Good morning everyone, I would like to welcome you to Goldsmith’s College and our conference on Neuroaesthetics. This conference is the last of four conferences held here since January, the others being ‘A Phantom Limb Phenomena: Its Aesthetic, Cultural and Philosophical Implications’, ‘Creative Evolution’, and ‘Creativity and Cognition’. This conference looks at the new and emerging field of Neuroaesthetics—what it is, what it is doing and where it is going. In my opinion, artists have always been implicitly interested in vision, audition, movement, language, perception, cognition, consciousness and now sampling, plasticity, and synchronicity. …
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 …
Well it’s a pleasure to continue this discussion about color, and a bit of a superb organization allows me to naturally flow from what I think was said before. Now I feel that some of the effects that I wish to talk about may appear somewhat more subtle, perhaps less dramatic, than the wonderful things we’ve seen up until now. And I do want to talk about the ways in which our experience might affect the way we see similarities in color. But in order to do that, perhaps I’d like to try to put some sort of perspective on a memory structure that will …
Well I’ve changed the title of my talk, just one of those things, I woke up this morning at four o’clock in the morning and put this talk together. That’s what’s amazing about Power Point, it’s a tool, it’s another dj tool, especially when you DJ your own history, or your own ideas or whatever. I live in Shorditch. I’ve lived there for a year and a half and in Shorditch there’s all this graffiti on the walls because there’s a big club scene there and I was walking around yesterday or the day before and on this wall it said, “Resistance is Futile,” which …
In 2001: A Space Odyssey, Stanley Kubrick makes one of the most famous jump cuts in the history of cinema, when he cuts from a bone being flung in the air by an ape. In this scene, Kubrick compresses the entire history of the technical and the human and makes a direct correlation between the first, and most primitive tool use, and the most sophisticated technological achievements of modern humanity. Kubrick was well known for the extensive research that he did for his films. His biographer, Vincent LoBrutto describes his, “capacity to grasp and disseminate information of like a human computer.” …