Tutorial 5: 04 October 2019. Gareth Polmeer

Research Statement Tutorial

Earlier today, I was able to get feedback from Gareth regarding the RS. We had a very interesting conversation around some of the subject areas touched on in the paper. 

I am happy that the paper has focus and am grateful to Gareth for the suggestions he made in the last tutorial, namely William Latham’s Mutator. The paper works better than the original drafts, in that it avoids many of the former complexities which were hard to resolve within the word count of the paper while still keeping some original elements. 

One of the things I have to add is a line or two to say that some ideas presented are subject to current debate. This goes particularly for the first paragraph in Part 2 which deals with, yes you’ve guessed it, aesthetics. No single area of art causes more debate than aesthetics, or perhaps be more interesting. And that is perhaps why the Research Statement proposes a way of mitigating subjectivity when discussing more than one artistic practice at a time. 

This does not mean I have found a universal and infallible modus operandi. It is more of a gateway to further discussion and debate, perhaps future research. In fact, there are many potential papers nested in the RS. All these side branches or spurs to other areas, can only be hinted at in a four thousand word paper. So this is another thing I should mention in the paper, the potential areas to be investigated. Areas such as the idea of whether AI can make art, final causality and autonomy of action. 

I have one hundred and sixty four words left. This should be enough for any corrections and additions. One thing I was glad of was that I do not need any further citations. They just take up on the word count. This makes life so much easier. There is just one I could add in paragraph 1 of Part 2 where I could explain where the idea is coming from: the part that mentions … not requiring teleological control. This paragraph is debatable which in the context a short paper can be moved through. These are things many books have been written on.

The first paragraph of Part 2 could go in many directions, and I am aware of this. The paper tests ideas and does not sit on its own. Gareth mentioned Paul Crowther who has written on the phenomenological theory of art, Phenomenology of Visual Arts which would be interesting to read in the future. 

I have been concerned with the way the paper transitions from life simulation to looking at art practice as a life process, whether I have been clear enough. Gareth mentioned the Hegelian idea of Geist and in Hegel’s terms art practice is a form of sublation, in which something evolves and changes, and parts are negated to become something else.

Look at Heraclitus in the context of  process philosophy which predates and counters the Aristotelian and Platonic ideas of being, the four causes and the realm of the ideal.   

All the ideas touched on are a rich field to take forward but most importantly they are never far from practice based work. 


Evolutionary Space


Images above: works by William Latham, John Horton Conway and Andrew Lord

Evolutionary Space: A way of looking at art practice as continual process in a disparate ecology.

Art practices have become widely divergent and disparate in recent years, particularly since the arrival of  digital means which have opened out previously unimagined possibilities. Different taxonomies representing a great variety of paradigms, methodologies, thematics, mediums and contexts have given rise to a heterogeneity of approaches when considering practices and the role of artists which can render problematic a holistic consideration of different ways of generating art. Using Conway’s “Life, Latham’s “Mutator”, and the work of ceramic sculptor Andrew Lord as subjects, this paper introduces an approach to discussing art practices, fostering a unified view in the midst of diversity, evolutionary space. Borrowing from the idea of fitness landscape in evolutionary theory, applying it to Olson’s analysis of computer generated life regarding the relationship between pure information and its physical interpretation, in the context of Whitehead’s process philosophy of becoming, and Dennett’s idea of algorithms, a picture is built of how different art practices can be viewed as dynamic information streams coded and implemented in material terms. 

The research paper has changed radically and become frighteningly simply because I have a tendency to complicate things. The above may seem complicated but it is in fact a straightforward synthesis of ideas from various fields to construct a different way of talking about art practices which goes some way to avoid value judgements and the need to describe things subjectively. Writing the paper is making me focus on an increasingly narrow narrative as an explication for a broad idea. It is frustrating at times because I want to explore a multiplicity of ideas but by considering a wide field and having to progressively select out is also liberating. It shows me that things can be simple without loosing depth. Implied ideas can be just as powerful in leaving the reader the possibility to uncover them or find new things and feel the sense of discovery rather than having them pointed out. The methodology I am constructing is also feeding into the project proposal: I no longer feel compelled to spell out every idea. 

Research Statement: Taking Another Direction

My Research Statement started clearly but tailed off towards an uncertain ending. I had the thread, subject knowledge and so on but crucially what I was thinking was only of slight relevance to contemporary art. I had been dealing with histories of knowledge and putting together a viewpoint that although very interesting to my mind, it was not pertinent to contemporary art and did not contribute to my practice, neither methodologically nor theoretically: I just found it interesting. 

I had written around two-and-a-half thousand words when the recurring feeling of dread that asks, where is all this going, became too strong to ignore. I had barely started to look at contemporary artist that might be relevant to the paper. I looked at some suggestion Gareth had given me. Most were examples that were nothing close to what I was talking about, but you only need one, and one did stand out ticking all the boxes. I found that William Latham has been working in a similar way to me for years. He has developed an evolutionary art with computers, I have done it with sculpture. I looked up some references I was familiar with to do with cell automation, a bit about AI and found these things fitted into the contexts I had thought of previously: the Cambrian explosion and the Early Bronze Age. 

I am excited in that the hypothesis I am now proposing brings together art, biology, anthropology/archaeology, the digital environment, virtual worlds, philosophy and the future. The idea is not fully fleshed out yet but it is on its way and would not have been possible had I not started the way I did. The idea came a few days ago as a need to find a way of talking about very different artistic processes in the same terms. I have found that despite all the talk of breaking down barriers, merging and blurring the boundaries, art has become too disparate and dispersed. A fog of taxonomies, political stances, power plays creates in me an inability to talk about things cohesively and clearly without having to ignore the unique characteristics of each practice or making crass generalisations. This is not an attempt to judge or weigh one art form against another. On the contrary, it is a way of critically looking at each practice and identifying what makes it unique without recourse to subjectivity. I know that this is a bold claim and it may unravel as I write the paper but it is an interesting exercise. It is probably just another supporting piece of thinking. Many attempts have been made to do this since structuralist, post-structuralist and subsequent theories. I think Wittgenstein wrote something along these lines but it was based on a philosophical logic form that is not easy to understand.

And finally, it is directly relevant to me by helping to re-contextualise my practice in the contemporary environment. I think it could be one way of universally thinking or rethinking about process, categories, art, anything that involves change, which is virtually everything. 

Note to self: writing this down is a way of telling myself to continue writing, researching and composing ideas.