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identifier X Lବ>The Algorithms of Chance and Abstraction : Focused on My Works2015
Y p YՀtTŐYP YMaster%Master's Thesis0My works in this study aim to establish a new artistic standpoint by opposing the reigning ideologies of abstract painting. Briefly, my works defy artistic subjectivity. This concept of subjectivity, also called creativity or originality, holds that an artist controls all of the work and configures each part of the work with conscious purpose based on the artist's intrinsic ability. My paintings are made according to a numerical algorithm, a sort of mechanical procedure based on random numbers, and this has nothing to do with an artist's expression of interiority. Once a painting's size is decided, a mathematical procedure is designated. Forms and colors are not even decided by my own caprice but by designated procedures, namely, random numbers and random colors from industrial color charts. The artist is merely performer of the order. The artist designs a game and plays it, and like many games, dice, with their contingent numbers, accompany the process. The artist simply follows the rules of the game and the 'decision' of dice. The order's productive system is tight enough to avoid an artist's aesthetic taste or subjective decisions. In short, the decision maker is not the artist. It is chance, and the artist is the one who designs how the stochastic process works. This systemic decision works only indirectly on the painterly surface. My works pursue 'meaninglessness,' as opposed to metaphysical semantics, in art, and stress the conceptual characteristic of painting itself. Some might call it Formalism, but in my case, the painterly form is a surface where aesthetic pursuit and willfulness are minimized, so it cannot be the same as the Formalism focused on an artist's own aesthetic achievement. My works resemble Sol LeWitt's wall drawings in that numerical procedure trumps the artist's own aesthetic taste. Moreover, contingency in my works is external to the artist, so it cannot be a mirror of the artist's interiority and does not represent any human value. The only thing that dominates the paintings is an impassive equilibrium from the controlled probability. This is the distinguishing point from previous abstract art rooted in utopianism. The first generation of abstract painters believed their art functioned as a leap to the ideal world. However, my works exclude mentality in abstract art, banish semantic symbols, and bid farewell to utopia. If my paintings quest for anti-meaning had meaning, it would be numbers. I would not grant any metaphysical value to this meaninglessness. Nevertheless, 'meaninglessness' does not necessarily mean 'purposelessness.' This study clarifies the purpose of "Algorithm Paintings" not only as inherited from historical abstract paintings but as distinguished from them by a systemic process of chance.; |8@ x T X 1D pXՔ tY YD p, 0Ĭx Lବ Xt D1 0XY TX ;X J@ p@ XX t |\. Ŭ<\, TX \x = x¤ =\ t`@ 'T ǴX x \' ttǘ <p X p>D Lĳ t 4\\ D \\䲔 LD . t\ TX tY Ĭ 1950D m tt D 첬 XՔp, T Ŵ, X| pX p1D XՔ XX t Xtp, x X T \t X 4XD ܴ췸 t| X X T. t T֔ 䲑XՌ TX<ǘ, lЌ T| | P , Xt Yx , tt Yx lЌ Ř JX.
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