sonnets. When I'd just read the promo I didn't really get the concept. Well, actually I was expecting something sort of exactly like what it is, only bad. But the art is really worth looking at, with or without the theatrical theme, so there's no sense that the curators are trying to force an idea. Instead, the theatrical context is just a really fun environment for spending time with a bunch of great art and enjoying all the cheese factor that's also in the work.
