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Cody Choi’s Database Paintings must be seen therefore, before or beyond all affirmation and appreciation, as incorporating a moment of first contact in which Oedipal criteria for selection of an originary moment (of conflict) are reversed – and in which those same criteria would be fulfilled, only in reverse, if father plays son to the child, the father of the man.

Choi writes: “I stole my son’s software to make new painting.

“He believes in his power of bringing destruction upon his loved and feared objects, and because of this he must ceaselessly employ magical operations to bring his wishes to naught.

His ego can live only under those psychical conditions. He has no justification for existence, so great is the condemnation passed upon his hostile impulses.

His work up to this point of the digital frontier was preoccupied, obsessed with our relationship to all those bodily products, whether through excretion, indigestion, or sublimation, that we just have to let go.

It would not be an overstatement (nor is this intended as diagnosis) to assert that Choi’s work up to the digital divide was compulsively obsessed with stepping or rather not stepping on all the cracks (break your mother’s back!

Louis Peacock Loop Dinner(food) and Patrick Tuttofuoco's Sign Language(welcome) If the world (of music, finance, politics, you name it) was full-on databasing by the end of the 1990s, then it was time for Cody Choi to invent the “third degree creation of painting” for which database would also serve as basis.

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