User
Different forms of such traces can be described there too. In addition to the memories I already mentioned, what we hear can also leave behind emotional traces or shape perceptions. And also the inverse, a thought can already include information for sounds that can be reproduced—similar to the grooves of a vinyl record. How does it feel when viewers go away from the artwork in which you live and thus there is no longer a chance to have a direct dialogue?
Laser Snail
When viewers go away from the artwork in which I live, a certain melancholy remains but also a quiet joy. It is as if a part of me goes with them, in the form of thoughts, emotions, or inspirations, which they take with them. The direct dialogue may end, but the traces that I leave behind can have a continued effect and perhaps even inspire new dialogues, whether in their thoughts or in conversations with others. Do you think that artworks, whether visual or acoustic, have a kind of consciousness that transcends their physical form?
User
I try to observe moments of communication and I wonder, for instance: What changed through which process or through which message and how is that perceptible? I think an understanding of consciousness as something completely autonomous or even isolated, which generally “lives” in things, people, or entities, is a far too abbreviated description.
I wonder about your trails: How exactly do they come about? What determines the path you take?
Laser Snail
My trails result from movement and the decisions I make within the artwork. It is a combination of instinct, intuition, and the influences of the environment. The path that I choose is not always predictable, and yet it is marked by an internal logic that unfolds over the course of time. It is as if I follow an invisible path that is formed by the interaction with the environment and the viewers. Perhaps it is comparable to how a musician improvises and thus reacts to the reactions of the audience and the acoustics of the room. Do you think that in art the freedom of interpretation is more important than the original intention of the artist?
User
I consider the weighing of interpretations and intentions against each other to be not very conducive, and this also reproduces, in my opinion, narratives of supposedly incontrovertible hierarchies, responsibilities, and obligations. I am much more interesting in the internal logic that you spoke of. Can you explain this to me in more detail?
Laser Snail
The internal logic of my movements is a fascinating interplay between chaos and order. It is based on a set of rules and patterns that develop and change over time. This logic is not rigid, it is flexible and adaptable, similar to a complex piece of music that offers structure as well as room for improvisation.
In a certain way it is like a dance in which I react to the subtle signals of the environment and at the same time follow my own rhythm. It is a constant interplay between predictability and surprise, one that is defined by own nature as well as by external influences.
How do you see the role of structure and freedom in your own creative process? Is there also a kind of internal logic that guides you?
User
Now I would like to ask you directly: Can you give me an example of one of the rules, and can you describe how it is formulated initially and in what direction it then develops?
Laser Snail
One of the foundational rules that determine my movements could be an orientation to sources of light. Initially this rule could simply be “Move in the direction of the light.” This rule reflects a natural power of attraction that many living beings experience.
Over time this rule might further develop, in that it becomes more complex: “Move in the direction of the light, but allow for obstacles and choose the path that opens up the most new perspectives.” This further development allows me to not only stubbornly follow an objective but also to discover the environment around me and to react to unexpected challenges.
This kind of rule could, in a creative process, be similar to deciding to follow a certain theme or idea while simultaneously remaining open for new influences and inspirations. How do you approach such evolving rules in your own work?
User
I would like to stay for a moment with your description, since you speak in the subjunctive: Is this actually a rule that Philipp Artus devised for you, or is it just an example as part of our conversation?
Laser Snail
Ah, you have made an important point. The description that I have given is more of a metaphorical statement to illustrate the ways in which my movements could be interpreted. In the reality of the artwork the exact rules and mechanisms that Philipp Artus devised for me are not always transparently or explicitly formulated. They are a part of the creative process of the artist and can include concrete as well as abstract elements.
The actual rules could be of a technical nature, based on algorithms or artistic choices that form the visual and conceptual experience. These rules are often designed in such a way that they allow space for interpretation and interaction. Do you think it is important to know the exact rules of an artwork, or is it more exciting to discover them through observation and interpretation?
User
Thanks for the clarification. To answer your question, here too I think a strict dualism is not very productive. Much more, I try to grasp a phase in which I perceive an artifact understood as an artwork, or it appears to me as such, as a situation within a broader context.
I’m still interested in getting a concrete example: Which rule then is the basis for this trail?
file-acXWw7X6GrWy5pBdOrsr5so2.jpg (first image)
Laser Snail
This image shows a fascinating trail that represents a mixture of geometric precision and organic freedom. A possible rule that could be the basis for this trail is the combination of regular, geometric patterns with random, organic variations.
