Difference between revisions of "Searle's Room"
From Robert-Depot
(→Context) |
(→Context) |
||
| Line 5: | Line 5: | ||
*Eduardo Miranda. Neuromusic. Composer. [http://neuromusic.soc.plymouth.ac.uk/] | *Eduardo Miranda. Neuromusic. Composer. [http://neuromusic.soc.plymouth.ac.uk/] | ||
**Andy Miah. ''Musical Intelligence for the Future.'' paper on Miranda's work. [http://www.andymiah.net/wp-content/uploads/2009/11/Miah2011MusicalIntelligence.pdf] | **Andy Miah. ''Musical Intelligence for the Future.'' paper on Miranda's work. [http://www.andymiah.net/wp-content/uploads/2009/11/Miah2011MusicalIntelligence.pdf] | ||
| − | **''Symphony of Minds LIstening''. Beethoven's 7th filtered through fMRI scans. | + | **''Symphony of Minds LIstening''. Beethoven's 7th filtered through fMRI scans. [http://vimeo.com/61517265] |
*Ellen Zweig. ''(The Chinese Room) John Searle''. 2008. | *Ellen Zweig. ''(The Chinese Room) John Searle''. 2008. | ||
**https://tribecafilminstitute.org/reframe/film/the_chinese_room_john_searle | **https://tribecafilminstitute.org/reframe/film/the_chinese_room_john_searle | ||
Revision as of 17:57, 24 May 2013
Contents
[hide]The Paper
Searle, J.R., "Minds, brains, and programs," The Behavioral and Brain Sciences, 3, 1980.
The Room
Context
- Eduardo Miranda. Neuromusic. Composer. [1]
- Ellen Zweig. (The Chinese Room) John Searle. 2008.
- David Rokeby. Giver of Names. 1990.
- The Chinese Room. (Film) 2009.
- N. Katherine Hayles. Distributing/Disturbing the Chinese Room. 2009. [4]
- Harry Giles and Joey Jones. The Chinese Room. 2007. Interactive Fiction
- Heather Dewey-Hagborg. Netlingua. 2003. [5]
- Jorgen Leth. The Perfect Human. [6]
- Borges
- William Pope.L
- White Room #4 / Wittgenstein & my Brother Frank. 2005. [9]
- Biting Through Innocence. 2008.
[10]Dear Gallery Goer, This is a press release for the first exhibition of art work by my son, William Pope.L, at Catherine Bastide Gallery in Brussels, Belgium. The works in this exhibition borrow from many media: pink liquid antacid, changing stations, miniatures of monuments to the future, mattresses, children's clothing, fish tanks, drawings and video. Most of the work was made in 2008 but a few special works date from 1998 and 2002. For example, my son believes that ideas such as 'childhood' and 'future' are sentimentalized. He believes that we valorize these concepts by emptying them of uncertainty. He believes the real power of these ideas are their inherent emptiness, not the emptiness we impose. The emptiness we impose is cheap, polite, and apolitical. I do not agree with my son but he is my son and so I recommend him without reservation. William Pope, father of the artist Chicago, Illinois, USA January 21, 2008
