Note Painting vs Code Picture
I started a new version of the language encoding images using the analogue method. I called it “code picture”. Below is the difference between the two coding types, the old “Note Painting” and the new “Code Picture.”
“The Song for Itself”
“The Song for Itself” DataMatrix NP001/22 is a non-musical song that is also a QR code leading to itself.
The QR code was written on the stave using the Note Painting coding method and then painted on a 60 x 60 cm canvas with acrylic paint. The notation included the use of black and white.
The QR code image brought you here to see the analogue Note Painting code written on the stave and encoding.
Below you can see the original sketch of the code and download the PDF with the explanation and idea.
Wonderful & Liked
W&L was a visual-musical, anti-artistic collective active between the years 1990 – 1994, comprised of Hassan, Cyrul Duhe, Lietzau and various guests.
It did not have a precise agenda like other groups, but a few common traits can be identified:
- Complete opposition to art and its canon, equally as against art institutions as amateur artists and contemporaries
- Mocking the avant-garde genre as a means for artists to cover their lack of ideas and mediocrity
- Mocking artistic education where ‘the chosen ones’ ‘educate’ ‘the clueless’
- Mocking small-town culture and old fashioned consumption of art
- Mocking the new wave of ‘anti-art’, which includes the collective mocking its own ways.
- Unveiling buffoonery in art, practised under the guise of intellect.
- Lack of ‘greater artistic mission’ or will to sell people on their ideas
- Lack of contact with media and the critics as part of the agenda
- Absolute belief in own superior genius and brilliance
- Free will of expression and illogicality, as well as the means to justify any and all of their actions
- Playing ‘artist’ as someone ‘special’ in society
- Being non-artists
- Creation and destruction as means of self-expression
- Emphasizing their individuality inside the group: a member of the collective adhered to no internal rules or pressure
- Resilience against fashion and artistic trends
- Opposition to technological progress and professionalism in various areas of life
- Opposition to universal commercialisation, including that of the avant-garde genre
- Opposition to political systems which exploit and destroy one’s individuality as it must be surrendered to the system
- The collective was involved in:
- Creation of music and sound, as well as concerts in venues and outdoors
- Events and performances with presentation of painting (in liberal use of the word), collections of sounds, artistic installations, assemblage
- Creation of objects, annexation of material space for their own purposes, then destroying all of that as well
- Undefined activity in and out of art galleries
- Campaigns and performances in public places without official approval
- Inviting others to collaborate and operate together
In 1994 the collective fell apart, destroying (nearly) all of their legacy in the process: paintings, artefacts, photos, audio & video tapes and the documentation of own actions all fell victims of burning in a fire after being deemed mistakes in history.
This page contains the materials which miraculously survived – only because they happened to be in someone else’s possession.
Our eARTh: Art speaks stronger than charts and figures
I am proud to have joined over 100 artists from across the globe to highlight climate change at the nine-month ‘Our eARTh’ environmental exhibition in North Yorkshire. Continue reading %s
Note Painting B-15
Work in progress.
Performing the B-15 composition. Sketching on the stave, correcting code, painting and adding colors.
Note Painting B-15v1
Work in progress.
Performing the B-15v1 composition. Sketching on the stave, correcting code, painting and adding colors.