Bryan reacting to the camera in studio
Dave reacting to the camera in studio
Elizabeth reacting to her image on the camera screen, 'looking' at the Guernica in studio
Grace reacting to her image on the camera screen
Siobhan reacting to the camera in studio
Collective screening of the reaction videos (random idea- probably not going to use in relation to project)
Wednesday, October 29, 2008
Tuesday, October 28, 2008
Reactions edited
These are reactions edited to focus on expressions. The videos are reactions to the the reactions recorded of dave and grace last week. These are just experiments, I will stick with the static shot for the actual project videos.
Anaelle Reacting/Blinking to Dave's Reaction Video
Laura Reacting to Grace's Reaction Video/Looking up at Simon
Michelle Reacting to Grace's Reaction Video
Anaelle Reacting/Blinking to Dave's Reaction Video
Laura Reacting to Grace's Reaction Video/Looking up at Simon
Michelle Reacting to Grace's Reaction Video
Wednesday, October 22, 2008
Buddha Collapsed Out of Shame (2007)
Directed by Hana Makhmalbaf. Iranian film about a young girl who wants to go to school.
Sunday, October 19, 2008
La Jetee- Chris Marker
I watched this the other day, and had never seen anything like it before. In a way, it reminded me of delicatessen by Marc Caro and Jean-Pierre Jeunet, but probably only due to the subject matter.
Set in underground post-apocalyptic Paris, la jetee is a photographic story following the time-travel experiments exercised on a prisoner of the surviving population of the french capital.
Here it is in full on youtube, and the trailer to delicatessen.
Set in underground post-apocalyptic Paris, la jetee is a photographic story following the time-travel experiments exercised on a prisoner of the surviving population of the french capital.
Here it is in full on youtube, and the trailer to delicatessen.
Interrupting the Screen Project: Video Reactions (Tests)
I used iShowU at first, but the watermark was too intrusive in the demo. I switched to Screen Mimic, although I'd probably use iShowU if I could get access to the full program.
The first video I recorded with Screen Mimic (which I won't upload because the file size is inexplicably big) is a recorded reaction of me watching a video on William S. Burroughs on youtube. (There's a time limit on recordings in the demo version of Screen Mimic, so videos will only be 30 seconds for the trials.) Also in this first recording, I didn't realise there was a watermark on the Screen Mimic demo recordings as well, so my position on screen isn't ideal.
The second video is a reaction to the first 30 seconds of Un Chien Andalou.
The third video is a reaction to the second recorded reaction.
The fourth video is a reaction to the third video.
The first video I recorded with Screen Mimic (which I won't upload because the file size is inexplicably big) is a recorded reaction of me watching a video on William S. Burroughs on youtube. (There's a time limit on recordings in the demo version of Screen Mimic, so videos will only be 30 seconds for the trials.) Also in this first recording, I didn't realise there was a watermark on the Screen Mimic demo recordings as well, so my position on screen isn't ideal.
The second video is a reaction to the first 30 seconds of Un Chien Andalou.
The third video is a reaction to the second recorded reaction.
The fourth video is a reaction to the third video.
Visit to IMMA 19/10/08
Exquisite Corpse
Exquisite Corpse is an exhibition of 17 works from the IMMA Collection that seeks to reveal a variety of perspectives on the Collection. The title of the exhibition is drawn from the game ‘Exquisite Corpse’ which was invented by the Surrealists in 1925 where a collection of words or images are collectively assembled. In this case the game’s structure is used to tap into the eclectic character of IMMA’s Collection through the choices and viewpoints of individuals from a broad spectrum of the arts including Dawn Ades, Gerald Barry, Aileen Corkery, Barrie Cooke, Michael Craig-Martin, Mark Garry, Deirdre Horgan, Jaki Irvine, Nicola Lees, Tony Magennis, Lisa Moran, Frances Morris, Colm Tóibín and Mick Wilson.
The ‘exquisite corpse’ principle provides a framework for the exhibition, with each participant selecting a work that responds to the work selected by the previous participant. Following the Surrealists’ methodology participants are only aware of the work that is selected immediately before them. The nature of the exhibition is that the final outcome of the show is largely unpredictable and partly determined by chance. However, it is likely that the exhibition will include a wide selection of works ranging from different eras made in a variety of media. While Exquisite Corpse depends on the participants’ having some previous experience of IMMA’s Collection, their knowledge of the collection will have developed individually and may be haphazardly constructed. As a result, their curatorial choices will inevitably be highly subjective, a point that affords the opportunity of revealing perceptions of IMMA and the audience’s experience of its Collection. source
Self as Selves
Self as Selves is an exhibition of works from the IMMA Collection which explores the nature of ‘self’, as being a series of transitory states, always provisional, never fixed. The selected works invoke intersecting notions of self – internal and external, corporeal and conceptual, personal and collective.
