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	<title>Comments for Drawn/Taped/Burned: Abstraction on Paper</title>
	<atom:link href="http://www.aboutdrawing.org/drawntapedburned/?feed=comments-rss2" rel="self" type="application/rss+xml" />
	<link>http://www.aboutdrawing.org/drawntapedburned</link>
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	<lastBuildDate>Mon, 15 Apr 2013 12:15:13 +0000</lastBuildDate>
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	<item>
		<title>Comment on Erwin Redl on Jay Kelly by Philippe Gelot</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=950#comment-348</link>
		<dc:creator><![CDATA[Philippe Gelot]]></dc:creator>
		<pubDate>Mon, 15 Apr 2013 12:15:13 +0000</pubDate>
		<guid isPermaLink="false">http://vs102784.blueboxgrid.com/?p=950#comment-348</guid>
		<description><![CDATA[Jay Kelly]]></description>
		<content:encoded><![CDATA[<p>Jay Kelly</p>
]]></content:encoded>
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	<item>
		<title>Comment on Tristan Perich, Machine Wall Drawing by Tristan Perich</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=3753#comment-88</link>
		<dc:creator><![CDATA[Tristan Perich]]></dc:creator>
		<pubDate>Mon, 07 Feb 2011 20:42:29 +0000</pubDate>
		<guid isPermaLink="false">http://www.aboutdrawing.org/drawntapedburned/?p=3753#comment-88</guid>
		<description><![CDATA[Hi Vince: yes, the drawing is not unpredictable in an absolute sense, since it is running deterministic code on a self-contained microprocessor. The randomness employed is pseudo-random, and again is predictable. These limitations of closed computational environments intrigue me, and so the drawings are an intersection between that pristine system and the messy real world around us, where pens dry out and the texture of the wall influences their motion. I don&#039;t add interactivity to the system to keep it within those limitations, which allow me to focus on the consequences of computation in the abstract. Of course, randomly moving a human&#039;s hand is also limited by the patterned activity of our brains. Of course, though the motion of the motors controlling the pen is perhaps predictable, no practical formula would describe the finished drawing. It could be run in simulation, but that implies a certain degree of implicit unpredictability, since the only way to foresee the outcome is to run the algorithm. Lastly, the physical aspects, like the pen running out of ink or the angle it was clipped or the speed of the motors, contribute greatly to the subtle qualities of the line and ultimately the entire drawing, which of course cannot be captured by the webcam feed here. Thank you for your question.]]></description>
		<content:encoded><![CDATA[<p>Hi Vince: yes, the drawing is not unpredictable in an absolute sense, since it is running deterministic code on a self-contained microprocessor. The randomness employed is pseudo-random, and again is predictable. These limitations of closed computational environments intrigue me, and so the drawings are an intersection between that pristine system and the messy real world around us, where pens dry out and the texture of the wall influences their motion. I don&#8217;t add interactivity to the system to keep it within those limitations, which allow me to focus on the consequences of computation in the abstract. Of course, randomly moving a human&#8217;s hand is also limited by the patterned activity of our brains. Of course, though the motion of the motors controlling the pen is perhaps predictable, no practical formula would describe the finished drawing. It could be run in simulation, but that implies a certain degree of implicit unpredictability, since the only way to foresee the outcome is to run the algorithm. Lastly, the physical aspects, like the pen running out of ink or the angle it was clipped or the speed of the motors, contribute greatly to the subtle qualities of the line and ultimately the entire drawing, which of course cannot be captured by the webcam feed here. Thank you for your question.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Sarah Zabrodski on Brice Marden by vernon ford</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=970#comment-87</link>
		<dc:creator><![CDATA[vernon ford]]></dc:creator>
		<pubDate>Mon, 07 Feb 2011 19:19:48 +0000</pubDate>
		<guid isPermaLink="false">http://vs102784.blueboxgrid.com/?p=970#comment-87</guid>
		<description><![CDATA[Here are the words for that blank page.
Not just about Brice but all the marks and the makers in the exhibit.]]></description>
		<content:encoded><![CDATA[<p>Here are the words for that blank page.<br />
Not just about Brice but all the marks and the makers in the exhibit.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Tristan Perich, Machine Wall Drawing by vince</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=3753#comment-86</link>
		<dc:creator><![CDATA[vince]]></dc:creator>
		<pubDate>Sun, 06 Feb 2011 21:16:43 +0000</pubDate>
		<guid isPermaLink="false">http://www.aboutdrawing.org/drawntapedburned/?p=3753#comment-86</guid>
		<description><![CDATA[It seems that the finished product can&#039;t be unforeseen because the microchip has been programmed to have the pen follow a specific pattern. I&#039;d like to better understand how the finished product won&#039;t be something that has been precisely defined.]]></description>
		<content:encoded><![CDATA[<p>It seems that the finished product can&#8217;t be unforeseen because the microchip has been programmed to have the pen follow a specific pattern. I&#8217;d like to better understand how the finished product won&#8217;t be something that has been precisely defined.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Tad Mike on Barry Le Va by Jess Nix</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=954#comment-85</link>
		<dc:creator><![CDATA[Jess Nix]]></dc:creator>
		<pubDate>Sun, 30 Jan 2011 21:42:36 +0000</pubDate>
		<guid isPermaLink="false">http://vs102784.blueboxgrid.com/?p=954#comment-85</guid>
		<description><![CDATA[Consistent with his description of Mr. Le Va’s works as having two sides—“[o]ne side we see, the other requires us to listen”—so it is with Mr. Mike’s essay: on the surface it offers insights into Mr. Le Va’s work specifically, while on another level it provides insights into the mind of an artist during the creative process.  

