The logics of perception and experience are no longer materialistically defined only by contours of geometric and linear time and space arranged hierarchically in a rigid lattice but rather follow curved, non-linear Rheimannian paradigms that are expressed in complicated, non-hierarchical, rhizomatic shifting patterns.
October 31 & November 1, 2008
Delft School of Design: TU Delft
Organized by Deborah Hauptmann and Warren Neidich
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Yann M. Boutang, Charles Wolfe, John Proveti, Keller Easterling, Markus Miessen, Bruce Wexler, Scott Kelso, Jordan Crandall, Andreas Angelidakis, Abdul – Karim Mustapha
The aim of the TRANS_THINKING THE CITY series is to bring together experts and scholars in both the sciences and the humanities to discuss issues of relevance to current architecture and urban practices; issues effecting our cities, polis, ethos, communities. Trans_Thinking is a term employed to indicate a new mode of intellectual activity, thinking as part of mental mechanism brought…
Conceptual Art as a Neurobiologic Praxis was an exhibition curated by Warren Neidich at the Thread Waxing Space, New York City, in 1999 which attempted to make explicit certain trends and ideas that were considered important parts of the history of Conceptual Art but which had not, up to that moment, been adequately explored. The Neuro-aesthetic Reading Room is still an imaginary project proposal which in many ways builds on the concepts of Conceptual Art as a Neurobiological Praxis.
Steven Holl asks the same question of architecture that Merleau-Ponty asks of philosophy . Can the ambulating sentient being embedded as he or she is in the matrix of concretized values as they are inscribed in that being experience and understand seeing in a context articulated for that purpose?
First and foremost, I just want to say thank you all so much for coming out. I know given the hecticness of being in London, and seeing the traffic on the way over here, its always amazing that people can get from point a to point b. After living in New York and comparing it to London, I’ve just realized I have a kind of grid mentality. We heard the gentleman earlier talk about that. And I just realized that the traffic here really alters your sense of perception of time. Its gridlock here. Anyway, to make a long story short, I am an artist,…
This is just, it’s really a response to a lot of things that were said today, and in fact, it’s really really good that I’m right at the end of this panel, because I’m a walking example of what Diedrich [Diederichsen] was saying, and Martina [Wicklein] also, in a sense that neurotransmission and the kind of historical background. What I really want to do is propose a kind of call to arms, and it’s not a performance, it is a proposition, I am actually actively making a proposition towards a certain collectivization, not in a Stalinist sense, but perhaps an active resistance within the so-called…
Today I have chosen some works which I think will have more or less relevance in this context. Just briefly, I was born in Copenhagen, my parents were from Iceland but were studying in Denmark at the time, and I lived a little bit in-between. Then, ten or eleven years ago I finished art school in Copenhagen and I moved down to Berlin and I have been living there since. I came out of art school at a time (in the early nineties) when, at least in Danish art schools, it was slightly apocalyptic, always being about the end of everything in this sort of…