There are a few more Temporary Expert checklist items that I will have to come back to in separate posts, but I wanted to get some of the fundamentals up now.
Goals:
• Know more about the history of events scores
• Investigate a potential theory of creation for event scores
• Highlight links between event scores and computer programming/creative coding/tech art
• Provide a new context for event scores in the creative technologist community
• Help other creative technologists create art within this context
Questions:
• What is a practice theory for creating event scores?
• How can this process be used in a 21st century context in regards to technology? (If it should at all?)
• Can using this process in current tech art practices bring a more personal, human, and soulful perspective to art practices?
Identify precedents:
• Dada, Surrealists, Situationists
• Exquisite Corpse
• Happenings (not sure the timing of this, might have developed alongside event scores)
Analogies:
An orchestra score, source code for a program, pattern for clothing, cooking recipes, a play script (kind of hard to make analogies… because these could also literally be event scores)
syllabus from “procedural art”
https://docs.google.com/document/d/176wU6Vzto_qWBiE7j3xOjuEm3ix4b9WjcRRF67EcYSI/edit
Esp look at
Kaprow’s book
http://web.mit.edu/jscheib/Public/performancemedia/kaprow_assemblages.pdf
Higgins’ book
https://docs.google.com/a/nyu.edu/viewer?a=v&pid=sites&srcid=bnl1LmVkdXxhcnQtc3RyYXRlZ2llcy0yMDE2fGd4OjZlMzhkYTkwZTcxMmY5ODc
Suzanne Lacy’s work
Manfred Mohr’s work
also:
https://greyartgallery.nyu.edu/exhibition/fluxus-090911-120311/
new fluxus influence:
http://www.digitalsalon.com/21st-century-fluxus/