The exhibition wishes to address this premise not only in terms of what certain artworks may suggest about their maker’s investigation of self but also to what extent they implicate the viewer in a reciprocal flow of shifting states. To varying degrees the selected works summon the viewer’s participation for their completion, thereby eliciting a range of selves or ‘roles’ through which the viewer may consider their own subjectivity and the nature of their looking.
The artists included in this exhibition are: Marina Abramovic, Janine Antoni, Fergus Byrne, Maud Cotter, Gerard Dillon, Marcel Duchamp, Fiona Hallinan and Caoimhin O’Rathaillaigh, Ellen Gallagher, Antony Gormley, Ann Hamilton, Brian O’Doherty/Patrick Ireland, Dusan Kusmic, Julio Le Parc, Juan Muñoz, Isabel Nolan, Hermione Wiltshire and Paul Winstanley
Curatorially, this exhibition has evolved from a preceding IMMA event, The Burial of Patrick Ireland, which saw the ritualised disposal of an artistic persona with a wake, funeral and burial in the grounds of the museum. Throughout his career as an artist and a writer, Brian O’Doherty/Patrick Ireland has invoked several aliases through which he has explored the nature of identity and the notion of self as more than a singularity. source
Exquisite Corpse is an exhibition of 17 works from the IMMA Collection that seeks to reveal a variety of perspectives on the Collection. The title of the exhibition is drawn from the game ‘Exquisite Corpse’ which was invented by the Surrealists in 1925 where a collection of words or images are collectively assembled. In this case the game’s structure is used to tap into the eclectic character of IMMA’s Collection through the choices and viewpoints of individuals from a broad spectrum of the arts including Dawn Ades, Gerald Barry, Aileen Corkery, Barrie Cooke, Michael Craig-Martin, Mark Garry, Deirdre Horgan, Jaki Irvine, Nicola Lees, Tony Magennis, Lisa Moran, Frances Morris, Colm Tóibín and Mick Wilson.
The ‘exquisite corpse’ principle provides a framework for the exhibition, with each participant selecting a work that responds to the work selected by the previous participant. Following the Surrealists’ methodology participants are only aware of the work that is selected immediately before them. The nature of the exhibition is that the final outcome of the show is largely unpredictable and partly determined by chance. However, it is likely that the exhibition will include a wide selection of works ranging from different eras made in a variety of media. While Exquisite Corpse depends on the participants’ having some previous experience of IMMA’s Collection, their knowledge of the collection will have developed individually and may be haphazardly constructed. As a result, their curatorial choices will inevitably be highly subjective, a point that affords the opportunity of revealing perceptions of IMMA and the audience’s experience of its Collection. source
Self as Selves
Self as Selves is an exhibition of works from the IMMA Collection which explores the nature of ‘self’, as being a series of transitory states, always provisional, never fixed. The selected works invoke intersecting notions of self – internal and external, corporeal and conceptual, personal and collective.
The exhibition wishes to address this premise not only in terms of what certain artworks may suggest about their maker’s investigation of self but also to what extent they implicate the viewer in a reciprocal flow of shifting states. To varying degrees the selected works summon the viewer’s participation for their completion, thereby eliciting a range of selves or ‘roles’ through which the viewer may consider their own subjectivity and the nature of their looking.
The artists included in this exhibition are: Marina Abramovic, Janine Antoni, Fergus Byrne, Maud Cotter, Gerard Dillon, Marcel Duchamp, Fiona Hallinan and Caoimhin O’Rathaillaigh, Ellen Gallagher, Antony Gormley, Ann Hamilton, Brian O’Doherty/Patrick Ireland, Dusan Kusmic, Julio Le Parc, Juan Muñoz, Isabel Nolan, Hermione Wiltshire and Paul Winstanley
Curatorially, this exhibition has evolved from a preceding IMMA event, The Burial of Patrick Ireland, which saw the ritualised disposal of an artistic persona with a wake, funeral and burial in the grounds of the museum. Throughout his career as an artist and a writer, Brian O’Doherty/Patrick Ireland has invoked several aliases through which he has explored the nature of identity and the notion of self as more than a singularity. source
Saturday, October 18, 2008
Tuesday, October 14, 2008
Interrupting the Screen Project
Basically what I want to do with this project is examine the role the audience plays in creating the artwork. I'm going to take this very literally and make the audience the artwork.
