Monthly Archives: July 2014

Glaser and Kunz Cinematics Sculptures

 

 

timing of art and life reflecting each other

The technique employed is projection onto sculptural pieces rendering a sensation that gives a suspended reality.

I found it interesting the difference between the various choices that I came across when considering which pieces to post. The first post is from an installation at a train station in Switzerland, it was filmed by Gwen Versluis, a collage artist based there. She took over 15 minutes of footage and condensed it down to around 5. She was an observer and this is indicative of an experience an observer of the installation could have. The sound on the recording is the sounds at the installation. I found it interesting to read her comment which was posted on a tenlegs.com forum which I participate in.

“Contradictory to the alleged idea, feelings coming from this installation for me are rather disconnecting instead of connecting. There is this strange contrast between live and death, interaction and not looking at eachother, changing characters and nobody responding to it . I feel a kind of anonimity. This is also reflected by travellers rushing by this installation, like characters rushing over the faces of the puppets in the installation. People passing by, travelling and being in a crowd, without knowing the persons who are crossing your path, a kind of loneliness in the middle of a crowd. Yes, disconnection. People are telling their stories, nobody listens. Even in the installation. I did not see anybody go inside of the waiting room to listen what these puppets have to tell. When travelling we are not only bridging a distance, we are distant. At least when we are in a hurry…

In a strange way I see a connection to parts of my collaged characters, which I would like to take as a reference. The faces I make are composed out of various parts of different characters, showing different traits, showing conflicting parts, showing more sides of one and the same.”

On my reading of the video I felt a strong sense of waiting, mortality and irrelevance of gender as we age. I think this was in part because of the sound being not of the recordings (the faces were based on real citizens of Winterthur and apparently the figures were telling stories of the town in their recordings.

I saw other clips that were set to music and the theatrical clip is a professional recording of another performance.

The clip of Obsidian is clearly heard and seen as if a theater piece, there is also a link to a reference of it and a real life situation which mirrored the installation.

The ways the performances are recorded and transmitted, or experienced can add depth to the argument when considered as a whole. This technique is used in design and advertising.

The subject matter in terms of the passengers and also some of their other projects are benign, soft older or quiet. The citizens, with their stories which may be interchangeable, will be remembered as clearly as we wish to listen. In the end that may be the warning of the piece, how are we choosing to listen and observe?

Casey Reas- Bartlett International Lecture Series 2012/13 Eye of the Needle (Software Based Practice)

 

 

This is an interesting video on a place of programming in visual arts. This is a link from Vimeo, the lecture was given at the Bartlett School of Architecture.

By listening to the lecture it is possible to get a fuller appreciation of the inspirations of the works. There are pieces that relate to Mondrian’s Boogie Woogie, relating the vibrant network of the streets of Manhatten with the network within software development and enabling. One of my favorites is Yes/No, it displays the freedom resulting from discreet choces and expanding those in a visual arts sense, yet still contained by the allowed pixel size, it still  maintains its recogniseable structure.

In this there are many references to art history, especially 20th century art. It explores transitions from medium to m3edium, new distribution systems.

He has been programing since the mid to late 80’s. Working from heavily defined systems to a free-er image style. The pieces became performative, he was basing a lot of work on the emergent system. A lot of the work began to mirror biological systems. He refined the clarity of his work by the removal of colour. Moving into very minimal units such as circles and lines, again developing what appears as highly organic.  It is interesting to show a small free input can follow a set of defined algorithms to create a free looking motion or image. He started developing and using Processing software along with Ben Fry at MIT. This is a very user friendly stepwise processing software which he collaborated with (it is open source).

He then moved on with generative software incorporating architecture, music for the Think Centre for what was called a Data Wall about data use from a variety of real time sources in and around New York City.

I think what helps these works work is that regardless of whether we get them immediately they are compiled of algorithms based on the information we output. So we live with this stuff daily and on some level it is likely there will be some acknowledgement or recognition even if without understanding.

relevant sites:

reas.com

processing.org

start with a familiar

I did not expect the course to be primarily focused on moving image, “cinema” until close to the start date when I read the assessment description. I had been spending the last few weeks trying out a bit of basic coding and looking into books such as Big Data. Reading up on McLuhan, wondering how socially leveling the internet really is, face hacking and questioning our desire to make machine look organic, often ignoring the fact that the organic looks bloody machine like. I also started a MOOC looking at remediation with The Lord of the Rings Online, I am not very good at the game and so my 10 year old son plays most of it whilst I follow the theory.

However, here I am, looking at working with cinematic concepts in an arts setting. Possibly mashing them with other modes. This is the familiar for any western person still alive in that we have experience with moving pictures. Moving pictures in art does not imply arthouse cinema, I do not yet know where some arbitrary cut off point is, maybe intuitively I do. For the purpose of this course its along the lines of work that is created with the intention of exhibiting in an art gallery. This sets it apart also from many other modes of new media art.

So its kind of good for me to look at something that is so around and has always been in my lifetime.To add that one dimension to painting or drawing (maybe two) yes it is 2D flat but it has time and potentially sound. Many of my dreams and nightmares feature these sensations.