Archive for 'thoughts'
Liam Gillick’s presentation at the Creative Time Summit: Revolutions in Public Practice, Oct 24, 2009
April 16, 2010 by admin, under thoughts.
No Comments
I
March 30, 2010 by admin, under thoughts.
standing for I, Identity and Index
The mapping of emergent subject surfaces.
Map of rhizomes.
My existence is irreconcileable with itself. Nothing in me is singular. I am many. “Man’s soul is entities (plural)” -Aristotle.
Does thought confer identity? Does interaction with the other confer identity? Perhaps the answer to these question depends on what “thought” and “interaction” mean? Thinking and interacting always belong to Being (as what makes it possible) but it does not always (indeed it hardly ever) correspond to Being. It is not always faithful to Being. When it is so faithful, “Being and thinking are the Same”. But it is never the case that thinking can be without Being, whereas Being can certainly be without thinking or interacting, though without being realized, i.e. without being “in truth”.
No Comments
Re-distribution of the Sensible
March 30, 2010 by admin, under books, thoughts.
The following bit of text is from Re-distribution of the Sensible catalogue, text by Warren Neidich:
“The logics of perception and experience are no longer materialistically defined only by contours of geometric and linear time and space arranged hierarchically in a rigid lattice but rather follow curved, non-linear Rheimannian paradigms that are expressed in complicated, non-hierarchical, rhizomatic shifting patterns. Consider for a moment the way commodities are now linked together as branded networks that intensify their desire quotient or how people communicate on chat rooms or move in and out of blog sites. Sovereignty, utilizing these methods and those of the global market place with the help of the continuing scientific research on perception and cognition, has conspired in creating powerful complex networks of attention which allow for the manufacture of explicit “connectiveness” that today defines the distribution of the sensible. Phatic Stimuli, as Paul Virilio refers to them, have evolved into highly attention grabbing conglomerates of stimuli that act as multiplicities and operate beyond the sensorium reaching into the folded gyri and sulci of the brain itself. These networks form a hegemonic cultural syntax which is inscribed en mass on the society as a whole producing new forms of subjectivity and in the case of a world tuned into global media, a bounded multitude. When these networks are internalized and become part of the automatic operation of the body’s or mind’s habitual relationships they form a Society of Control rather then the Disciplinary Society. Self-Censorship is a perfect example of the Society of Control and how insidiously this process becomes self-evident. These images together produce the “Institutional Understanding”. This “institutional understanding” is the framework through which most of us operate in the real world of material things.
But artists also create their own distribution of the sensible. They use their own historical referents, materials, processes, apparati, spaces, performances, to create complex assemblages that together compete with institutional arrangements for the attention of the brain and mind. [...]
They inhabit the same spaces and temporalities as the institutional arrangements that characterize the institutional understanding. Their presence however acts to bend and contort it, in the end, altering its static and rigid arrangements in significant ways. Works like installation art, performative sculpture and urban geographies act to redistribute the facts of this distribution of the sensible while conceptually-based works, relational aesthetics and the institutional critique operate on more metaphysical levels superimposing meaning, contexts and critiques upon it in order to change the way those distributions are read and understood and processed for instance as memories.” The Re-destribution of the Sensible – Warren Neidich.
No Comments
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.
No Comments
Research Diagram
March 23, 2010 by admin, under Uncategorized, books, thoughts.
Stated using gliffy to create diagrams for organizing thoughts and the content for my current writtings. Here is a link to research diagram
No Comments
Automated discrimination
December 14, 2009 by admin, under thoughts.
No Comments
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.
No Comments
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.
No Comments
Self Sustainable Kinetic Cinematography
March 25, 2009 by ric, under artworks, bio-feedback / cybernetics, experimental / technical logs, film / photographic, formal / structural / grids, mirrors / displays / frames, thoughts, video installations.
As the third correction to my project proposal for my MFA major project I finally managed to determine a project research area which satisfies me technically, theoretically as well as professionally.
I often think of spatial structures which coexist both physically as well as virtually. I often imagine what would it be like to experience movement in space when we are withdrawn from the core role of viewer/user. If there is some other element in the system that now possesses that role, what are we in charge of?
Kinetic Cinematography for me consists of the act of filming and recording video by means of intelligent, interactive and mechanical systems.
What I would like to develop is a Kinetic Cinematography which tries its best to rely only on itself both subject and object.
It can hold 1 or multiple cameras and its focus on external subject matter, beyond itself, is irrelevant or at least unimportant.
Here the aim is more on how it is filmed and what angle and direction something is filmed in. I want to focus on the kinetic qualities of cinematography without human intervention. The camera is the performer, the documentor and the spectator all at once. So what does that make us?
The self sufficiency and decision making of angles, shots, movements, starts and stops is determined by the machine itself through kinetic or articifical intelligent means.
This is a key characteristic in describing what really the system is reflecting upon. It has a dynamic gaze on itself which is likely to cause a constantly unresolved anamorphic affect.
The use of computer vision can be used here as a metaphor for vision and instinct itself, as a fundamental part of the decision making process. Vision developed as a response to light to help us creatures explore the space around us and the objects in it. But this still is progressive and by all means uncomplete. We might have reached a final state in the physical evolution of the eye in which its biological progression has reached an halt. This does not mean that our intellectual understanding of vision cannot progress and evolve.
The techincal skills I want to gain from this research are:
mechanics, motors and building kinetic structures
C++, arduino
computer vision using: openCV, maxMSP, processing
Books that have influenced me are:
Zizek, S., The Parallax View
Deleuze, G., Cinema 1 & 2
Deleuze, G., Difference and Repetition
Hansen, M., New Philosophy for New Media
Bergson, H., Creative Evolution
No Comments
I've got things to organize
February 22, 2009 by ric, under thoughts.
Our projection into the future is only possible by considering the elements of the past. An event of any kind therefore must be made up of elements from the past. As the constitution of an event is based on previous formulations and nothing fundamentally “new” what we as humans do in order to project ourselves into the future is not a question of actions but a question of organizations. Therefore I beleive it is more correct to say “I’ve got things to organize” than “I’ve got things to do”…