Normatividad asociada al Cambio Climático

In his discussion on intuitionin Bergsonism (1966 pp. 27-29), Deleuze outlines a method of becoming which involves a decisive point or ‘turn’ towards the discovery of differences in kind. This process is varied and even contradictory as one’s perception of phenomena constantly moves and overlaps. There is no singular progression, just movement through composite experience. However there is an outcome: a virtual image or illusion.

First, it denotes the moment when the lines, setting out from an uncertain common point given in experience, diverge increasingly according to differences in kind. Then, it denotes another moment when these lines converge again to give us this time the virtual image or the distinct reason of the common point. Turn and return. (Deleuze 1966, p. 29)

158 To apply ‘the turn’ to a particular stage in the practical research, where there is change and movement in process, is appropriate. A turn is continuous, a period of transition without an endpoint. There is a cycle of repetition. This will be discussed later in this chapter. It is bought about by a response or reaction through difference and leads to the formation of a virtual image. The virtual image is the movement between nothing and something and vice versa; the transition of matter into memory.35 _{It is the process of the recognition and}

unrecognition of illusion.36

As a component of making, the turn is movement away from the use of machines to generate imagery back towards the artist, from mediated to un-mediated processes. However, this re-turns indirectly through method as the artist becomes the machine through the implementation of particular intuitive strategy (See Chapter 4: Intuition).

The turn highlights a key question about the use of mediated process; namely, why was this approach important? Firstly, it created a deferral of thinking, particularly in relation to image formulation, away from the artist onto a secondary device. Secondly, it mirrored Malevich’s New Realism philosophy or the creation of something from nothing. Thirdly it provided a distinct and

35 _{Bergson’s matter and memory are a functioning dualism. To describe one as transitioning to} another is an oversimplification of their relationship. They are not binaries. A transition is just one small part of their potential interrelation as movement.

36 _{In the practical research, the virtual image is that which is perceived as movement but is not} actual movement (See Chapter 2: Movement).

159 intuitive type of photocopier signature gesture (as a substitute for the human). Fourthly, it enabled a re-assessment of conventional art-making strategies, particularly those relating to an accident or glitch. Finally, it questioned

conventional notions of authorship and inspired a reflection upon the nature of mechanisation.

The practical research demonstrates how most of these factors can move between both mediated and un-mediated processes. Dividing it into four separate series emphasises this movement. In reference to the turn, the un- mediated works are, quite simply, an extension of the rendering processes used in the first series, The Same As It Never Was (2015), without the photocopy images. As a further turn, the artist is substituted for the photocopier. More succinctly, it is a return to the conventional painting process. The need to render a photocopier image as painting (clear silicon, screen-print, poured rubber, inkjet print) was removed. This enhanced a sensation of immediacy and hence changed the perception of duration through direct experience.

Albert Oehlen’s methodology is in a constant movement or turn, and this is reflected in the different processes he employs throughout his practice. These make statements about the idea of painting and its conventions. He creates paintings in series format. Son of Dogshit (1997) is a work form Oelen’s series called the ‘Bionic Paintings’ (1992- ). It has both mediated and un-mediated processes in it. He has created digital images with the aid of ‘simple graphic

160 programs’ which are printed, enlarged, and applied to a substrate via screen- printing. These are then painted over with a brush (Bell, Carrion-Murayari & Gioni 2015, p. 13).

Oehlen’s choice of graphics program, through its simplicity (it has a limited range of options for image transformation) induced a freedom to act, undaunted by limitless possibility and choice. This logic, to utilise rudimentary or out-dated technology, is alternative to conventional notions of technological progress. Typically, the newest, most advanced option is superior. It is capable of more. By utilising outdated and very rudimentary graphics software, Oehlen subverts this norm. Furthermore, the act of painting over the screen-printed graphic also ‘messes up’ the clean printed image. As Oehlen himself stated,

Normally the computer helps you to do something that you otherwise couldn’t

do. Computers open a window to the future. Here things are reversed. The painter corrects the pixels, and ultimately the computer image gives rise to a hand-painted picture (Bergson 2012, p. 33).

161 Figure 57. Albert Oehlen, Son of Dogshit, 1997, oil on canvas, 255 cm x 190 cm

A backward step technologically is actually a productive step conceptually and expressively. Oehlen’s unconventional collage of digital imaging, screen-printing and hand painting is about the medium of paintings becoming, through

expansion due to the incorporation of outsider processes. It is still painting, although expanded (Titmarsh, M, 2017, p. 63) and, importantly the immediacy of painting is retained.