Triangulate (Idea) 4/21

Defined

triangulation [traɪˌæŋgjʊˈleɪʃən]

n

1. (Mathematics & Measurements / Surveying) a method of surveying in which an area is divided into triangles, one side (the base line) and all angles of which are measured and the lengths of the other lines calculated trigonometrically

2. (Mathematics & Measurements / Surveying) the network of triangles so formed

3. (Mathematics & Measurements / Navigation) the fixing of an unknown point, as in navigation, by making it one vertex of a triangle, the other two being known

4. (Group Games / Chess & Draughts) Chess a key manoeuvre in the endgame in which the king moves thrice in a triangular path to leave the opposing king with the move and at a disadvantage

Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003

Quotations

"Many of them won't speak out publicly because they fear their commanders will be able to triangulate the complaints and identify them."

-Mikey Weinstein

Annotated Bibliography

Relates

Spencer Finch (Artist) 4/18

Work

Passing Cloud (394 L Street NW, Washington, DC, July 20, 2010)2010
Light Fixtures, filters, monofilament, and clothespins. This work precisely re-creates the light of a passing cloud at the street corner in Washington D.C. where Walt Whitman and Abraham Lincoln passed each other regularly during the summer of 1863. Installation at Corcoran Gallery of Art, Washington, DC





Thank You, Fog
2009
60 Photographs, 4 3/4” x 4 3/4” (each), Archival Inkjet Photographs. This photographic series was shot from a static camera at one minute intervals as a fog moved over the densely wooded landscape in Sonoma County.




Composition in Red and Green
2000
Dimensions variable, Apples, carpet, motor, wood, and Plexiglas. An homage to Isaac Newton, this piece drops red apples every five minutes from a motorized chute hanging from the ceiling. Among other things, this installation is an exploration of two subjects to which Newton devoted considerable study; gravity and optics.




The River That Flows Both Ways
2009
This project transforms an existing series of windows with 700 individual panes of glass representing the water conditions on the Hudson River over a period of 700 minutes in a single day.



2 hours, 2 minutes, 2 seconds (Wind at Walden Pond, March 12, 2007)
2007
93" tall and 14' in diameter, 44 fans, wood, computerized dimmer board. This piece re-creates the changing breeze experienced on Walden Pond's shore. The duration of the wind cycle is a reference to Thoreau's stay at the pond, which lasted two years, two months, and two days.




Bio

Spencer Finch is an American artist working in a variety of media, including photography, fluorescent light, video, glass and electronics. His work uses scientific methodologies to observe the world around him, and represent these observations by giving viewers an equivalent experience to the one he has when taking the observations. For example, in Moonlight (Luna County, New Mexico, July 13, 2003), Finch recreated the lighting he observed using meters of a night in Luna County at a certain time of the evening.


Quotations

"Whether he is relying on his own powers of observation or using a colorimeter, a device that reads the average color and temperature of light, the artist employs a scientific method to achieve poetic ends. . . . Contrary to what one might expect, Finch's efforts toward accuracy- the precise measurements he takes under different conditions and at different times of day- resist, in the end, a definitive result or single empirical truth about his subject. Instead, his dogged method reinforces the fleeting, temporal nature of the observed world, illustrating his own version of a theory of relativity. In Finch's universe if you wait a few hours, the sun may very well change a leaden hue into gold."

Cross, Susan. Spencer Finch-What Time is it on the Sun? Mass MoCA.

" He traveled to Rouen to visit the cathedral painted by Claude Monet but found the building closed for renovation. Undeterred, Finch decided to make a series of paintings depicting the colors of various objects in his hotel room. By the time he had completed the arduous task of matching 55 colors, the changing light had altered every one. Thus the work grew into a triptych, a wry blend of Conceptual and Impressionist methodologies, representing the same set of colors in the morning, afternoon, and evening."

LaBelle, Charles. Frieze. 2003

Relates

The work of Spencer Finch relates to mine in that the idea of temporal and observed changes guides the making and the viewing of the work. Finch's work is grounded more in scientific method, as mine is loosely based on scientific research, this semester. Both work uses observed measurements or subjects to create a viewing experience which is meant to replicate the observation experience, with the same lack of permanence the artists encountered while creating the experience. Finch's process is more relatable to the work I made in the fall, however, the experience created for the viewer is more tied to the work I am making now.


Interview

(With Susan Cross)
http://www.nyartsmagazine.com/index.php?option=com_content&task=view&id=6221&Itemid=174




Gallery

Lisson Gallery


Website

http://www.spencerfinch.com/index.php

Phosphor Dot (Idea) 4/14

Detour III

Mike Celona | Myspace Video

Science-Dictionary.com

Defined

phosphor dot

noun

• (Electricity) a dot of red, green or blue phosphor arranged with others in a pattern on a colour television screen

Quotations

"If you have ever tried to point your video camera at your TV set or your computer monitor to record the image you see, you know that it does not work -- instead of the stable image that your eyes see, there is either incredible flicker or a black rolling bar. This short video file shows you what happens when you try it. The video shows two different frequencies for the monitor: 70 Hz and then 60 Hz.

