|
Lorna Mills and Sally McKay
Digital Media Tree this blog's archive OVVLvverk Lorna Mills: Artworks / Persona Volare / contact Sally McKay: GIFS / cv and contact |
View current page
...more recent posts
R.M. Vaughan reviews Mary Ann Barkhouse’s The Reins of Chaos at the Latcham Gallery in Stouffville, Ont. He closes with this paragraph:
"A side note: The Reins of Chaos is related to a series of Barkhouse installations that situate animal sculptures in disjointed, otherworldly domestic settings. Her last touring exhibition, Boreal Baroque, tucked rabbits, owls and other woodland creatures into tidy, chintz-draped parlours. One can’t help wondering why or how these powerful and charming works were overlooked by Adaptation: Between Species, the Power Plant’s new, and very large, humans-meet-animals show. Surely one Barkhouse work is worth any two European videos?"
That of course, begs the question, how did the Power Plant's out-going curator, Helena Reckitt, manage to exclude so many First Nation's artists from Adaptation: Between Species currently on at the Power Plant?
Mary Ann Barkhouse harvest 2009 Bronze, wood, porcelain, taffeta
Mary Ann Barkhouse Boreal Baroque 2009
blingee by L.M.
Neuroscientist Gerald Edelman (who works on robotic consciousness) explains why brains and computers are not analogous.
To function, a computer must receive unambiguous input signals. But signals to various sensory receptors of the brain are not so organized; the world (which is not carved beforehand into prescribed categories) is not a piece of coded tape.
Gerald Edelman, Second Nature: Brain Science and Human Knowledge, 2006. pg.21