Mr. Mike’s essay is personal and intimate.  It bespeaks an intimate understanding of Mr. Le Va’s work as well as Mr. Le Va himself.  Reading the essay, one gets the impression that Mr. Mike considers both Mr. Le Va and his works old friends with whom he has spent many hours conversing and exchanging ideas.  Mr. Mike obviously hears the music that silently plays in Mr. Le Va’s works and has the unique ability to make his readers hear that music through his essay.  His essay could easily function as an essential companion to Mr. Le Va’s work that would enrich the experience of viewing it for casual viewers as well as experts.

While revealing an intimate knowledge of Mr. Le Va and his works, Mr. Mike’s essay also offers a distinctive insight into the creative process.  He seamlessly relates how Mr. Le Va’s works interweave elements of physics, geometry, poetry, and music; in the process of relating these diverse considerations to Mr. Le Va’s works, one can tell that Mr. Mike has grappled with each of them in composing his own works.  His essay calls upon everyone—from casual observers to working artists—to look beyond the surface of an artwork and consider the diverse, sometimes contradictory elements that inspired and directed the artist in creating the work.  

In the end, Mr. Mike’s essay is an important comment not only upon Mr. Le Va’s art but also upon understanding artists and the art they create.  Like the art he describes, Mr. Mike’s essay has multiple layers requiring careful study and consideration from a broad range of perspectives.  No matter how many times one reads Mr. Mike’s essay, it always offers something new to ponder.]]></description>
		<content:encoded><![CDATA[<p>Consistent with his description of Mr. Le Va’s works as having two sides—“[o]ne side we see, the other requires us to listen”—so it is with Mr. Mike’s essay: on the surface it offers insights into Mr. Le Va’s work specifically, while on another level it provides insights into the mind of an artist during the creative process.  </p>
<p>Mr. Mike’s essay is personal and intimate.  It bespeaks an intimate understanding of Mr. Le Va’s work as well as Mr. Le Va himself.  Reading the essay, one gets the impression that Mr. Mike considers both Mr. Le Va and his works old friends with whom he has spent many hours conversing and exchanging ideas.  Mr. Mike obviously hears the music that silently plays in Mr. Le Va’s works and has the unique ability to make his readers hear that music through his essay.  His essay could easily function as an essential companion to Mr. Le Va’s work that would enrich the experience of viewing it for casual viewers as well as experts.</p>
<p>While revealing an intimate knowledge of Mr. Le Va and his works, Mr. Mike’s essay also offers a distinctive insight into the creative process.  He seamlessly relates how Mr. Le Va’s works interweave elements of physics, geometry, poetry, and music; in the process of relating these diverse considerations to Mr. Le Va’s works, one can tell that Mr. Mike has grappled with each of them in composing his own works.  His essay calls upon everyone—from casual observers to working artists—to look beyond the surface of an artwork and consider the diverse, sometimes contradictory elements that inspired and directed the artist in creating the work.  </p>
<p>In the end, Mr. Mike’s essay is an important comment not only upon Mr. Le Va’s art but also upon understanding artists and the art they create.  Like the art he describes, Mr. Mike’s essay has multiple layers requiring careful study and consideration from a broad range of perspectives.  No matter how many times one reads Mr. Mike’s essay, it always offers something new to ponder.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Holly Shen on Ellsworth Kelly by Kelsey Cyr</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=946#comment-84</link>
		<dc:creator><![CDATA[Kelsey Cyr]]></dc:creator>
		<pubDate>Sun, 30 Jan 2011 16:34:12 +0000</pubDate>
		<guid isPermaLink="false">http://vs102784.blueboxgrid.com/?p=946#comment-84</guid>
		<description><![CDATA[Color is such a simple and pure element.  It need not be over-analyzed, just experienced.  As I look at Kelly&#039;s work I experience great calmness.  It seems to gently pulsate with a quiet power, rythmic with my own inhale and exhale.]]></description>
		<content:encoded><![CDATA[<p>Color is such a simple and pure element.  It need not be over-analyzed, just experienced.  As I look at Kelly&#8217;s work I experience great calmness.  It seems to gently pulsate with a quiet power, rythmic with my own inhale and exhale.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Teo González on Elena del Rivero by vernon ford</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=909#comment-83</link>
		<dc:creator><![CDATA[vernon ford]]></dc:creator>
		<pubDate>Sun, 30 Jan 2011 02:18:03 +0000</pubDate>
		<guid isPermaLink="false">http://vs102784.blueboxgrid.com/?p=909#comment-83</guid>
		<description><![CDATA[These marks I made before seeing anyones paper in this while studying as a docent.
I’m posting them to the work of Elena for her text in kind.
My text from top to bottom gets lighter which I can’t articulate in this post.