The flicker is caused by two things:

• A difference in the scanning frequency between the TV and the camera
• A difference in the way the phosphor dots are perceived between the human eye and the camera's image sensor"

http://electronics.howstuffworks.com/question336.htm

"

SemanDemon Banned

Join Date: Dec 2005 Posts: 63

line on the tv screen

---

when you record a tv or computer screen there is a God damn line that goes up and down it and I WANT IT TO GO THE FUDGE AWAY CAUSE IT MAKES ME SAD!!!!! BOOOOO FRICKITY HOOO! So how would I go about doing that?"

http://forum.camcorderinfo.com/bbs/t130455.html

Annotated Bibliography

Railton, Renee Caron Richards, T. Mary Foster, and William Temple. "Transfer of stimulus control from a TFT to CRT screen." Behavioural Processes 85.2 (2010): 111-115. Academic Search Complete. EBSCO. Web. 14 Apr. 2011.

This article was about a study done on hens to determine their response rate to stimuli presented on a CRT screen as opposed to a TFT screen. The purpose was to see if the flicker caused by the refresh rate on the CRT screen would cause the hens to react later or with more delay than to the TFT screen presentation. The scientists studied the response rate at multiple decreasing refresh rates and frequencies of CRT screens, and found the hens reaction time was significantly delayed as the rates decreased. This is interesting because humans see a continuous picture on CRT monitors, and I wonder how much of that continuity is derived from the uniqueness of the human brain, as opposed to the brain of a hen. I am really interested in humans not being able to see the phantom flickering on a CRT screen, which other living organisms, as well as technology can easily render.


Relates

I am really interested in the way CRT screens behave when they are captured on video. The flicker and inconsistency in frequency that results in the lines that move down the screen when watching the video, are not visible to the human eyes because the human brain compensates for continuity. This phenomenon, in relation to my work, reveals another life, and set of functioning, of the aging technology that we don't see because of the translation of old tech into the language of new tech. More and more, I am seeing these CRT screens as relics and I am digging up virtual clues in the archaeological study of an aging media. The video captures what the still image leaves behind, but additionally, what the human vision leaves behind.

Nikolas Maigret (Artist) 4/11

Pure Data read as pure data - 2010 from Nicolas Maigret on Vimeo.

Standard 2005 [circle + tone version] from Nicolas Maigret on Vimeo.

Between 0/1 2002 from Nicolas Maigret on Vimeo.

CORPUS - Maison Latapie - 2009 from art of failure on Vimeo.

Bio

Nikolas Maigret is a French artist who creates experimental work centered around the automation of digital media. He often works in performance, installation, sound, radio, programming, etc. In contrast to artists deriving something other from extrapolated data, Maigret concerns himself with the automation of the data into its own form, unaffected by alternative modes of conceptualization. One of his works is titled Pure Data Read as Pure Data, and depicts the moving trip through the binary code structure to uncover its "hidden" aestheticism.



Quotation

"In his creations he experiments the possibilities of contemporary technologies to auto-generate aesthetic forms, sound or visual languages and specific behaviors. His work is as well a micro-laboratory as a point of view on the technological tools and there influences on our way of thinking and of acting. "

"About : Nicolas Maigret." NICOLAS MAIGRET. Web. 11 Apr. 2011. .

"Pure Data read as pure data, a trip through the back of the binary code, and its hidden qualities: Structure, logic, rhythm, redundancy, composition..."

"2010 Pure Data Read as Pure Data : Nicolas Maigret." NICOLAS MAIGRET. Web. 11 Apr. 2011. .

Relates

Nikolas Maigret's work relates to where I started with my work. I was really interested in the similarities between binary code and genetic sequencing. My earlier work differs from Maigret's on a fundamental level since I was manipulating the automation of the binary system to comment on an conceptual motivation, instead of allowing the pure code become the aesthetic object. Now, my work is more centered on myself as the creator, with technology as my influence. Form and design is important to my work in addition to the conceptual framework of technology and its functioning. That being said, parts of my work are pure videos of the way technology behaves when captured in a recording device, like my camera, or sound recorder. A CRT TV screen or computer screen takes on a different lifeform when translated into video, and that part of the installation is unaltered and free from additional manipulation in conceptual motive.



