# C[omp]ute

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Always interested in offers/projects/new ideas. Eclectic experience in fields like: numerical computing; Python web; Java enterprise; functional languages; GPGPU; SQL databases; etc. Based in Santiago, Chile; telecommute worldwide. CV; email.

© 2006-2013 Andrew Cooke (site) / post authors (content).

## Obrist/Abramovic/Chaitin interview

From: Manuel Johannes Simoni <csae4529@...>

Date: Tue, 16 Dec 2003 21:53:12 +0100

(This is not computing related, but about bridging the grap between
science and art, and about the interesting points of views of two
extraordinary people, a scientist and an artist.)

Obrist/Abramovic/Chaitin interview, Kitakyushu, Japan, July 2001

This conversation between curator Hans-Ulrich Obrist, performance artist
Marina Abramovic and mathematician Gregory Chaitin is on pp. 29-44 of a
in 2003.

http://www.cs.auckland.ac.nz/CDMTCS/chaitin/abramovic.html

MA: I was arguing with a scientist that they're always observing but they
don't make observations of themselves. I wanted the observation to be central
in you first, so you are the first one to be observed and to be changed and
transformed. So that was the next step that I made---the public body, the
public as performer. So this was really important to shifting the rules of the
game. The problems of serving art are in there somewhere. So the public became
the art, together with the object. There was another moment, in the
early '70s, when we had a very small number of public, say 10 or 15 people. It
was very underground; performance was not accepted and so on, and we just made
our performances. At one point I ended up in a very large exhibition---
documenta 6---for which, together with Ulay, I performed a piece called
Expansion in Space, and it ended with 1500 people present, for the first time
in my life. That was the first time that I understood the power and the energy
of the public and how, as a performer, you can take this energy, transform it,
and give it back to them. This was the first time that I understood what it
means, what an energy dialogue is, and how the energy in the performance
works.

GC: You know that mathematical research is all energy. You have to throw
yourself at the problem. It's like you're running up a mountain. You're not
just going up, you're running up. And you've got to make it to the top of the
mountain, and it's a tremendous burst of energy and concentration. So when you
say the word energy,'' you know, that's a key word for me.

HUO: Can you give me one or two examples of such situations, where you are
running up mountains?''

GC: In my research? It's so completely emotional to solve a mathematical
problem. You have to really want to solve it. It's like adrenaline, it's like
energizing yourself. I want to smash against the problem. I'm going to run and
throw myself against the wall. I'm going to smash through the wall. I think of
it as a wall, you know, my lack of understanding. And you want to just smash
right through it. It's just a question of energy, it's energy. That's the key
word; otherwise you can't do research.

MA: There is a text in my last book called Towards the Pure Energy'' (Marina
Abramovic: Public Body, 2001) and that's really what it's all about. And
that's the kind of special state where you really want to be. You have to
question everything to transform it to the same state.

Apropos: the video of the talk from the last Chaitin message is online at
http://tinyurl.com/zizx

Manuel