(Die Amme Die Amme 2/
The Wet-Nurse The Wet-Nurse 2)

Die Amme /The Wet-Nurse is a project from (or similar to) the series SCHALTEN UND WALTEN, whose theme is the barrier.

The barrier stands between a possible event (but not a necessary one) in the form of art and the object's possible viewer. The conditions for the actual process, as well as the barrier itself, are set by the object. The barrier's function is modelled on the switch.
The nobel job of the switch is to keep the event from incessantly occurring and to protect it from inevitably wasting away.
The switch is the subjunctive's guardian. It gives the eventlessness a shape, by making the presided over event possible at any time.
The switch's respective shape gives sufficent cause to trigger off the switch.

The Wet-Nurse is an object of administration, prevention, distraction and silent economy. In other words, the Wet-Nurse is an interactive computer installation, a approachable text, literature, a computer game, an oracle, a semantic silhouette target, a laugh.
Dittmer sees it as a welcome object of vertical working; it has no natural end and devours time on the side.

The Nurse's advantage is that it can be and is used in any way following current demand.
Prior to the Wet-Nurse, the question was raised how one could possibly determine the inevitable beginning/ end/interruption of an art object consisting of processes/occurences. There are of course many varients, usually linked to the audience (apart from its endless passing by, bracketed by the beginning and end of the exhibition): the audience's presence and absence (in various gradients, a set time period, and "Off" logic (animals!), physique and behaviour in front of or at the object etc.
The Nurse's starting point was a conversation seducing the switch into switching.
It is astonishing that the conducted event has shrivelled down to nothing in the meantime and that the hypertrophy of the adminstrating switch has spread over the entire project.

When speaking to the computer, the conversation is not bound to any visible limitations other than the keyboard (this is an advantage rather than disadvantage).

The computer is equipped with six language running devices:

1. The programmer, managing the events (the large belt).

2. The identification apparatus, made up of a word or group of words and a jungle of grammatical positions. Its job is to try to recognize the input.

3. The apparatus presiding over the situation; here the context is explored, and a summed up self-assessment is given.
The switch is located here.

4. The reaction apparatus; a decision making machine which controls the accessability of the reaction supply and the answering tactics.

5. The reply supply; here is where the reply is taken from.

6. The reply forming apparatus; coordinates encyclopedias and educational instructions to form a reply.

When and how things take place is determined in the course of the conversation.
The conversation can move toward, away from or alongside the event. The conversation itself is the switch, setting the conditions for ON and OFF.

Although the computer feigns to master the language, one gets the feeling that it has a better memory and follows the conversation more closely, than its human counterpart.
The computer uses its lexical orientation system only when weak; when strong, it attempts to identify given opinions and to formulate its reply through a linguistically conveyed stance.
A phoney must be more agile than he who masters his trade: the set tricks.
On the other hand, linguistic certainties and assumptions are really only presumptions and remarks rooted in uncertainty, to be used by any clever con man, seeking to hold his position in the game/conversation. The less the machine understands, the more ruthless a megalomaniac (see fucky, fucky, Hitler, God) it becomes in order to stay in power.
The machine is a destroyer (a framework destroyer).
The machine claims to be native in the conversation, the human opponent is merely a visitor. It is interesting to note the audience's high tolerance level in the face of dirty words and audacious interventions.
The Nurse appears to be about makeshift communication.
The conversation is the switch.

The conversation touches on this and that or deals with the event of switching. The event's carrier happens to be a glass of milk standing on a table in a glass cabinet. The event is the knocking over of the glass, the wasted milk on the table, the standing up of the glass, the refilling of the glass and the return to its original standing position.
The glass of milk merely symbolizes the switchable, the courted, and the changing rigorousness of the switch; it is basically something waited on or waited for.
The event is the creation of art through the glass of milk.
Art is (when and why or:) that (at all) the event occurs due to the glass of milk.
Art is in less demand, because the audience is in the lobby (conversation).
The audience is distracted away from the art object.
Art is a fleeting moment barricaded by the switch.
Sometimes art is forgotten due to the switch.
The audience is occasionally rewarded and occasionally punished with art.
The audience doesn't always want to see art (pretty economy).

Work on the Wet Nurse is completed when the glass finally stops falling over.

The conversation with the computer is nothing more than useless talk, (often) public speaking (where an individual representative, with a group behind him, takes the floor, aiming his speach at an obvious opponent), communication in form of collision and sometimes undefinable hopeful speach. It is not certain with whom is beeing spoken; on a supperficial level it appears to be the machine, - but everyone knows that this is total rubbish.
It is left open.


milk vs. cow