Interview





Website

http://peripheriques.free.fr/blog/

Installation (Idea) 4/7

Defined

installation [ˌɪnstəˈleɪʃən]

n

1. the act of installing or the state of being installed

2. a large device, system, or piece of equipment that has been installed

3. (Military) a military establishment usually serving in a support role

4. (Fine Arts & Visual Arts / Art Terms) an art exhibit often involving video or moving parts where the relation of the parts to the whole is important to the interpretation of the piece

Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003

Quotations

"On the day of his public installation he took off his insignia of office before the astonished notables, and, laying them one by one on the table, made them a profound reverence, and quietly withdrew."

Cranmer-Byng, L. "L. Cranmer-Byng: A Lute of Jade: Tu Fu - Free Online Library." L. Cranmer-Byng - Free Online Library. Web. 07 Apr. 2011. .

"An era in which we see ‘[…] humans in fact integrating with the fiction
of their imagination as conjured up digitally by the computer’, and in which ‘the
digital arts emanating from the cosmology of number are also a link between digital
finality and infinity imagination, defending man in his impossibility to be simulated’
(Weibel 1999: 222)."

Ribeiro, Clarissa, and Gilbertto Prado. "Complex installations: sharing consciousness in a cybernetic ballet." Technoetic Arts: A Journal of Speculative Research 8.2 (2010): 159-165. Academic Search Complete. EBSCO. Web. 11 Apr. 2011.

Annotated Bibliography

Ribeiro, Clarissa, and Gilbertto Prado. "Complex installations: sharing consciousness in a cybernetic ballet." Technoetic Arts: A Journal of Speculative Research 8.2 (2010): 159-165. Academic Search Complete. EBSCO. Web. 11 Apr. 2011.

"Considering this panorama in the contemporary artistic context, it could be stimulating to think about interactive digital art installations as systems in which the elements are both organic and artificial, both physical and virtual, interconnected like they were performing a cybernetic ballet."

This article investigates the functioning of digital art installations at a practical and conceptual level. The author develops a system of mapping the installation in relation to its parts, as well as its environment. Although I found the article very brief, I felt the author did a great job defining an installation as an art artifact, as well as a system through which a connection occurs and understanding is developed. The language used in this article was very interesting, and I especially appreciated the use of this quotation from "the Archigram’s architect David Greene’s in his 1969 poem, where ’[…] deer stroll peacefully/past computers/as if they were flowers’ (Greene 1969: 239)."
I find the article really important because I am trying to understand the design of a digital art installation by doing and have not before really researched the design and communicative elements of such systems.



Relates

This topic relates to my work because I am attempting to create an installation to communicate it. I used this opportunity to research what I am doing to become more informed about the media and the message it brings to the discussion of my concept.

Christian Rattemeyer (Lecture Response)

Quotation

"When an exhibition is installed, hopefully it becomes something other, or something more than the sum of all the works."

This quotation was the clearest response I heard answering a line of questioning about the "art" of curating. The quotation is supposed to comment on the discussion of the object which is created during the curating process.


3 Words

1) Analytical
2) Informed
3) Relational


About

What I did not know about Rattemeyer before the lecture was that his family was rooted in the art world to the point that is seemed he was predisposed to such a career.

Answers

My first question regarded the differences in Rattemeyer's training from Berlin to his career in the United States. Rattemeyer did not quite hit his, however, his discussion of German exhibitions made his mastery of German art culture apparent.

My second question concerned Rattemeyer's curating for a specific space or location. Rattemeyer explained this indirectly when describing the two German exhibitions that were the focus of the lecture. He sought to explain why one succeeded moreso than the other and a discussion of space, location, name, and curatorial approach offered evidence.

Compelling Piece

Rattemeyer spoke mainly about the two German exhibitions which competed in the sixties. A very compelling part of the discussion of one's success over the other was the question of form versus anti-form. The success of the anti-form exhibition was based on the spatial anti-form as well as the lack of formulaic curatorial process or planning going into the exhibition. This curator "gave up control of the curating to the artists."

Trevor Paglen (Lecture Response)

Quotation

"I am interested in the contradiction between the abstract notion of secrecy and the physical materiality of [its institutions]...all matter reflects light."

This quote was really interesting to me because this contradiction is parallel to the contradiction I noticed in the materiality of Paglen's physical art objects. He uses the term "photography" in quotations, hesitant to label his work this way. The reason is that photography implies a documentation of some truth and the tools which Paglen uses physically manipulate that truth by being almost too true. He has lenses he can use to photograph something 40 miles away, which seems as though it is true documentary photography, however, the distortion creating artistic interest blurs the line between a document and an abstraction. I think this quote is the conceptual equivalent of what Paglen's work is doing in a physical (process) form.


