Text and Context

This work is concept, process and research oriented. Shows, art objects, projects and texts are segments or nodes.  They are aspects of the work, which is actually an interconnected conglomeration or a type of literature.

VOCABULARY
multidisciplinary crossmedia active interactive
hypertextsystems structures code interface network
defining redefining reconstructing perceived interpreted meaning
knowledge is contextual poetic uncertain fuzzy endless ein-sof
encryption documentation statements allusions concepts
questioning value evaluate art objects information stuff
elements cultural information time space perception
process transfer storage information cybernetics
issues devices communication control power
identity organization complexity emergence
store transfer textual visual other data
meaningful presence arts cultures

Objects placed in the show:

The Globe [An old globe with borders that are no longer valid.]
How do the boundaries we draw change and influence how we understand?

The Clock [Old and rusty with broken glass that still keeps the time.]
How do we relate to time as a basic process that marks our life from birth to death?

The Mirror [Across from the entry reflecting the wall behind a divider, passing the globe and clock and other center room pedestals.]
How do we see ourselves and how do we reflect?

The Frame [Hung above the mirror.]
How does the framing of ideas and questions influence their meaning?

The Bug [& a Palm computer]
How does our communication technology influence the way we communicate?
The Morse Code Bug represents technological communication devices.
It is interesting to consider how our modes of communication technologies affect culture by effecting how we communicate, from writing, alphabets and books through telegraphs, telephones and computers.

Works by Data: Corps
How does the information that accumulates around a work of art influence the meaning of the work?
This framed bit of data is reflecting on the location and context of art objects. The object represents twenty-four paintings that are not in this show. These paintings are currently being exhibited at three Silicon Valley corporations. They were selected on the basis of reproductions.
Works by Data: Corps relates to a projects currently in process.  Work by Dat a deals with how the data that paintings accumulate influences the meaning and value of the work. For example, paintings begin with a medium, dimensions, and maybe a title. Later they generate various types of information such as exhibition history, instances of reproduction and ownership transitions. This information surrounds the object of art and in a way becomes a part of it. I am analyzing the process of how the value of an object of art transforms as history evaluates it.

Interaction: Methods to gather information from the audience.

Guest Log Books
If you would like a response please write clearly and include your name, mailing address and/or e-mail address.

The colorful handmade book that matches the art Data coin Box is available for visitors to write comments. You may record information about the photos you take. You may explain your coin box choices.  Or, you may use it as a Guest Book, or Autograph Book. The more obscure, gold labeled ENTER book is here for visitors to write, draw or scribble in whatever silly or serious, logical or illogical manner they please.

The Questionnaire: > [w/answers]
I hope to initiate interaction, facilitate dialogue and get feedback from the audience. I appreciate, value and thank you for sharing your views. There are no wrong answers. And, you are welcome to add or change questions.  Please place your completed questionnaire in the second slot.

Questions:
· Is the experience of a work of art determined by its presence as an object capable of stimulating feelings or thoughts in the viewer?
· Is the value of art inherent in the object or does it change in relation to how the work is recognized, appreciated or evaluated by society?
· Should art be obvious or obscure? Simple or complex? Serious or absurd?
· Is the significance of a work of art related to a meaningful explanation of the work?
· Is the effectiveness of a work of art based on how it is presented, or how it is “sold?”
· Is quality based on personal taste, a cultural consensus or something else?
· If aesthetics is relative, then what criteria should artists base their work upon in order to make it good, meaningful or of value to others?
· Is the artist or audience responsible for the meaning of or reaction to a work of art?
· Is art a method of addressing difficult questions or concerns that are not easy to define and that do not function well in literal language?

Cameras
The cameras are here so that visitors may take a photo to document the show or their presence at the show. Each camera is labeled on the top with a letter A-J. You may identify which photo(s) you take by entering the camera letter and the number(s) of the shot in the colorful logbook. You are welcome to identify and comment on your photos. Please do not remove the cameras from the gallery.

Tape Recorder [I didn't realize in time that the outlet did not work.]
Hold down play/record and enter a voice message. Please remember to stop when you are finished so the tape is ready for the next person.

Art Data Coin Box
Drop a coin in this playful game object at the phrases you agree with. If you feel strongly about a statement you may use a coin of higher value.  You may use your own coins to extend the availability of coins in the dish. And, you are welcome explain your choices by writing in one of the logbooks.

Knowledge and experience are contextual, poetic and uncertain.

A show is one example of a manifestation or enactment of the work.  The installation was eclectic, segmented and branching like the hypertextual environment of the internet. The data and documentation elements relate to my definition of art as the process, transfer and storage of cultural information.