“I believe an important element in any creation of art is that you have to have an external im

“I believe an important element in any creation of art is that you have to have an external impulse that is out of your control, and randomness is one of those elements that has been used in art a lot. I really like including this element in my work, because I believe if I’m only sourcing everything from inside of me, I can’t get to really new places, so it needs an external factor.”How much meaning can be extracted from just 125 letters? You may ask the same about the tossing of 3 coins, or in the cards pulled from a deck of 78.The answer is plenty, if you are open to it.Although I tend not to be the person to see literal divinity in consulting the I Ching or in the three-card spread of the Tarot, there is, to me, profound meaning to gain from how we humans look to the external world for answers to our internal struggles. Artist Mario Klingemann takes this mechanism humankind has inherited—seeking meaningful, timely patterns that can bring order to the entropy—and re-manifests it within an art installation whose tongue is, refreshingly, not quite firmly placed in its cheek.I see playfulness in Klingemann’s Appropriate Response, but no insincerity or ridicule towards our want of cosmic answers. Klingemann provides an opportunity for viewers to tickle the synchronistic pareidolia that we all have within us; to query la tendre indifférence du monde, and to receive a reply through the satisfying clickety-clack of a split-flap display.The installation, housed at the Espacio SOLO private museum in Puerta de Alcalá, Madrid, works as follows: by a visitor kneeling at the prie-dieu, the GPT-2 neural network kicks into action, writing an original, random message on the display board, letter-by-letter, for the kneeling visitor to, as it were, take personally. The near-limitless wealth of English grammar wielded by an unsupervised language model turns out to be far more than what any dye-soaked icosahedron of a Magic 8-Ball can offer.“This message is like a seed, and the viewer is the soil onto which it falls; and depending on the situation, the individual, it depends if the seed can flourish or if it just withers away. Without the viewer, it wouldn’t be the piece.”The world, by all measurable accounts, remains indifferent, but with this call and response the viewer has opportunity to walk away changed, as Jung described his patient with the scarab beetle, by a hole punctured in their rationalism, breaking the ice of intellectual resistance. Like other avenues often deemed mystic, the significance that I find in these coincidences, albeit forced a bit here via machine learning, comes from within. When we see the inner [subjective] world as the obverse to the outer [objective] world’s reverse, we find the entirety changed, altered fully by the punctured hole of our recast perception. We can kneel before the flap board and knowingly provoke our recognition system with—depending, I suppose, on where one stands between realism and conceptuality—a false positive. This is a Begriff toy, much like the others I mentioned above; and like the best toys or games, Klingemann’s Appropriate Response mimics an inescapable aspect of the human experience and allows us to investigate ourselves through it. -- source link
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