I want to create an installation which consists of 3 or 4 'white cubes'. in these cubes, video loops will be playing, triggered by the viewer coming into the space. On these loops, recordings of reactions to another video will be playing. The videos on show will be 'placebo' videos; in one of the cubes, the viewer watching the loop will be filmed. His reaction will then be streamed into one of the other cubes, so as to leave the viewer unaware he was being filmed.
I'll be using isadora and final cut pro, but given the time limits, i probably won't be able to realize my idea in its entirety. I hope to have about 4 placebo videos shot, and optimistically speaking i'll be able to create a prototype of the white cubes.
I want to create an installation which consists of 3 or 4 'white cubes'. in these cubes, video loops will be playing, triggered by the viewer coming into the space. On these loops, recordings of reactions to another video will be playing. The videos on show will be 'placebo' videos; in one of the cubes, the viewer watching the loop will be filmed. His reaction will then be streamed into one of the other cubes, so as to leave the viewer unaware he was being filmed.
I'll be using isadora and final cut pro, but given the time limits, i probably won't be able to realize my idea in its entirety. I hope to have about 4 placebo videos shot, and optimistically speaking i'll be able to create a prototype of the white cubes.
Wednesday, October 8, 2008
Research for Interrupting the Screen Project
Harun Farocki
Underscoring the political and ideological function of image-making, Farocki's films often combine newsreel, archival, and industrial/technological footage with text or voice narrative in the form of "film-essays."
The subject of retrospectives at the Museum of Modern Art (199) and the Westfalischer Kunstverein (2001), Farocki has stated about his films:
"One must work with existing images in such a way that they become new. There are many ways to do this. Mine is to look for buried meaning and to clear away the debris lying on top of the pictures. In doing so, I try not to add ideas to the film; I try to think in film so that the ideas come out of filmic articulation."
. . .
"Eye/Machine addresses the automation of images in the present era of "smart machines," "smart bombs," and person-less cameras. Deriving from military technology, the first automated images were those photographs taken from airplanes to measure the accuracy of missile drops in World War II. Eye/Machine charts a kind of geneaology from this moment to the current ubiquity of mechanized imaging in the technological and commercial sectors. This film's "launching" image is a grainy black-and-white picture of an airstrip seen through an automated viewfinder. Beneath it, a subtitle reads: "Images like these could be seen in 1991 - of the wart against Iraq/Operational images/Not Propaganda, ye an ad for intelligent machines."
Source: GreeneNaftali Gallery, NYC. Eye/Machine courtesy GreeneNaftali Gallery.
Source
Marie Sester
Marie Sester is a French media artist based in Los Angeles. She began her career as an architect, having earned her master's degree from the Ecole d'Architecture in Strasbourg. Her interest, however, shifted from how to build living structures to how architecture and ideology affect our understanding of the world. Her work investigates the way a civilization originates and creates its forms. These forms are both tangible -such as signals, buildings, and cities- and intangible, such as the aspects of values, laws and culture.
Quoting a profile of Sester written by Holly Willis: "What do these signs, these forms, these things that surround us mean?�? asks the artist. "What do they say about ideology? About capitalism? I realized after I finished my degree that I was interested in architectural forms on all levels, from the concrete elements such as city streets to ideological values, and how they evolve together.�? Marie Sester has received grants and residencies from the IAMAS, in Japan, Creative Capital Foundation, New York, Eyebeam, New York and many others. She has taught in France, Japan, and the United States and has exhibited internationally at SIGGRAPH, Ars Electronica (in the 2003 edition of the festival ACCESS received an Honorary Mention in Interactive Art), La Vilette, etc.
A few months ago, i was visiting the ZKM and i knew her work ACCESS was exhibited there. I had read what the work was about and was expecting to find it in the entrance lobby but i never suspected i'd be so startled and disturbed by it. ACCESS is a robotic spotlight and acoustic beam system that tracks individuals in public places. The beam is either activated as people move through the space under surveillance, or it is piloted remotely using a Web interface. While a friend of mine found the installation quite fun, I felt surprisingly guilty and isolated under that spotlight, exactly what i'd feel if i remembered that i'm under the gaze of surveillance cameras much about everytime i step out of my house. The experience taught me that i should never judge any interactive installation before having tested it myself.
source
Underscoring the political and ideological function of image-making, Farocki's films often combine newsreel, archival, and industrial/technological footage with text or voice narrative in the form of "film-essays."