3 Words

1) Truth
2) Abstraction
3) Collapse


About Paglen

What I did not know about Paglen before the lecture is that he drew inspiration from the early Department of War photographers, who scouted the American landscape. He made an interesting comparison to himself as an artist and his inspirational predecessors by saying that their work was a metaphor to today's spy satellites, which he is exposing by acting like a spy "photographer." The question is then suggested: "Who is the spy?"


Answers

My first question about the specialized equipment Paglen uses and how it affects the work was discussed above. The concept of the work is furthered by the functioning of the materials used. Paglen really sidestepped the questioning of his image capturing tools, making it seem as though they are a means to an end. However, it was clear the way he discussed the "collapsing into the abstract," that material process affected this contradiction between the abstract and the true document.

My second question concerned Paglen's definition, and what defined his work as fine art. The answer to this question was obvious just by listening to him speak about concept and implications of materiality and the cultural landscape contextualizing his work. At the end of his lecture, Paglen answered a similar question about his purpose by saying, "What I want out of art, science and scholarship is to show stuff that helps us see who we are now."


Compelling Piece

Paglen's "Limit Telephotography" work, I found to be really compelling. I discussed the materiality of this work above, in the discussion of abstracting with truth. I find the photographic roots of this exploration fascinating and timely. Paglen's "documentation" "collapses" the document into abstraction, "making the viewer encounter their own inability to make sense of something." This work is so compelling because the same way we encounter this inability with viewing the physical work, we are looking at an institution designed to make us unaware of this inability. In business, we often say the most threatening knowledge is that which we don't know that we don't know: the unknowable. In a lot of ways, Paglen is representing this awakening to the state-imposed unknowables.

Chemical and Biological Weapons Proving Ground
Dugway, UT
Distance ~ 42 miles
10:51 a.m.

Trevor Paglen (Lecture Questions) 4/4

Question 1

The technology Paglen uses to create his work is vital to the viability and concept of the work. Some of this technology is not usually considered accessible within the art world, and seems much more specialized. My first question is how much this aspect of specialty media affects the work in concept.


Question 2

My second question is about defining purpose. Is Paglen an artist? He is definitely a scientist and a writer, but what exactly defines or roots his work in fine art?

Jonathan Zawada (Artist) 4/6

Work

Earth Movers, Oil on linen 39.37 x 75.59 inches 100 x 192 cm




Why the Earth is Green, Oil on linen 37.8 x 59.06 inches96 x 150 cm




Very Hot Nights, Oil on linen 37.8 x 81.89 inches96 x 208 cm

Notes Vs Tokes, Oil on linen 43.31 x 43.31 inches110 x 110 cm

Flight 77, Oil on linen 59.06 x 46.06 inches149.9 x 117 cm

Bio

Jonathan Zawada is a Sydney-based commercial and fine artist, working in a variety of mediums and dealing with concepts based around representing data. In his series, "Over Time" Zawada creates graphical interpretations of comparisons of data sets, and then paints large-scale "landscapes" in response to the graphs. He attempts to transform his experiences with data into art objects depicting the data and context.


Quotations

"Painted on linen, the landscapes are a response to the “virtual” reality of digital experiences that are highlighted by the intrinsic flatness and surreal color palate. Invoking the robotics hypothesis of the “Uncanny Valley,” the works take on an android quality, a sense of reality but not quite, registering with the viewer as both familiar and dissimilar. This theme carries through to his drawings, juxtaposing the hyper-real with the conceptually abstract and underlining the temporality of human experience"

"Jonathan Zawada, Over Time." PRISM. Web. 04 Apr. 2011. .

"Zawada deftly works in the different mediums, exploring though each a response to his self-imposed query of creating visible permanence to his daily and virtual experiences. "

"Jonathan Zawada, Over Time." PRISM. Web. 04 Apr. 2011. .

Relates

Jonathan Zawada's work, like mine, is made out of a reaction to experiences with a virtual world, filled with virtual data, based on real life. My work is now more of an illustration of measurements and measuring/storing devices, representing the concept of permanence/obsolescence of data and organic life together. Zawada's work is an illustration of a direct reaction to the actual data he mines, while mine had become a performance based work about the process of mining data or storing it.


Interview






Website

http://zawada.com.au/work/art/



Gallery

http://www.prismla.com/

Christian Rattemeyer (Lecture Questions)

Question 1

How has your education been affected by the culture of the surrounding environment? (Berlin versus New York City)


Question 2

How have the different institutions (or mediums) in which you have worked affected your curatorial practice?

Lifespan (Idea) 3/31

Defined

life span or life·span (lfspn)

n.

1. A lifetime.

2. The average or maximum length of time an organism, material, or object can be expected to survive or last.

The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved.

