How to Solve It

1. Understanding the Problem.First you have to understand the problem. What is the unknown? What are the data? What is the condition? Is it possible to satisfy the condition? Is the condition sufficient to determine the unknown? Or is it insufficient? Or redundant? Or contradictory? Draw a figure. Introduce suitable notation. Separate the various parts of the condition. Can you write them down?

via How to Solve It.

List of unsolved problems in philosophy – Wikipedia, the free encyclopedia

This is a list of some of the major unsolved problems in philosophy. Clearly, unsolved philosophical problems exist in the lay sense e.g. “What is the meaning of life?”, “Where did we come from?”, “What is reality?”, etc. However, philosophers generally accord serious philosophical problems specific names or questions, which indicate a particular method of attack or line of reasoning. As a result, broad and untenable topics become manageable. It would therefore be beyond the scope of this article to categorize “life” and similar vagaries as an unsolved philosophical problem. Similarly expansive “questions” shall also be omitted, as will fields e.g. bioethics, feminist ethics which pose philosophical problems without being philosophical problems themselves.

via List of unsolved problems in philosophy – Wikipedia, the free encyclopedia.

The Second, Time Based Art from The Netherlands – Stedelijk Museum

25.01.97 – 9.03.97

Het Stedelijk Museum presenteert de tentoonstelling The Second, Time Based Art from The Netherlands. Het thema van deze tentoonstelling, die bestaat uit 17 installaties van 12 Nederlandse mediakunstenaars, is ‘tijd’. De expositie is samengesteld door Rene Coelho, directeur van MonteVideo/TBA in Amsterdam.

Deelnemers aan The Second zijn: Kees Aafjes, Peter Bogers, Boris Gerrets, Jaap de Jonge, A.P. Komen, Pieter Baan Müller, Bert Schutter, Bill Spinhoven, Fiona Tan, Steina Vasulka, Bea de Visser en Christiaan Zwanikken.

via Stedelijk Museum.

Dream extensions @ S.M.A.K. 2004

Eija-Liisa Ahtila, Olaf Breuning, Lori Hersberger, Susan Hiller, Abigail Lane, Mariko Mori, Georgina Starr, Anne-Mie Van Kerckhoven, Jane & Louise Wilson

De tentoonstelling Dream Extensions focust op video-installaties die functioneren als ruimtelijke verlengstukken van droomwerelden en persoonlijke fantasieën. De bezoeker wordt ondergedompeld in negen geesteswerelden, gaande van wensvoorstellingen tot nachtmerries. Alle kunstenaars werken met een rijkdom aan beelden waartegenover de toeschouwer zijn eigen intimiteit dient te positioneren.

Dream Extensions dompelt de bezoeker via video-installaties onder in mentale werelden die hij anders zelden of nooit fysiek zou betreden. De bezoeker kan niet alleen alle kanten uit kijken, hij luistert ook, loopt rond of gaat zitten, besteedt aanzienlijk wat tijd om de draad van de verhalen op te pikken. Met film, literatuur en popsongs hebben de video-installaties immers een vorm van narratieve suggestie gemeen. De toeschouwer kan zelf de narratieve ruimte van de kunstenaar betreden en het verhaal vanuit zijn eigen standpunt interpreteren.

via S.M.A.K..

Korsakow – SNU film making

The Korsakow System (pronounced ‘KOR-SA-KOV’) is an easy-to-use computer program for the creation of database films. It was invented by Florian Thalhofer, a Berlin-based media artist. Korsakow Films are films with a twist: They are interactive – the viewer has influence on the K-Film. They are rule-based – the author decides on the rules by which the scenes relate to each other, but s/he does not create fixed paths. K-Films are generative – the order of the scenes is calculated while viewing. And, as Florian likes to say, Korsakow is not a religion.

via About.

Theatre and its Double

The Theatre and Its Double (Le Théâtre et son Double) is a collection of essays by French poet and playwright Antonin Artaud and published in 1938.

Artaud intended his work as an attack on theatrical convention and the importance of language of drama, opposing the vitality of the viewer’s sensual experience against theatre as a contrived literary form, and urgency of expression against complacency on the part of the audience.

The collection’s more famous pieces include No More Masterpieces, an attack on what Artaud believed to be the elitism of an irrelevant, outdated literary/theatrical canon, and The Theater of Cruelty, where Artaud expressed the importance of recovering “the notion of a kind of unique language half-way between gesture and thought.”

The collection is still read to this day, and strongly influenced the directing philosophies of such renowned figures as Peter Brook.

via Theatre and its Double – Wikipedia, the free encyclopedia.