Letter from the Editor:
Ecological Art is pleased to present COMPLEXITY ART as part of ECOARTPEDIA 2013 Exhibition "A Century in Search of the Artist"/FIFTH SEASON MAGAZINE/SUMMER 2013 ISSUE.
ECOLOGICAL ART features current ecological arts developments by incorporating and combining ECOARTNETand ECOVIDEONET artists with SOUND ART artists. These independent networks are interacting with each other in a great many ways and are sharing an underlying ecological art vision, a common arts ecosystem illuminating nature and humankind alike.
As an example of self-organized complex artworks with feedback loops is the ecological concept-thought VIDEO-ART HAIKU which permits to leap into the abstract by combining nature, ecosystems and mental processes (poetic imagination) WITH ecological modes of perception of Time using video as the technological tool to create poems in motion, haiku-in-motion.
Video-art haiku consists of three autonomous and simultaneous video screens (looped), each with different durations and responding to adjusted changes in speed related to the technological tools available to the individual on-line viewer. The published combinations and permutations, if not infinite, are so great that the chance of encountering the video haiku in the exact same way more than once is extremely remote.
What I call "The Heraclitus Effect" describes a visual experience from the format I have used for my video-art haiku and posits a mathematical proposition which is derived from these video-artworks."Nohra Corredor, General Editor/Ecological Artist
"As we enter this "Ecological Age""Ecological Age"(Thomas Berry) it seems prudent to differentiate which 'ways of ecological thinking' get onto the Ecological Art discipline map.
First, the METHOD:
In order to discuss the value of ecological thought to cultural production, how appropriate is speculation to advance the discussion and achieve some greater precision of the central problem posed here? Ecological inquiry implies a method per se.
After World War II, an aggregate of ideas generated in
many places gave origen to what today is known as
communication theory, or information theory, or
systems theory,from Bertalanffy (Vienna), Weiner
(Harvard),Von Neumann (Princeton), Craik (Cambridge),
Shannon (Bell Telephone labs) and so on. Among the
problems they addressed they shared one question in
common: what sort of a thing is an organized system
(Whitehead and Russell-Theory of Logical Types)? In
principle, the name is not the thing named, and the
name of the name is not the name, and so on (i.e. a
message ABOUT war is not part OF the war). Here we may
find the beginnings of understanding complex systems,
especially including the detection of patterns- e.g.,isomorphs.
By following organized systems of ideas at the end of
the 20th Century the WWW (World Wide Web) had sent 'information' all over and with it all the www questions we can think of where, what, when/who, why, which/and so on, to form eco-mental maps of whatever comes to our mind. These on-demand systems are being used in innovative ways by arts organizations arriving at creative experiments and encouraging the interaction between artists and audiences.
Environmental art fits in this category of art with a
purpose based on societal and ecosystems needs See
Rosi Lister "What is environmental art?" It is appropriate therefore to clarify at this point that NOT all ecological artists are environmental artists. It is of critical importance for the development of knowledge to make distinctions with a difference. And this is an example to that effect.
Second, MODES OF THOUGHT:
Let's assume for this discussion that at first glance
there are three variables to be considered: the ARTIST
with the society and with nature. And let's assume that instead of using relations, situations, inter-relations, trans-relations, interactions, linkages,as the starting point, we decide to COMBINE the variables to arrive to a
particular mode of thought which we may call ecological. Of course, this requires a reconfiguration of the way of thinking and the adoption of new ecological models for arts organizations to support and embrace.
We must make an effort to move ahead and beyond pre-organized tool-systems (especially those of computers and the like) and start advancing knowledge in COMBINATORY PROCESSES rather than relational and situational art practices(Leibniz)2008Nohra Corredor, Smart Project Space 2008 eDiscussion on Ecological Thinking
FIFTH SEASOM MAGAZINE/SUMMER 2013 ISSUE