Quotations

"The fountain of youth may exist after all, as a study showed that scientists have discovered means to extend the lifespan of mice and primates. The key to eternal -- or at least prolonged -- youth lies in genetic manipulation that mimics the health benefits of reducing calorie intake, suggesting that aging and age-related diseases can be treated."

S6k1, Blocking. "Scientists Find Path to Fountain of Youth - Free Online Library." Free News, Magazines, Newspapers, Journals, Reference Articles and Classic Books - Free Online Library. Web. 31 Mar. 2011. .

"The lifespan of plasma TV, contrary to rumor, is great. Also, the technology is ever advancing to produce better televisions that will last even longer. Most manufacturers will give an
approximate lifespan of 60,000 hours for their plasma televisions. That''s 20 to 25 years of normal viewing before the screen begins to noticeably dim. This is a new number that reflects the improvements made to the technology in recent years."

Pandey, Sumit. "Plasma TV of the Lifespan - Free Online Library." Free News, Magazines, Newspapers, Journals, Reference Articles and Classic Books - Free Online Library. Web. 31 Mar. 2011. .

Annotated Bibliography

Antonio Krüger, et al. "Psychological Principles of Successful Aging Technologies: A Mini-Review." Gerontology 54.1 (2008): 59-68. Academic Search Complete. EBSCO. Web. 31 Mar. 2011.

This article discusses a form of technology called "lifespan technology," whose aim is
"improving both the transition from middle adulthood to old age and the degree of autonomy in old age in present and future generations. " The technology either aids its user in relieving cognitive demands or by prompting its user to cognitive cues. The technology is sort of a virtual geriatric nurse, mechanically increasing the viability of a long lifespan. I find this idea very interesting because of the opportunities it opens to elderly humans, as well as the staggered evolution this may present in the future. As with any technology, the poverty line dictates an unequal distribution of its benefits. If this remains constant, it will prove that financial viability has an ever increasing role in natural selection.



Relates

The topic of lifespan relates to my concept because I seek to represent the lifespan behind a still image. The videos I make are all based around a still life image, composed the way I would have if a single image were meant to be captured. Instead, the viewer is faced with the living, or dying, subject whose physical state changes reveal the hidden cues to eventual demise. This concept has a lot to do with permanence and its roots in genetics, technology, and the medium of photography. I am trying to present a video installation in which each video contains an image's lifespan, each subject to manipulation from the environment.

Kevin Jones (Artist) 3/28

Work


Loop, 2005, Microcontroller, LCD monitor, Sensor, DVD Player, Sound, Size Variable


Industrial Society and Its Future, 2007, Lemons, Zinc, Copper, Wire, Book and Modified Calculator, Size Variable


Concerning Things That Can Be, Doubted, 2009, Digital Print On Aluminum, Micro-Controller with Ultra-Sonic sensor, Laboratory Stirrer, Size Variable


Calculating Heading, 2008, Paint, Chalk, Looping Video, Micro-Controller and Photodiode Sensor, Size Variable




Bio

Kevin Jones is an artist with painting and graphic design education. He often works in sculptural and video installation and deals with scientific questioning. He seeks to infiltrate the institution of science by questioning its logic and procedures. The result is a sci-fi collection of work functioning as a dream-like experiment in which the viewer is often the scientist.



Quotations

"Through digitally produced images and a video installation, Kevin Jones examines systems found in scientific investigation, specifically the periodic table of elements. His video, The Culture of Logic, builds upon the structure of the periodic table and features a combination of images that when seen together fluctuate between meaning and nonsense."

Michael McFalls Kevin Jones: April 22-May 28. 1708 Gallery Press Release. 18 March, 2011.

"By reconfiguring the methods society uses to understand and control its environment, Jones “seeks to question our understanding of the physical world and seeks to test and undermine scientific authority.”

Michael McFalls Kevin Jones: April 22-May 28. 1708 Gallery Press Release. 18 March, 2011.

Relates

Kevin Jones' work relates to mine in its examination of scientific procedures and final mutation of the "organism" that is the subject. I deal with measurements and data handling, whereas Jones is interested in the interactivity he can create with his installations, reminiscent of a laboratory.



Interview

http://carrollgallery.tulane.edu/audio/Jones2010.mp3
http://carrollgallery.tulane.edu/_podcasts_faculty.htm#



Gallery

http://www.arthurrogergallery.com/dynamic/artist.asp?artistid=118



Website

kevinhjones.com

Static (Idea) 2/24

Defined

Stat·ic (sttk)

adj.

1.

a. Having no motion; being at rest; quiescent.

b. Fixed; stationary.

2. Physics Of or relating to bodies at rest or forces that balance each other.

3. Electricity Of, relating to, or producing stationary charges; electrostatic.

4. Of, relating to, or produced by random radio noise.

n.

