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Okunmadan Geçilmeyecekler

Poetics of Augmented Space

Hetereopia Foucalt

vvvv: Gerçek zamanlı ses/video işleme yazılımı

Amberplatform Türkiye

https://ars.electronica.art/news/de/

Animate Form Greg Lynn

Perlin Noise Algorithm

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Experimenteller Film

Längst steht die Person des Künstlers im Mittelpunkt – mit seinen individuellen Interessen und Energien, und dieser Fokus „beschränkt zwar den Radius, vertieft aber die Wahrnehmung”

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Narrative zenginlik, dünyalar ve plotlar yaratma. Self generative sistemlere her şeyi bırakmayan sanatlar:

Animasyon

Film

Müzik

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Joseph Albers calls "the discrepancy between physical fact and psychic effect" a contradiction which is "the origin of art."

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SANATÇILAR LİSTESİ KATEGORİSİZ

Nam June Paik

Frank Zappa

Bernard Tschumi

Grimes

Refik Anadol

Robert Paci Dalo

Iannis Xenakis

David Bryne

Kim Gordon

Robert Lippok

Alva Noto

David Bowie

Marina Abramovic

VALIE EXPORT

Vito Acconci

Pauline Oliveros

Brian Eno

Maryanne Amacher (BAK)

Guy Debord (BAK)

Terry Gilliam

Pierre Huyghe

Rem Koolhaas

Philip Glass

Karen Finley (BAK)

Tracey Emin (BAK)

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simülakr : bir gerceklik olarak algilanmak isteyen gorunum. asil hakikatin yerine konulmak, yutturulmak istenen veri. matematiksel fonksiyonda x degiskeni. simüle etmek : gercek olmayan bir seyi gercekmis gibi sunmak, gostermeye calismak. simülasyon : bir araç, bir makine,bir sistem, bir olguya ozgu isleyis biciminin incelenme, gosterilme ya da aciklanma amaciyla bir maket ya da bir bilgisayar programi araciligiyla yapay bir sekilde yeniden uretilmesi. mat fonksiyonda f(x). pseudoku.

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“SYSTEM OF INTERSECTING RAMPS THAT DESTROY THE STATUS OF THE INDIVIDUAL FLOOR.”

KUNSTHAL ROTTERDAM

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Distinction of America’s modernism from Europe’s

Manhattan is “a mountain range of evidence without manifestos” in contrast to the European modern movement, which produced many manifestos but only a few buildings.

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Susan Sonntag on Camp

Koolhaas’s fascination with Dalí and surrealist ideas can also be seen as a form of juvenile camp taste. Susan Sontag describes camp taste in her essay “Notes on ‘Camp’” (1964) as a sensibility that relies on extravagance, exaggeration, irony, mannerism, playfulness, and theatricality rather than on content.[70] In her list of its fifty-eight characteristics she writes, “the whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to ‘the serious.’ One can be serious about the frivolous, frivolous about the serious”

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Bigness

Koolhaas claims that new architectural form essentially relies on “the programmatic hybridizations/proximities/frictions/overlaps/super-positions that are possible in Bigness – in fact, the entire apparatus of montage invented at the beginning of the century to organize relationships between independent parts.

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Rem Koolhaas

“to rid architecture of responsibilities it can no longer sustain and to explore this new freedom aggressively.”

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Light Artists

Dan Flavin

Keith Sonnier

Leo Villereal

Ryoji Ikeda

Ivan Navarro

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Grasshopper and Form

http://www.designcoding.net/icosahedron-study/

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Chung King Express, Archigram

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Parametricsm in Architecture with Sound

https://www.dezeen.com/2020/05/15/rosey-chan-patrik-schumacher-vdf/

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Sound and Color

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Wagner’s Gesamtkunstwerk

Sein Gesamtkunstwerk inszeniert eine komplexe Wechselwirkung zwischen Musik, Theater und Bühnenbild. Aus einer ästhetisch begründeten