![]() This meant that countless interesting and inspiring issues surfaced while we were working in the gallery. IAAC had a distinct structure, yet lacked a clearly formulated hypothesis. Together we ensured that the project could sustain and develop its core problematics in a dynamic way. During the six weeks that it was open to the public, IAAC offered 30 individuals and groups the opportunity to investigate the work of 57 artists and if they so wished to, create a presentation or exhibition at the end of the day. At least 150 individuals contributed in different ways to the project. The project was a collective effort in every sense of the word and involved a large number of creators. The outcome was I am a Curator (IAAC), a complex project that offered a different interface for the audience both to interact with artwork and exhibition. In 2003 I was commissioned by Chisenhale Gallery in London to create a project that developed the experimental exhibition practice that I had been engaged in during the preceding years. From this cognitivist view, every complex function (such as perception, memory and action) was understood as a succession of many simpler processing steps, with each step informing the next. The primacy of the computer metaphor started in the fifties and gradually gained more and more influence until it peaked in the 70’s and 80’s.This co-occurred with the interest in artificial intelligence in the 90’s. To understand what I mean, we have to go back several decades to when the brain was understood according to the then contemporary cultural metaphor of the computer (after the prevailing metaphor of telephone switch-board). ![]() This has certainly not always been the case and it is only recently that the importance of expectations has been appreciated in neuroscience. In fact, the more I have been thinking about IAAC, the more I seem to understand him and his artistic vision.Įxpectations (or rather: predictions) are currently a very important and influential topic in cognitive neuroscience. I have come to understand that the outcome of these confrontations has shaped Per’s artistic practice greatly over the next ten years. During the process of creating IAAC, however, expectations (of himself, the artists, the audience and the art-world) showed themselves clearly to Per, and had to be confronted head-on. Expectations are ephemeral thoughts: they are always present informing, shaping and determining our minds while at the same time remaining mostly unconscious. Increasingly, these conversations have deepened my appreciation of his artistic vision, and it is a great pleasure to take the opportunity now to reflect on I Am A Curator (IAAC).ĭuring our conversations about this project it became clear to the both of us that expectations provide a relevant point of departure for our reflections on both art and science. I am not an artist, and Per is not a scientist and this often results in wonderful moments of mutual confusion. ![]() Per and I have been engaged in a dialogue about the differences and parallels between art and science for many years, and in so doing have always been conscious of our own limited perspectives. Reflections on IACC: expectations and neuroscience
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