1. Random noise, such as crackling in a receiver or specks on a television screen, produced by atmospheric disturbance of the signal.

2. Informal

a. Back talk.

b. Interference; obstruction.

c. Angry or heated criticism.

The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved.

Quotations

"I saw myself then as I see myself now, driven step by step towards that hasty blow, the creature of a sequence of accidents leading inevitably to that. I felt no condemnation; yet the memory, static, unprogressive, haunted me."

Wells, H.G. "H.G. Wells: The War Of The Worlds: CHAPTER SEVEN - Free Online Library." H.G. Wells - Free Online Library. Web. 24 Mar. 2011. .

"The tendency of the individual life is to be static rather than dynamic, and this tendency is made into a propulsion by civilization, where the obvious only is seen, and the unexpected rarely happens."

London, Jack. "Jack London: Love of Life And Other Stories: Chapter 5: The Unexpected - Free Online Library." Jack London - Free Online Library. Web. 24 Mar. 2011. .

"They needed little to release the accumulated pressure of static nerve force which the terrorizing mummery of the witch-doctor had induced."

Burroughs, Edgar R. "Edgar Rice Burroughs: Jungle Tales of Tarzan: Chapter 4: The God of Tarzan - Free Online Library." Edgar Rice Burroughs - Free Online Library. Web. 24 Mar. 2011. .

Annotated Bibliography

J.D., BIERSDORFER. "Q&A; On a Plasma TV Screen, Ghosts of Images Past." New York Times 31 July 2003: 4. Academic Search Complete. EBSCO. Web. 25 Mar. 2011.

This article was based on a consumer concern about the "burn-in" affect of stationary images on a plasma screen television. As opposed to an LCD screen, the plasma screen televisions are subject to this "ghost-like image" effect if a static image is left on the screen for too long. I find this very fascinating, not only from a technological mindset, but also from a consumer point of view. If you are watching a channel that is a risk of "burn-in," are you just watching a picture? Is a still image considered the basis for moving images? Or the reverse?


Relates

This concept relates to my work because I am dealing with a medium out of response to another medium. My concept deals with the life after the static, still image. The ideal shot of the subject is slowly and discretely, but also crudely stripped of its perfection to reveal its lifespan. The continuous passage of time is revealed by the clocks and the sound in my videos. I am interested in the idea of the static for the reasons described above, but also because the idea of permanence and evolution has driven my work and continues to fascinate me. Static is another connection between the organic and electronic permanence I am juxtaposing together because of its reference to physical state as well as technical electronic connotations.

Laurel Nakadate (Lecture Response) 2/23

Quotation

"Again...total failure."

This quote is important to me because most of what I do is technically a failure. Whether the failure makes the work worth while or renders it a pure failure is a question I wish I could answer right now. Nakadate is really encouraging in this aspect, because she doesn't hide behind that question.



3 Words

1) Chance
2) Empathetic
3) Relational



About Nakadate

One thing I learned about Nakadate that I didn't already know is that she is primarily a performance artist. In my mind, she was a video artist who used herself as a subject. I wish she had shown more of the video clips instead of just still images because her ability to transform a seemingly questionable situation involving two strangers into a collaborative relationship is unreal and amazing to watch.



Answers

My first question involved Nakadate's casting herself as her subject. More specifically, I wondered whether she considered her work to be autobiographical. After attending her lecture yesterday, it is clear she does not. Rather, she is interested in personally inhabiting the spaces she "maybe isn't supposed to go to." In this way, she is able to play out relationships which began with "chance encounters" with strangers.

My second question involved Nakadate as a female artist and the relationship between video and the conceptual theme of gender. In Nakadate's work, the issue of gender is always present. When working with men, she tends to collaborate and befriend, highlighting the nuances in her relationships with them which may be taboo or not supposed to occur in the spaces they do. Rather than an exploitative approach to using men in her performances, Nakadate seems to relate to them as a partner and collaborator. When Nakadate works with females, she seems more removed and either mystified or maternal.



Compelling Piece

Nakadate only really spoke about much of her work, and showed stills. I think the most compelling work was the video she did show, "Oops." In this video, she danced with several different men in their apartments to a Brittany Spears song, Oops I Did it Again. I found the piece compelling for its empathetic values, as well as collaborative nature. Instead of finding the work to be exploiting, I realize that Nakadate relies on the relationships she has with these men in order to make the work. She said in her lecture that she "wanted them to choose her," which seems opposite to the traditional young female role of the enticing "siren."

Laurel Nakadate "Oops!" 2000

Anderson Gallery Student Show Submission

Work Submitted

Monitor Melt from Kathleen Leigh Jones on Vimeo.

Mutate Waist to Hip from Kathleen Leigh Jones on Vimeo.

