In case you came to this page by reading the book 1Biennale, the big volume, the collector’s item of 110 pages, then you find these words on the right side:
The Grand Opening
Art Blue steps to the podium and says, “I welcome you to 1Biennale and I give word to Neruval, the keeper of the time capsule of Art.” Then the owl, Neruval speaks.
To be an owl would be nice.
I have the hardest job in the world, maybe even in the universe; I must tell people that they will die. You know everyone dies, but I am the one telling them when. I sit in my office and the next person who is sent comes in. A mother with her child. I am sure you know by now what will happen. I will speak with the mother but is it all about her child. …
On the left page of the book you find MONDRIAN recoded and arranged in form of a Pavilion. This pavilion keeps Art alive: Art that will never die. Now I show you the machine behind in action.
Enter the world of 1Biennale and visit the Pavilion. Enter it …
The credits read as follows:
The Pavilion is a homage to the first interactive Art machine created by Herbert W. Franke in 1979 on a Texas Instrument Home Computer TI 99/4. The Pavilion is interactive and generates user driven cubes in 3D around the Pavilion. The first recoding of the original Franke machine, which created 2-dimensional rectangular forms in user controlled random order, was done by Konrad Kunze in Art Blue’s Lab in 2008 under Windows XP. Herbert W. Franke named his art generator MONDRIAN in honor of Piet Mondrian.
You ask why I don’t show the Pavilion Art Eames created and why I don’t explain the machine in detail? I don’t want to make what Istvan Csicsery-Ronay, Jr. calls in Science Fictions Studies a bad move: “It is a notoriously bad move to describe a fictive great work of art within a fiction.”
Let us listen to Marly in Count Zero:
Marly’s response is, one assumes, the ideal one. “The box was a universe, a poem, frozen on the boundaries of human experience.”
Art Eames created an immerse experience. No ways to for a screenshot to bring into the 2-dimensional web. Is MONDRIAN what Gibson calls Katatonenkunst? Join the Art Talk at Surreal Art Gallery to find out.
You will find out if …
Lance Olsen denounces the boxes as “fake art”:
Unlike other artist figures in Gibson’s short stories and novels…, the robot in the Tessier-Ashpool cores creates fake art. It creates simulacra of Cornell boxes, not the boxes themselves. And it apparently feels next to nothing during the act of creation. Something, in other words, has gone out of the creative process which has become involuntary, automatic, perfunctory. While others might experience intense emotion from the result of this lifeless process of replication, the artist experiences nothing. Art has gone moribund. It is now mass-produced by a machine, having become no more than a product one manufactures so that others such as Alain might benefit financially.
We’re nothing like you – a wall in black – we’re nothing like you – and you don’t get who we are – we’re nothing like you – we dare the flow – we’re nothing like you – and you don’t know who we are ~ Mono, Children of the Dark
The last line: Find it at Istvan Csicsery-Ronay, Jr.: The topical style is Katatonenkunst, the topical theater is Autistisches Theater. The dominant visual work is entitled Remember the Names of the Dead.
Finally, I found a way not to explain the MASCHINE and also not to show it: I say: “Count the boxes the MONDRIAN machine emits and remember me. I am a box. It all starts with a cube!”