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Plaything: On the Work of Art in the Age of its Algorithmic Adaptability

Plaything: On the Work of Art in the Age of its Algorithmic Adaptability Plaything On the Work of Art in the Age of its Algorithmic Adaptability Ryan Anthony Hatch Urs Fischer, PLAY, with choreography by Madeline Hollander, an installation at Gagosian, New York, NY, September 6–October 13, 2018. But how can we speak of mere play, when we know that it is precisely play and play alone, which of all man’s states and conditions is the one which makes him whole and unfolds both sides of his nature at once? —Friedrich Schiller, On the Aesthetic Education of Man (Fifteenth Letter) enter the gallery and find myself seized by an odd first impression. Those office chairs look as though they’re on a break . By this I suppose I meant that they I appeared to be taking a break. In the far corner of the space, I spotted four or five of them huddled together and, save for the one of them spinning listlessly in place, hardly moving. Their inaction telegraphed indifference to the handful of us there to behold and to be beheld by them. Nearer to the gallery entrance, where I was taking it all in, a single chair had peeled off from the pack. It appeared motionless, until I drew http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Plaything: On the Work of Art in the Age of its Algorithmic Adaptability

PAJ: A Journal of Performance and Art , Volume 42 (3): 8 – Sep 1, 2020

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Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00542
Publisher site
See Article on Publisher Site

Abstract

Plaything On the Work of Art in the Age of its Algorithmic Adaptability Ryan Anthony Hatch Urs Fischer, PLAY, with choreography by Madeline Hollander, an installation at Gagosian, New York, NY, September 6–October 13, 2018. But how can we speak of mere play, when we know that it is precisely play and play alone, which of all man’s states and conditions is the one which makes him whole and unfolds both sides of his nature at once? —Friedrich Schiller, On the Aesthetic Education of Man (Fifteenth Letter) enter the gallery and find myself seized by an odd first impression. Those office chairs look as though they’re on a break . By this I suppose I meant that they I appeared to be taking a break. In the far corner of the space, I spotted four or five of them huddled together and, save for the one of them spinning listlessly in place, hardly moving. Their inaction telegraphed indifference to the handful of us there to behold and to be beheld by them. Nearer to the gallery entrance, where I was taking it all in, a single chair had peeled off from the pack. It appeared motionless, until I drew

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Sep 1, 2020

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