Kathleen Leigh Jones Unidentified Birdlike Appendage (Claw, scale, feather structures corresponding to Chromosome GGA25—Sequencing on experimental chicken) Mutate 16 X 24” 2010

Proof

Laurel Nakadate (Lecture Questions) 3/21

Question 1

In the January 2010 issue of Artforum Jeffrey Kastner writes, "Dangerously smart, dangerously bold (and frequently just plain dangerous), Laurel Nakadate has built an indelible body of work around her provocative investigations of psychosexual identity and female power."

My first question for Laurel Nakadate is if she considers her work to be autobiographical.



Question 2

What is the relationship between video and the conceptual theme of gender?

Philipp Schaerer (Artist) 3/21

Work (From the series Bildbauten)




Bildbau No 1, 2007
50 x 70 / 6o x 85 cm
Light Jet Print
Bildbau No 3, 2007
50 x 70 / 6o x 85 cm
Light Jet Print
Bildbau No 5, 2007
50 x 70 / 6o x 85 cm
Light Jet Print
Bildbau No 2, 2007
50 x 70 / 6o x 85 cm
Light Jet Print
Bildbau No 6, 2007
50 x 70 / 6o x 85 cm
Light Jet Print
Compilation, 2007/08








Bio






Philipp Schaerer is a Swiss architect and image creator. He works with Computer Aided Design Software to create virtual renderings of buildings. He seeks to examine the nature of digital photography lending itself to the virtual rather than the real.



Quotations



"Frontal views of fictional architectures serve as an example. By means of their exaggerated and orchestrated way of representation, they model themselves on the object-like appearance and the formal language of contemporary architecture in a rather ironic way. All images try to reproduce a reality. They are not a photograph; instead, they were newly designed and constructed from scratch by means of image synthesis and digital image editing."

Philipp Schaerer

"Philipp Schaerer’s photography is a unique examination of how build for relates to its context. his bildbauten series looks at buildings as negative space and his meereshorst series investigates a variable relationship of building form to its surroundings. schaerer’s work is a collection of fascinating minimalist images that seem to build off of the work of andreas gursky and carlo van de roer, but manages to manipulate the relationship of subject and surroundings in a very potent way."

http://alexwebb.com/

Relates



Philipp Schaerer's work relates to mine because of a common questioning of the virtual. The digital medium that I work in has guided my conceptual framework as well as production. Schaerer's "images" are a reaction to the type of production he uses in his field and issues he has seen arise from such media. My work seeks to question permanence. Working in a digital production mode has led me to covet virtual image data, and protect this virtual data with multiple copies of the original. The question of virtual is then brought into the discussion of the "real world" in a tactile sense and comparisons are drawn between human organic permanence and the virtual permanence representing humanity. Schaerer explores the virtual in more of an additive way because he is literally bending "fictional" data which he has created.




Website

http://www.philippschaerer.ch/e/w-introduction-1.html

5:00:00 MINUTES (Idea) 3/17

Defined

minute¹

n

1. (Mathematics & Measurements / Units) a period of time equal to 60 seconds; one sixtieth of an hour

2. (Mathematics & Measurements / Units) a unit of angular measure equal to one sixtieth of a degree. Symbol ′ Also called minute of arc

3. any very short period of time; moment

4. a short note or memorandum

5. the distance that can be travelled in a minute it's only two minutes away

up to the minute (up-to-the-minute when prenominal) very latest or newest

vb (tr)

1. to record in minutes to minute a meeting

2. to time in terms of minutes See also minutes

Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003

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Quotations


"There will be times we have to go to a meeting in five minutes, and he'll say, I'm going to sleep for three minutes. Wake me up."

Chris Hope
"Chris Hope." Great-Quotes.com. Gledhill Enterprises, 2011.
19 December. 2011. http://www.great-quotes.com/quote/1324712

"I'm dying right now, ... Too tired to chase fences right now. Give me five minutes and I'll be ready."

Tony Stewart
"Tony Stewart." Great-Quotes.com. Gledhill Enterprises, 2011.
19 December. 2011. http://www.great-quotes.com/quote/1206002

"We were up 21 points with five minutes to go -- and then it got a little close."

Watson Brown
"Watson Brown." Great-Quotes.com. Gledhill Enterprises, 2011.
19 December. 2011. http://www.great-quotes.com/quote/1196882

Annotated Bibliography


Russell, Bertrand. The Problems of Philosophy. Oxford University Press. London.
Bertrand Russell was a philosopher who developed the "five minute world philosophy." This philosophical stance argues that it is possible for the earth and everything man knows to have materialized within the past five minutes.

