Archive for 'mirrors / displays / frames'
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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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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Dan Graham – Time Delay Room
September 14, 2009 by ric, under artworks, bio-feedback / cybernetics, formal / structural / grids, mirrors / displays / frames, video installations.
Time Delay Room
This closed-circuit installation was varied by Dan Graham six times following the same structural set-up as described below:
«Two rooms of equal size, connected by an opening at one side, under surveillance by two video cameras positioned at the connecting point between the two rooms. The front inside wall of each features two video screens – within the scope of the surveillance cameras. The monitor which the visitor coming out of the other room spies first shows the live behavior of the people in the respective other room. In both rooms, the second screen shows an image of the behavior of the viewers in the respectively other room – but with an eight second delay.
The time-lag of eight seconds is the outer limit of the neurophysiological short-term memory that forms an immediate part of our present perception and affects this «from within». If you see your behavior eight seconds ago presented on a video monitor «from outside» you will probably therefore not recognize the distance in time but tend to identify your current perception and current behavior with the state eight seconds earlier. Since this leads to inconsistent impressions which you then respond to, you get caught up in a feedback loop. You feel trapped in a state of observation, in which your self-observation is subject to some outside visible control. In this manner, you as the viewer experience yourself as part of a social group of observed observers [instead of, as in the traditional view of art, standing arrested in individual contemplation before an auratic object].
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Robert Lazzarini's Skulls
June 1, 2009 by ric, under mirrors / displays / frames, video installations.
“Robert Lazzarini’s new sculptures continue his exploration of compound distortions of three-dimensional objects. The intensity of these works comes from the fact that they linger somewhere in between an image and an object. The distortions oscillate between two- and three-dimensionality, creaing an unsettling spatial paradox. They appear to expand and contract as your vantage point shifts, suggesting something both static and moving.
Within the context of the still life, Lazzarini draws upon the historical relationship between distortion and death and object as momento mori. The sculptures have the impression of collapsing upon themselves, slipping towards their end.
Lazzarini utilizes two-dimensional distortions such as anamorphism (accelerated perspective) and applies them to three-dimensional objects. As the object becomes a projection of the image, the wall becomes a projection of the ground.
All of the works in this group are derivatives of specific objects. The original object is digitized and brought into computer space as a 3D model. Using both animation and industrial design programs, the distortions are applied using a computer workstation. Models are then generated by various means of rapid prototyping (computer-generated model making). The final sculpture is then made using the same materials as the original object.
“Robert Lazzarini’s sculptures are at once rigorously formal and intensely expressive. As distorted versions of familiar objects, they appear in the process of slipping- from three to two dimensions, from
realism to abstraction, from this world to the next. Products of a dense and innovative process, his works seem both real and unreal: their striking immediacy is belied by a quality of ghostliness, as if they were hardly there at all.- John B. Ravenal, Curator of Modern and Contemporary Art, VMFA, 2004.”
“Anamorphosis is a distorted projection or perspective requiring the viewer to use special devices or occupy a specific vantage point to reconstitute the image.”
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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