Archive for 'artworks'
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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3#
April 10, 2010 by admin, under artworks, film / photographic.
3#” uses a track “composed” by media artist Seth Price, its music based on the forms of 1980s electronic pop songs. Price uses music production software to copy the structure of popular music from the recent past. By editing out one element (in this case, the singer), he comments on the genre through an imperfect copy. The video uses text (some quoted from Morrissey’s lyrics) and graphic transitions to outline an argument about how and why pop music functions, pointing to its promises of unique, infamous, and sublime experiences through repetition and mass distribution.
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Jorge Pardo: Project – Design Process as outcome
March 31, 2010 by admin, under artworks, books, formal / structural / grids.
Jorge Pardo. Project, 2000. Volkswagen Full Scale Model, 1995.
Photo: Cathy Carver.
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A Self Burial by the Sea
March 15, 2010 by admin, under artworks, public art.
The Glue Society has unveiled its latest installation at the Sculpture by the Sea festival in Aarhus in Denmark. The piece, entitled “It wasn’t meant to end like this”, is a huge mechanical digger that seems to have buried itself under 300 tonnes of rubble…
As the Glue Society’s James Dive says, “[the work] has a subdued, still quality, despite its physical size.” It certainly gives the impression that this 25 tonne digger is attemtping to hide itself away.
“It wasn’t meant to end like this” follows previous artistic explorations via a sculpture of a miniature man defecating on a ten foot pigeon (shown in New York) and their infamous God’s Eye View project, which attracted hundreds of comments on the CR blog.
Sculpture by the Sea, the Australian sculpture festival, has recently added Aarhus to its roster of visiting cities. Other work by the Glue Society collective can be viewed at gluesociety.com.
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same patterns of perception
October 26, 2009 by ric, under artworks.
Some interesting animations on neural activity from a project sponsored by IBM:
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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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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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Nicolas Schoffer
May 6, 2009 by ric, under artworks, bio-feedback / cybernetics, public art.
1961 film showing the cybernetic tower (or tour), work by Nicolas Schoffer from 1961, working, showing the random programme and the dynamic-light show. I love the juxtapostion of stillness and motion that the sculpture has, I wonder if it was intentional.
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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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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