"from the earth; that it is a hot globe many times
bigger than the earth; that, owing to the earth's
rotation, it rises every morning, and will continue to
do so for an indefinite time in the future. I believe
that, if any other normal person comes into my room,
he will see the same chairs and tables and books and
papers as I see, and that the table which I see is the
same as the table which I feel pressing against my arm."

"Suppose the earth were created five minutes ago, complete with memory images, history books, records, etc., how could we ever know of it? As Russell wrote in The Analysis of Mind, "There is no logical impossibility in the hypothesis that the world sprang into being five minutes ago, exactly as it then was, with a population that "remembered" a wholly unreal past. There is no logically necessary connection between events at different times; therefore nothing that is happening now or will happen in the future can disprove the hypothesis that the world began five minutes ago." For example, an omnipotent God could create the world with all the memories, historical records, and so forth five minutes ago. Any evidence to the contrary would be evidence created by God five minutes ago. "

"Branches of Philosophy." Philosophy Home Page. Web. 20 Mar. 2011. .

This philosophy is really interesting to me because it manipulates the well known and trusted idea of time and a real-time narrative between the past, present and future. What if all this is created five minutes in advance and five minutes prior to the present? If this were proven, would people change? When you think of time as though it will be determined in real-time, you start to think about the present more than either the past or the future.



Relates

This concept of "five minutes" relates to my concept because I am making videos in which something is persisting for a five minute period of time. There is a clock or other measuring device evaluating the subject and timing itself simultaneously. The amount of time becomes important thematically, as well as conceptually because it is in a sense, benchmarking the subject's actions and timing the video as well. The specific time relates to modern technology in that, five minutes is a benchmark duration between convenient/fast and long-term. It is used in this situation to measure a subject that is affected by the passage of time and whose existence, in a certain physical state, evolves or crumbles.

Hanne Darboven (Artist) 3/14

Work


Hanne Darboven, Kulturgeschichte 1880-1983 (Cultural History 1880-1983), 1980-83. Installation view at Dia:Beacon, Beacon, New York. Lannan Foundation; long-term loan. Photo: Florian Holzherr.




Hanne Darboven, Hommage à Picasso, Installation view
Photo: © Mathias Schormann
Copyright © Deutsche Guggenheim




"Ein Jahr: 1970", 2007




"Ein Jahr: 1970", 2007, Silkscreen Print on Zanders Classic 115 g, 43 sheets and one Index, each 21,0 cm x 29,7 cm, in custom made folder, printer: Thomas Sanmann, Hamburg, bookbinder: Klaus Winterscheidt, Hamburg, signed and numbered




Bio

Hanne Darboven was a German conceptual artist, who created huge volumes of indexical work based on the concepts of time, mathematics, and chronicling history. Darboven's work often created a tactile representation of time, removing the abstractness of its dimensionality, in exchange for a more complicated, physical abstraction. Historical and cultural issues imperative to Germany's history are revisited in an all-inclusive, truthful and unbiased manner; embedded in Darboven's organized mass of mathematical drawings and images.

Quotations


" Political, poetical, historical and biographical themes, however, were always integrated also – a tight interleaving of life and work characterizes Hanne Darboven’s specifically subjective point of departure that distinguishes her from other exponents of minimal art of her generation. Her collections of source material amounted to shelves full of folders, to complete musical pieces composed from notes derived from her system of mathematical constructs. "

http://cgi.klosterfelde.de/user-cgi-bin/artists/?s1=Hanne+Darboven&s2=02-text

" Although she lived in almost total solitude, her work became part of a collective effort to replace the discrete art object with Conceptual Art, grounded in ideas and actions...Her books and mounted images, painstakingly handwritten, embody not only an abstract span of time but also the actual time of the artist’s labour."

Ring, Nancy. "MoMA | The Collection | Hanne Darboven. (German, 1941-2009)." MoMA | The Museum of Modern Art. Grove Art Online, Oxford Press, 2009. Web. 12 Mar. 2011. .

Relates


My work relates to Darboven's in its treatment of the element of time and measurement. I am trying to portray time in alternative ways using digital video and obvious representations. The measurement of the time I am interested in deals with issues of chronicling and indexing, based on the subject being measured, but also the device used to measure the subject. I am trying to explore artists who have created work conceptualizing time and measurements, so I can develop new approaches to producing work relative to my concepts. I would like to employ an additional level of media separate from the video that portrays the data collected during the filming process, editing process, and maybe even viewing process. Presentations like those of Hanne Darboven are very inspiring, due to the level of determinacy and overall work.


Interview

Interview with Dan Adler, who published Cultural History: 1880-1983 (1983) , an edition of the One Work Series by Afterall Books.
http://www.magentamagazine.com/1/features/adler-interview


Gallery






http://cgi.klosterfelde.de/user-cgi-bin/artists/?s1=Hanne+Darboven