Week 5 –> 8 Writing

April

something about an intuitive working and ideation process,

ideas developing over time, a kind of gravity, more things come into the orbit of the idea/theme

post-relational, understanding relational art as something that treats people like data, like anonymous data-sets in the network

the contrast is something more individual, personal, (subjective?)

concerned with work that has a kind of longevity, can be communicated into other forms/mediums/interfaces, or, even when it can’t be done so well, doing so anyway…

the internet as a “cultural space, material space and a geographic layer.” Coming of age with an understanding of what life was like both before and after the Internet Age, they are able to represent the digital phenomenon as both the observer and the insider. They aim to create an abstract counter narrative to a digital, social history.

Quotations have a special interest, as one is incapable of quoting anything that is not one’s own words, no matter who has written them. – K. Goldsmith

mute and static variegated rectangles
active participation of the (mental processes, etc. of the) viewer

surface, sign, depth (all italics)

art that is provisional, can be produced quickly, and by one person. the art can be broadcast to the public swiftly, to see what “sticks” then these directions can be cultivated. The “successful” ideas can be perpetuated through additions to the set/series, through a longer more involved iteration, or through various other means of amplification.

“the meaning is the use”

knowing as making, producing, doing, acting,

guitar solo as inspiration, composition /formal device

“copyright” now means the right to copy anything

single/singular beautiful image is now chains of images, or an atmosphere of media
Dynamic structure that produces forms/realities (abstract narrative core)
Mera-stories; stories of stories
Pre-production, production. post-production = Beginning, middle, end

I am more interested in a process than a resolution, dynamic work, with a “life”
Content overflowing beyond the form — or the form overflowing beyond the content.

Dialectic of conceiving vs. realizing; not-fully-determined forms
It is irresolution (open-endedness) that is of interest. The dynamic of fluids is interesting because they question equilibrium.

What is it that I’m lifting? And why? What do my choices about what to appropriate tell me about myself? My emotions? My history? My biases and passions? The critiques turn toward formal improvement: Could I have swiped better material? Could my methods in constructing these texts have been better?”

… words are bearers and generators of ideas (possibly more than the reverse) they are magic spells, not only do they transmit ideas & things, they themselves metaphorize and metabolize into one another through a kind of spiral evolution

crystallizing in open & panoramic perspectives

dynamis (via Lyotard via Aristotle)
notion which designates what is not determinate … What is not present and supports presence.

It’s a space in the sense of Raum, a space — and here I’m obliged to use metaphors — in which meaning breathess. It’s a space which is empty or, rather, blank. … One can say that the first model of this space is the mother’s womb…

using counters to reflect in seconds (minutes, hours, days) the time in which the nuclear sites will become safe again for humans.

nuclear half-life
https://en.wikipedia.org/wiki/Yucca_Mountain_nuclear_waste_repository
salt (domes)

yucca mountain warning

climate change
– changes in altitude
– night blooming flowers
– “tropicalization”

cloning /genetics
→ 100 NTPs

internet /world-wide-web /information superhighway

how to work with speculative methodology
without making artifacts from that time?
– if you make something about now the world has past it in an hour

meteoric iron

meteoric iron

vantablack
– stealth
– disappearance

Stealth NTP 02 stealth

video camera recording a projection screen
live feed from video camera (HDMI) to projector,
contact mic on projector and videocamera,
plugged into amplifier
(then this is documented with camera)
recursive, “empty/open/blank”
technological materiality

Recursion_reh_02

 

something about an intuitive working and ideation process,

ideas developing over time, a kind of gravity, more things come into the orbit of the idea/theme

post-relational,

understanding relational art as something that treats people like data, like anonymous data-sets in the network

the contrast is something more individual, personal, (subjective?)

concerned with work that has a kind of longevity, can be communicated into other forms/mediums/interfaces, or, even when it can’t be done so well, doing so anyway…

incessant obfuscation of the boundaries dividing fiction & fact

I have always wanted to project the self-as-protagonist, (maybe a specifically American privilege?)
I always wanted a subjectivity free of lineage, and even identity,
“what do you want, the truth or a good story?”
something Other than what I was given: poor, working class, white, suburban, mom never graduated school worked three jobs,
Some amplification of agency, the creativity as more authentic than whatever else,

“If it weren’t for Noah Travis Phillips, there would be no trace now of the multiple documents that clog up the legal system with a chaotic welter of tracks mixing true and false, original, simulacrum, copy, duplicate, multiple, replica and stem cell.”

at this point the reservoir of the archive is as big as the world, it is a world, it can be transformed into a world
immense and extensive, detailed, powerful and subtle
relating to this overwhelming archive is simultaneously an endpoint and a genesis

sci-fi of the 60s / 70s has become a possible past rather than a dystopian future

CXnkCkSWcAAVDrz

 

 

 

Early-May

side A = left channel

side B = right channel

…and so the spaces/times are simultaneous and irreconcilable

or difficult to experience in tandem

63-second per-minute clock

light in theater is different (complimentary) color from video-projection (program that detects dominant color of video/image and projects complimentary color into space / against rear wall, ceiling)

Noah Travis Phillips is not scientifically proven!”

NTP = autodidact

videocamera pointed at art-object (statue, painting) in exhibition space (with natural light?)

live-feed to computer, computer to massive stack of amplifiers/speakers, (monolithic sound-system) making a very physical sound (as sculpture, as painting/object)

playing a sonification of video feed

as light changes, sound changes

reading not the entire video-image, scanning upper-left to lower-right, should take approximately 3′ 30”

knowing where I’m from… my age… my class… helps the audience to have a sense of my art, always feeling like I am on and from the periphery, more like the middle-of-nowhere, so also a sense of alienation

it’s as though I can only understand the objects, the symbols, etc…if/when I can synthesize them in my work

it’s a way of feeling like I’m actually experiencing something, I’m actually involved in the world, if I can put them in the work, then I have a hold on them, they’re real,

maybe comes from a very personal and subjective place and symbolism, but is part of a mapped to a wider cultural discourse

reconstruction of life (wild history) through found footage/imagery

re-make my self (the archive is massive/robust enough)

greenscreen/Chromakey allows the thing to be anywhere & anytime

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