White

Field clear  
waiting for winter words
deep dug trenches
surrounding our world inside
cicles of ice teeth
guarding the yard way

This idea of an idea
these words just letters
punched on my screen
from mind to machine
in bone black
on a face of Times

This drawing in line
no pen or brush
ink or gouache
could it be carbon
or is it just peat
on my recycled sheet

white from up there
on a grid to show where
covering my text
at any given time
this element of chance
an artistic inspiration.]]></description>
		<content:encoded><![CDATA[<p>These marks I made before seeing anyones paper in this while studying as a docent.<br />
I’m posting them to the work of Elena for her text in kind.<br />
My text from top to bottom gets lighter which I can’t articulate in this post.</p>
<p>White</p>
<p>Field clear<br />
waiting for winter words<br />
deep dug trenches<br />
surrounding our world inside<br />
cicles of ice teeth<br />
guarding the yard way</p>
<p>This idea of an idea<br />
these words just letters<br />
punched on my screen<br />
from mind to machine<br />
in bone black<br />
on a face of Times</p>
<p>This drawing in line<br />
no pen or brush<br />
ink or gouache<br />
could it be carbon<br />
or is it just peat<br />
on my recycled sheet</p>
<p>white from up there<br />
on a grid to show where<br />
covering my text<br />
at any given time<br />
this element of chance<br />
an artistic inspiration.</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on John Fraser on Esteban Vicente by vernon ford</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=1005#comment-82</link>
		<dc:creator><![CDATA[vernon ford]]></dc:creator>
		<pubDate>Sun, 30 Jan 2011 01:55:05 +0000</pubDate>
		<guid isPermaLink="false">http://vs102784.blueboxgrid.com/?p=1005#comment-82</guid>
		<description><![CDATA[Yes, a wall of peeling paper exposing stone. A voluptuous and earthy bit of marks that has the poetic hue of Spain.
He has taken me to Segovia without buying a ticket. A drawing of a painting!]]></description>
		<content:encoded><![CDATA[<p>Yes, a wall of peeling paper exposing stone. A voluptuous and earthy bit of marks that has the poetic hue of Spain.<br />
He has taken me to Segovia without buying a ticket. A drawing of a painting!</p>
]]></content:encoded>
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		<title>Comment on Allyson Strafella on Richard Tuttle by Pamela Hart</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=1003#comment-81</link>
		<dc:creator><![CDATA[Pamela Hart]]></dc:creator>
		<pubDate>Fri, 28 Jan 2011 14:17:43 +0000</pubDate>
		<guid isPermaLink="false">http://vs102784.blueboxgrid.com/?p=1003#comment-81</guid>
		<description><![CDATA[White space under/behind/beside
falling breath, a bit
of color teal/no green
no story - atumble -
thought cubes -
small shrubs that gather
the space like stanzas on a page]]></description>
		<content:encoded><![CDATA[<p>White space under/behind/beside<br />
falling breath, a bit<br />
of color teal/no green<br />
no story &#8211; atumble -<br />
thought cubes -<br />
small shrubs that gather<br />
the space like stanzas on a page</p>
]]></content:encoded>
	</item>
	<item>
		<title>Comment on Nicole Fein on Jill O’Bryan by Pamela Hart</title>
		<link>http://www.aboutdrawing.org/drawntapedburned/?p=1028#comment-80</link>
		<dc:creator><![CDATA[Pamela Hart]]></dc:creator>
		<pubDate>Thu, 27 Jan 2011 23:02:08 +0000</pubDate>
		<guid isPermaLink="false">http://vs102784.blueboxgrid.com/?p=1028#comment-80</guid>
		<description><![CDATA[mark of breath, of air
again and again the canvas
hums with the ohm
graphite lines expiring]]></description>
		<content:encoded><![CDATA[<p>mark of breath, of air<br />
again and again the canvas<br />
hums with the ohm<br />
graphite lines expiring</p>
]]></content:encoded>
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