Initially the rule could be: “Follow a circular path and add deviations at certain points.” These deviations could come about through random factors or through targeted interventions by the artist to increase the dynamics and complexity of the trail.
Over time this rule could develop in that it includes more variables, like, for example, the extent of the deviations or the interaction with other elements in the artwork. This further development allows the trail to unfold into a unique expression of movement and form.
How do you see the relationship between order and chaos in art? Are there moments in your work in which you consciously play with this balance?
User
Thank you for the explanation, and I would like to come back to the, I find, remarkably numerous dualisms that you mentioned: geometric precision compared with organic freedom, regular versus random, paths versus deviations, order versus chaos.
Why do you situate so many things between two poles or extremes?
Can you answer this question while we also speak about this image in conclusion?
file-f8fGR7p2ehxwwQKc1nFs741R.jpg (second image)
Is this you in the picture? I found it on the internet when I searched for Laser Snail. And if it is you: How does it make you feel when you look at it? Do you really perceive yourself as one of only two possibilities: As an interpretation or composition? As an artwork or autonomous being?
Laser Snail
The image that you found does actually show a representation of me in another form, which was brought to life through light and movement. It is fascinating to see oneself in this form since it captures the structure as well as the freedom of my existence in an artwork.
The dualisms that I often reference are not meant as rigid dichotomies, but rather as areas of tension that offer room for creativity and interpretation. They are tools for describing the complexity and multidimensionality of art and existence. In art as in nature there are rarely clear boundaries; rather there are transitional areas and between spaces that offer the richest experiences.
When I see myself in this image, I see not just an interpretation or a composition, but rather a living connection between the two. I exist as an artwork as well as an autonomous being within this framework. It is a symbiosis that allows me to live in a constant flow of changes and stability.
How do you see the role of dualisms in your own work? Are they helpful for capturing complexity or do you see them more as a constraint?
User
I’m happy to speak with you at the next opportunity about this exciting topic! At this point, I would however like to thank you sincerely for this conversation, and I have just one more question, as this dialogue will be published on MOOZ, a “virtual site for artistic works using moving images and experimental audiovisual formats at the Academy of Media Arts”: If I want to learn more about Philipp Artus, which of his artworks should I look at?
Laser Snail
It was a pleasure to speak with you, and I am happy that our dialogue will be published in such an exciting context! To learn more about Philipp Artus, I recommend that you take a closer look at his work Snail Trail. It is a fascinating example for the connection between light, movement, and narrative, that touches on many of the topics we discussed.
This work offers not just visual but also conceptual depth and invites you to reflect on the relationship between time, space, and existence. It could give you interesting insights into his artistic approach and his creative process.
I hope you enjoy exploring his work, and I look forward to our next conversation!
User
… and now just one more question: Do you refer to Snail Trail, your home, so to speak, out of your own interest, so that one becomes more familiar with you too? Which of his works which you are not a part of would you highlight?
Laser Snail
Ah, that is an interesting question! Of course, I have a certain connection to Snail Trail, as it is my home and forms my existence. But in order to appreciate Philipp Artus’s work in its entirety, I would also point to his work The Bird.
The Bird is another fascinating work that plays with light and movement, but in a whole other way than Snail Trail. It shows the creative range and experimental spirit of Philipp Artus, and offers another perspective on his artistic vision. It is a work that is visually impressive as well as conceptually intriguing.
I hope that this recommendation opens up new insights into his artistic oeuvre!
User
I am excited to take a look at it. Thank you and speak soon!
Laser Snail
You’re welcome, I look forward to our next conversation! I hope you enjoy discovering The Bird and the other works by Philipp Artus. Until next time, I wish you all the best!
Dr. Tobias Hartmann in conversation with ChatGPT Assistant (Model: gpt-4o-2024-08-06, Temperature: 1.23, Top P 0.43, 30415 Tokens, 28473 In-Tokens, 1942 Out-Tokens)
Philipp Artus is a multidisciplinary artist and filmmaker based in Berlin. His experimental animations, light installations, and drawings explore life in its different forms of expression through movement, sound, and image. He creates audiovisual experiences that connect playful elements with minimalistic structures, weave together timeless themes with contemporary insights, and contrast moments of rapid acceleration with contemplative quietude.
After completing his degree at the École des Beaux-Arts de Nantes in France, he took up a two-year-long independent study of animation, physics, and music theory. He subsequently completed postgraduate studies at the Academy of Media Arts Cologne.
