Outer-Art, Volume 3: Prints, Outer-Sculptures, and Digital by Florentin Smarandache

By Florentin Smarandache

"Outer-Art" is a stream manage as a protest opposed to, or to ridicule, the random glossy paintings which states that every little thing is… paintings!
It used to be initiated via Florentin Smarandache, in Nineties, who sarcastically known as for an upside-down paintings: to do artwork in a fashion it's not alleged to be performed, i.e. to make paintings as grotesque, as foolish, as fallacious as attainable, and customarily as most unlikely as attainable.

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Outer-Art, Volume 3: Prints, Outer-Sculptures, and Digital Works

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It used to be initiated via Florentin Smarandache, in Nineties, who sarcastically referred to as for an upside-down paintings: to do artwork in a manner it isn't imagined to be performed, i. e. to make paintings as grotesque, as foolish, as mistaken as attainable, and customarily as very unlikely as attainable.

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Extra info for Outer-Art, Volume 3: Prints, Outer-Sculptures, and Digital Works

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What does this mean? Most counsellors and psycho­ therapists proceed on the realization that biographical experiences leave traces on our inner lives. Throughout our lives we are engaged in a "dialogue", sustained by moods and emotions, between our­ selves and our parents, brothers and sisters, love partners, rivals, and many others. In conjunction with biological processes, the totality of these experiences defines our emotional and mental com­ plexion and our behaviour. Psychological theory has coined an abundance of different concepts to refer to this everyday experience, which is familiar to almost all of us.

He has to impose severe constraints on his inner liveliness, sexual activities like masturbation lead to tormenting feelings of guilt. In my counter-transference I experience a rather bored, ^determinate tension and think that, as Roger complains of being "kept at arm's length" by his girl-friend, a similar affective situation may have grad­ ually established itself in his dealings with her as well. In the face of this suppressed liveliness, it strikes me that the patient lives very inten­ sively i n the visual images he describes as thronging i n on him.

Just as o u r n e u r a l n e t w o r k s , p r e s u m a b l y , are b o t h c o n s t r a i n e d a n d i n p a r t c o n ­ structed b y s o m e t h i n g like algorithms u s e d i n p a r a l l e l d i s t r i b u t e d p r o c e s s i n g of i n f o r m a t i o n b y c o m p u t e r p r o g r a m m e r s , so o u r m i n d s are c o n s t r a i n e d ( a n d i n p a r t constructed) b y the n e e d to tie o u r beliefs a n d desires together into a reasonably p e r s p i c u o u s w h o l e .

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Outer-Art, Volume 3: Prints, Outer-Sculptures, and Digital by Florentin Smarandache
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