Category Archives: quotes


one to grow on academia from George Lewis

“I’ve often wondered why the academic environment couldn’t be more like the AACM?  That is – having a sense of people who are committed to supporting you no matter what.” – George Lewis


Nietzsche on Clocks

Suspended by a hair, the clock 
as of today hangs round my neck
as of today the stars, the sun
cockcrow and the shadows are all done
whatever used to tell the time 
is mute deaf and blind, and I 
find nature silent as a rock
at the tick tock of law and clock


Zizek’s generosity and risk

“Even the most egotistically calculated exchange of favours has to rely on a first move which cannot be explained in these terms, in some grounding gesture of giving, of the primordial gift (as Derrida would have put it) which cannot be accounted for in the terms f future benefits.”

– Zizek, x. Foreward to Ethics of the Real by A. Zupancic


quotes readings

Billy Kluver Interview (1995)

  • “Kluver saw many parallels between contemporary art and science, both of which were concerned basically with the investigation of life…a vision of American technological genius humanized and made wiser by the imaginative perception of artists…”
  • “I think there is a huge consciousness inside technology that hasn’t been tapped.”
  • “To institutionalize anything in this area is dangerous and self-destructive. It’s just a matter of solving problems, and you can do that forever.”
  • “We said that if we were successful we would disappear.” (on the ‘too successfulness of art and technology”)
  • “Many people wanted E.A.T. to be about art and science, but I insisted it be art and technology. Art and science have really nothing to do with each other. Science is science and art is art. Technology is the material and the physicality.”

The Godfather of Technology and Art- An Interview with Billy Kluver (19 April 1995)



foolish consistency

A foolish consistency is the hobgoblin of little minds, adored by little statesmen and philosophers and divines.

With consistency a great soul has simply nothing to do….speak what you think to-day in words as hard as cannon-balls, and to-morrow speak what to-morrow thinks in hard words again, though it contradict everything you said to-day.


quotes readings

Nam June Paik April 1998

Seoul – NY Mar 1-3

Norbert Wiener, a the major contributor to the invention of RADAR and computer in general, once distinguished about Two kinds of TIME:
1) Bergsonian Time, which is like a living organism: unrepeatable, self-progressing Time
2) Newtonian Time, repeatable Time like a machine

The electronic music of 1969 was in the Newtonian Time (single channel audio tape) people were bored, including the composer himself. KH Stockhausen wrote a live part for David Tudor and Ch. Caskel (percussion). The great flutist Gazzeloni also appeared in Darmstadt.

There, virtuoso players were playing mainly playing 5 line-notation based Atonal MUSIC. However John Cage (not the youngest but the most radical one) decided to produce sounds electronically. Soon David Tudor devoted himself to the study of electronical circuits and he surprised everyone, including himself. Soon DAVID TUDOR invented and self-soldered hundreds of electronic circuits. We nicknamed Tudor’s lunchbox, but for outsiders they looked like a part of TIME Bomb with these „subversive“ objects. Cage Tudor traversed 100 national borders.

Richard Teitelbaum Tcherepnin brothers were among the early pioneers of live electronic music.
videotaped video of 15 like the

Soon David Behrman, Alvin Lucier, Gordon Mumma, George* Ashley [Robert Ashley] made the SONIC Union and Moog and Buchla invented the key-board based electronic machine. They were born from the classical avantgarde Music but soon conquered the great pop field. From here to PC’s sampling was only a cat’s spring.

Can this history be repeated in the video? let’s hope the best. I will compose the live part to the my repertoire of classic,
such as Cage, Ginsberg, Beuys, Beck, Moorman.

I decided to live until 2012 so that I can do the Cage Centennial myself. Shigeko has Breg Bremen Cage (1972) tape.

– Nam June Paik April, 1998

Paik Katalog 210mmx270mm  1  dragged 1


Lessons from the Video Master (2006)

“Day of concert, law of jungle” – Mary Lucier quoting NJP

art quotes

Ryoji Ikeda 05.30.11

I HAVE MET MANY SCIENTISTS THROUGH MY WORK WITH NASA, and I am fascinated by the scales they work with, from molecules to the expanse of the universe. They are similar to artists in many ways, but they think beyond the conceptual. They can easily break the laws of nature through their practice and create an entirely new set of rules to follow. In that way, their work is very much like a poet or a musician.

Music and math are brothers. I have been obsessed by mathematical beauty for year, but I never actually never really studied it. I dropped out of my university and didn’t attend art or music school. I read a lot of philosophy books when I was young, but I get bored with them now. When I listen to classical music, like Bach, it’s so mathematically beautiful, I understand the relationship. It feels natural for me, as a musician, to dive into the mathematical world.

Over the last decade, I started to compose materials as installations and now I am composing data. The structure at the Armory, and thinking about the space, is also part my practice as a composer. But I have never been trained as a classical composer. I can’t read scores, so instead of violins, violas, and pianos, I am always making my own score, using pixels, color temperature, sine wave, square wave, triangle waves, and the ratio and proportion of screen. I like to orchestrate everything so it all operates at the same time.

I need the people to stand in the middle of this piece, on the floor, and notice the other visitors, as a silhouette because they are the performers. There is no correct position to see the piece, the corner or at the edge, and of course, since there is a huge wall, people who just enter the space and turn around to gauge their surroundings, is also really interesting.

Sound shouldn’t be a slave to the visual. It has to be more democratic. My process can be very abstract or highly conceptual, with much back-and-forth from brain to hand. It is in this way that I consider myself different than visual artists, because I deal with sound and music as a vehicle for experience. This comes from my nature as a musician, you see, without an audience my work is nothing.

Ryoji Ikeda

ideas quotes

stone soup

A hobo shows up at a village, lights a fire, and begins to boil a rock. The villagers ask him what the hell he’s doing. He replies that it’s a magic stone, and creates the most marvellous soup. The villagers scoff, but stick around to watch. And as they get impatient — “Is it ready yet? Is it ready?” — the hobo keeps telling them it just needs a little more garnish — and the villagers supply it. “Do potatoes go well with stone soup?” — “Yeah, throw them in, we’ll see what happens.” — “Do carrots go with stone soup?” — “Yeah, why not?” — “Do peas go with stone soup?”

Eventually, the hobo declares the soup ready, and indeed it tastes wonderful. The villagers beg the hobo to sell the stone, but he declines — it’s too valuable. So he packs up his hobo things and is on his way to the next village.

Stone Soup



Peter Weibel on the postmedia condition

“This media experience has become the norm for all aesthetic experience. Hence in art there is no longer anything beyond the media. No-one can escape from the media. There is no longer any painting outside and beyond the media experience. There is no longer any sculpture outside and beyond the media experience. There is no longer any photography outside and beyond the media experience.”

Peter Weibel, “The Post-media Condition”, in AAVV, Postmedia Condition, cat., Centro Cultural Conde Duque, Madrid 2006, p. 98.