S vědci o umění – Moment, kdy bylo vše možné, Algoritmy ve fotografii, Diskuze s vědci o umění

• It was series of three events in the etc. Gallery00:00:18.460
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• that were called "About Art with Scientists".00:00:23.473
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• I was motivated by the fact that when you study art,00:00:28.100
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• you deal with philosophy and aesthetic all the time00:00:35.799
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• and you don't need to attend any exact science classes.00:00:40.548
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• And I feel in these subjects we don't follow,00:00:46.940
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• they discover many interesting things that might contribute also to00:00:51.405
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• the art theory and creative process perception.00:00:59.739
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• I'd like to welcome you all at a commented tour00:01:06.555
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• called "The moment everything was possible".00:01:09.696
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• We'll start over there, there's a blank sheet of paper00:01:14.113
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• and there are many possibilities of what could have been drawn on it.00:01:21.763
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• It's like coming to a new school or a new team for the first time,00:01:26.408
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• there are many new people who don't know each other00:01:32.148
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• and you know there are some people who'll become your friends00:01:35.429
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• some of them you'll hate and some of them might become your partner00:01:39.584
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• but at this very moment you don't know who.00:01:43.684
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• It's like when a teenage kid is choosing a profession00:01:51.743
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• and there are many possibilities.00:01:59.300
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• You can become a lawyer or a car mechanic,00:02:02.220
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• a doctor or an artist,00:02:08.600
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• or you don't have to study and you become a shop assistant.00:02:12.640
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• So at this very moment is everything possible.00:02:19.827
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• But then you move on in the time00:02:22.175
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• and this becomes your past00:02:27.807
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• and when you look at the specific point retrospectively00:02:30.404
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• only one of the possibilities became reality.00:02:36.007
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• You became a lawyer and you're probably not going to have a another profession...00:02:40.063
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• Similarly on this paper are some arrows drawn00:02:44.967
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• and it might be a disappointment as the potential wasn't fully used,00:02:50.144
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• it disappeared, but it also could have been worse.00:02:54.589
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• At the first event I tried to explain a theory of the neuroscientist Semir Zeki,00:02:58.383
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• he wrote an article about an ambivalence in art,00:03:06.037
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• he regards it as one of the important features of a good art.00:03:10.184
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• Another example are old photographs...00:03:21.429
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• this is a page from the book Camera Lucida by Roland Barthes,00:03:27.093
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• where he writes:00:03:31.758
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• "It is possible that Ernest is still alive today. But where? How? What a novel!"00:03:33.779
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• We can see he had many possibilities of what he might have become in his life00:03:39.775
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• and when we look at it,00:03:50.744
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• we don't know the boy, but something happened to him and we don't know what.00:03:53.810
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• So we see it this way in the ambivalence...00:03:59.557
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• Differently from Michael Jackson,00:04:07.751
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• who had at that moment also many possibilities,00:04:11.604
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• but we know exactly what happened to him00:04:14.888
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• and that only this possibility came true.00:04:18.886
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• Well, that's all and I'd like to invite you to a short lecture00:04:22.427
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• Algorithms in Photography next week.00:04:29.329
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• Imagine a picture that has00:04:38.749
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• And let's say each of the pixels can be black or white...00:04:47.154
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• The second lecture is related to my dissertation on Algorithms in art,00:04:53.008
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• in which I concern with standardized methods in a creative process of artists.00:05:01.882
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• I don't regard the algorithms there as something used in new medias,00:05:08.937
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• but rather as a metaphor or that art should be something unique, astonishing and new,00:05:13.506
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• but when we come to an exhibition, many of the works are similar00:05:22.848
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• and as people study art they also learn the processes I call algorithms00:05:27.857
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• and if they make them, people will consider them automatically art.00:05:37.995
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• Even though it might be something mechanized.00:05:43.492
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• Another art algorithm popular with photography students00:05:48.662
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• is to invent a limitation to your behavior,00:05:58.042
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• then behave in accordance with it,00:06:01.971
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• document it and present the documentation00:06:04.651
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• at an exhibition or a lecture.00:06:09.812
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• Or choose an ordinary object and make it again from an another material00:06:18.034
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• that is unusual for the object and display it in a gallery.00:06:24.363
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• If we used some of these algorithms, people would likely regard it as art.00:06:30.787
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• But it would be only because it resembles something which is already being regarded as art.00:06:41.908
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• I don't think it's wrong to use some of these algorithms.00:06:50.923
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• The question is if there's something more or if it's just another cliché.00:06:56.116
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• "Every cliché used to be an original idea once"00:07:07.210
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• The third event was a discussion about art with scientists...00:07:10.288
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• When artists create something they often have an ambition00:07:14.990
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• to bring something even to people who don't know anything about art.00:07:22.794
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• So I invited scientists from different scientific fields,00:07:28.163
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• they are very intelligent people but don't know anything about history of art.00:07:33.906
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• I projected various examples of artwork to them and they spoke about it,00:07:39.321
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• expressed their opinion and said if they would recommend it for being exhibited.00:07:46.358
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• The discussion came out of the fact they're used to writing reviews to scientific articles00:07:50.216
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• that are anonymous and it's a constructive critique00:07:58.659
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• addressing the article's author so that he can improve the text later.00:08:05.193
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• And this is impossible in art.00:08:11.955
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• At the end of their critical assessment they note if they recommend the article00:08:13.861
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• for publication with or without reservation or do not recommend it.00:08:24.698
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• And I crossed out recommend for "publication" and wrote "exhibition" instead.00:08:31.059
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• Or recommend with reservation an so on.00:08:37.026
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• I can see the truth there...00:08:41.067
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• The person passing by is going to the lake00:08:43.039
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• or he's going from the lake or is inside or on its banks...00:08:48.223
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• So it's all about the lake...00:08:54.929
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• The person has certainly something to do with the lake00:08:57.350
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• and one of the statements is true...00:09:00.350
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• and I find it quite progressive as it can make people00:09:03.471
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• who take the lake for granted go for a walk there...00:09:12.148

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