Archive for 'inter-bodies / half-objects'
Marcel Duchamp clip from The Shock of the New (1982) The Mechanical Paradise
April 11, 2010 by admin, under artworks, bio-feedback / cybernetics, formal / structural / grids, inter-bodies / half-objects, mirrors / displays / frames, videos.
Here we can see Duchamp’s shift from linear thinking (Nude Descending Staircase) to something more circular (Bride Stripped Bare..), something he would later call “delay”, as Jerrold Segal notes, “suspended in a space it never traverses.”
The clip of course seems to reffer more to these movements in relation to asthetics, psychological and (male) sexual frustration. What is lacking in Robert Hughes analysis lies in relation to a social, political and economical shifts occuring at the time: a shift from a simplified modernist linear progression of technology moving towards a more lateral, circular and rhizomatic technological progression in a lumming post-modern era.
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Human figure in public art
March 30, 2010 by admin, under inter-bodies / half-objects, public art, thoughts.
The human cannot be seen anymore through the figure of the body in its tradition sense. In order to engage with the human body is a question of ignoring, forgetting it, and replacing it with what ever we have leanrt it not to be. From here let the unexpected forms which we originally thought to be unrepresentable of the human a chance to develop and embody human manifestations. The paradox of this thinking follows the paradoxes which emerge with defining the human in the digital age.
The human figure has already gone a transgression embodying everything else but itself.
I want my audience to feel this flow from displacement to a “new” re-embodiment (Mark Hansen explains quite neatly the definition of “new” in new media). This is what I believe to be at the core of anti-monument public art. Anti in the sense of responding to the traditional and narcissistic attitude of engaging with the human figure and understanding what might be. Of course I’m in no way presenting a solution but a redefinition of the problem which I think is at heart in public art. (and public art which relates to its history and respondes to it in a constructive yet marginal way).
The first step I believe is to create a complete rupture from any narcissistic tendecies in the construction of any discourse related to identifying where ‘is’ the human and the self (if any definition of that still survives) inside the art in question. And focus on things that might have been disgarded and neglected in order to create this conventional perspective in the first place.
To understand the problem at stake we need to revisit the myth of Prometheus and Epimetheus in which the act of creating the world is partly through forgetting to insert the human in it. Their desparate solution to fix this problem was to give the human “fire” to compensate his lack of qualities. This act of forgetting I believe comes very much in play when considering new media and new media art: flows from disembodiment and reembodiment experienced through such systems requires us to rethink the origins of the human “figure” and human “essense”.
Yes, I do hate Anthony Gormley.
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Lady Ane Angel "ONE"
September 21, 2009 by ric, under film / photographic, inter-bodies / half-objects, mirrors / displays / frames, videos.
This agent provocateur style short is awefully similiar to my intentions for the tap dancer clip in Lacuna and even more for the “Aquis Submersus” print series…
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The day there was no news
May 28, 2009 by ric, under artworks, inter-bodies / half-objects, thoughts, video installations.
This was one of my inspirations for making the piece Loading.
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How to: Love
April 8, 2009 by ric, under artworks, film / photographic, inter-bodies / half-objects, stories / dreams, thoughts, videos.
Below is a re-appropriation of an intel commerical and music video using text from a wiki-how article entitled ‘how to love’.
Avolition follows here a similiar line of thought .in terms of emotional response and atmosphere. However, Avolition does not close on it self, leaving the machinic voice develop sort of platonic affair with it self. Lets not forget that Avolition is already conceived ‘visible’ platonic affair and not one which necessarily imposes its ‘platonicism’ on its spectators. Love in this clip however is fundamanetally technologically introvert, we only experience the theatrical suffering offered by the clear positioning of humans and machines (machines as narrator / humans as objects with desires that need administration) – the intangebility of the machine describing love whereas it will never experience it. The spectator in this sense is a passive one (Jacques Ranciere) who cannot enter into an ‘actual’ conversation about the definition and ethics that constitute love, or an empirical definition or knowledge production of such experience. This could be expanded and this is what I hope to have started with Avolition. Love is not intrinsicly human, instead it inhabits inside the relationships and social systems that we produce. “Under this light” (as in the stage set up when passing by Avolition at night) technology might have a place for co-producing the meaning and rules of love. But would this mean that it could also co-consume it as well?
And on another note, how can one make up rules about something as undefinable as love in the first place? It seems to always be an ongoing project.
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Children's Books
January 3, 2009 by ric, under artworks, books, inter-bodies / half-objects, thoughts.
There seems to be children’s books covering all sorts of subjects quite well, except for children living with divorced parents and in two separate houses. Very interesting yet hard subject to communicate to a child but nevertheless fundamental.
This social condition relates to the Lacuna’s stage of ‘Inverted Family Trees’.