(Feedback on FEEDBACK) or (I'm So Punny).

Although the reading on FEEDBACK (available here) presented by Christiane Paul seemed daunting and redundant, if only in the aspect of saying "Here's this work...it does this," and "Here's another work...it does that," the overall concept of the exhibition I thought to be interesting.

Therefore, the focus of this post will not be in advocating certain works that spoke to me or stuck with me but rather to talk about the concepts and driving forces behind it. The aspect of dealing with two modern deviations of "Responsive art" being "Al-gore-rhythmic art"....Ooops sorry, "Algorithmic art" or art "Op art" was interesting. I found that the concept of having a sort of autonomous art work changing or "modulating" itself via its own output to create new derivates of the original piece both complex and elegant.

It seems to me  that algorithmic art is slowly becoming popular in newer media circles. I think there is something to be said about giving (and we are talking about an art work here, not a computer program but actually artistic compositions) a piece a set of "instructions" whatever they may be and then having your piece augment itself based upon that. Now we have almost transcended the entire experience of was was to be know as simply "viewing art". There is now a kind of symbiotic relationship between the viewer or (as they are now being called)"user" in that, the piece relies on some interaction from you directed towards it and then provides you with its own "feedback" for a personalized and lasting enjoyment.

With that being said, I have always been a fan of Op art, ever since I was a kid I liked looking at optical illusions and couldn't help but wonder why or how or who or whatever....This form of art is not too too old but is finding ways of reinventing itself. In the reading Paul brings up the relation between Op art and Kinetic art based on the way they move and might react depending on the different intake of data in their environment. Here we see simple pictures transforming themselves into kinetic images and then even further into movies. Again we have a transition from a sort of static image and a triditionional viewer of the art, into an "almost living" work. One that responds to a user making the user as much apart of the experience as the work itself. This is a really radical approach to art considering art's traditional relationship between the elitest artist, the composition and the viewer.