The subject of retrospectives at the Museum of Modern Art (199) and the Westfalischer Kunstverein (2001), Farocki has stated about his films:
"One must work with existing images in such a way that they become new. There are many ways to do this. Mine is to look for buried meaning and to clear away the debris lying on top of the pictures. In doing so, I try not to add ideas to the film; I try to think in film so that the ideas come out of filmic articulation."
. . .
"Eye/Machine addresses the automation of images in the present era of "smart machines," "smart bombs," and person-less cameras. Deriving from military technology, the first automated images were those photographs taken from airplanes to measure the accuracy of missile drops in World War II. Eye/Machine charts a kind of geneaology from this moment to the current ubiquity of mechanized imaging in the technological and commercial sectors. This film's "launching" image is a grainy black-and-white picture of an airstrip seen through an automated viewfinder. Beneath it, a subtitle reads: "Images like these could be seen in 1991 - of the wart against Iraq/Operational images/Not Propaganda, ye an ad for intelligent machines."
Source: GreeneNaftali Gallery, NYC. Eye/Machine courtesy GreeneNaftali Gallery.
Source
Marie Sester
Marie Sester is a French media artist based in Los Angeles. She began her career as an architect, having earned her master's degree from the Ecole d'Architecture in Strasbourg. Her interest, however, shifted from how to build living structures to how architecture and ideology affect our understanding of the world. Her work investigates the way a civilization originates and creates its forms. These forms are both tangible -such as signals, buildings, and cities- and intangible, such as the aspects of values, laws and culture.
Quoting a profile of Sester written by Holly Willis: "What do these signs, these forms, these things that surround us mean?�? asks the artist. "What do they say about ideology? About capitalism? I realized after I finished my degree that I was interested in architectural forms on all levels, from the concrete elements such as city streets to ideological values, and how they evolve together.�? Marie Sester has received grants and residencies from the IAMAS, in Japan, Creative Capital Foundation, New York, Eyebeam, New York and many others. She has taught in France, Japan, and the United States and has exhibited internationally at SIGGRAPH, Ars Electronica (in the 2003 edition of the festival ACCESS received an Honorary Mention in Interactive Art), La Vilette, etc.
A few months ago, i was visiting the ZKM and i knew her work ACCESS was exhibited there. I had read what the work was about and was expecting to find it in the entrance lobby but i never suspected i'd be so startled and disturbed by it. ACCESS is a robotic spotlight and acoustic beam system that tracks individuals in public places. The beam is either activated as people move through the space under surveillance, or it is piloted remotely using a Web interface. While a friend of mine found the installation quite fun, I felt surprisingly guilty and isolated under that spotlight, exactly what i'd feel if i remembered that i'm under the gaze of surveillance cameras much about everytime i step out of my house. The experience taught me that i should never judge any interactive installation before having tested it myself.
source
Saturday, October 4, 2008
What Makes a Great Portrait?
Rineke Dijkstra
I came across this article, which is a compilation of responses to the question 'what makes a great portrait?' There's some interesting mentions of existing portraits, and there's a lot of alluding to an unidentifiable, human quality in successful pictures which I am very interested in exploring further myself.
here's the link to the article: http://www.jmcolberg.com/weblog/2008/02/what_makes_a_great_portrait.html
and here's some links to photographers mentioned in it:
Kelly Krabill http://www.flickr.com/photos/27241164@N06/
Chris Buck: www.chrisbuck.com
Doug Dubois: www.dougdubois.com (I especially like his family photos, and the series about the parade)
Richard Avedon: www.richardavedon.com
Arnold Newman: http://www.pdngallery.com/legends/newman/
Rineke Dijkstra: http://www.rinekedijkstra.net/
Gregory Crewdson: http://www.luhringaugustine.com/index.php?mode=artists&object_id=66#
Gregory Crewdson
Friday, October 3, 2008
Books I am Reading and Want to Read
Gary Shapiro: Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying
Katy McLeod nad Lin Holdridge (eds.): Thinking through Art:reflections on art as research
Oswald Hanfling: Ayer
Thomas More: Utopia
Lewis Hyde: The Gift
Katy McLeod nad Lin Holdridge (eds.): Thinking through Art:reflections on art as research
Oswald Hanfling: Ayer
Thomas More: Utopia
Lewis Hyde: The Gift
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