the day after never seems to end . an endless loop . a repeat . a clone . the day after never seems to end . a copy . the day after never seems to end . a loop . a repeat . the day after never seems to end . a copy . yesterday . a replica . today . tomorrow . infinity . a repeat . the day after never seems to end . an endless loop . a repeat . a bounce . the day after never seems to end . a copy . the day after never seems to end . a carbon-copy . a repeat . a repeat . a clone . the day after never seems to end . a mimeograph . a copy . yesterday . tomorrow . infinity . a repeat . the day after never seems to end . a loop . a repeat . today . the day after never seems to end . a copy . the day after never seems to end . today . a facsimile . an endless loop . a repeat . a clone . the day after never seems to end . a copy . yesterday . today . tomorrow . infinity . a repeat . the day after never seems to end . an endless loop . a repeat . the day after never seems to end . a copy . the day after never seems to end . an endless loop . a repeat . the day after never seems to end . a copy . yesterday . today . tomorrow . infinity . a repeat . a copy . the day after never seems to end . an endless loop . a repeat .
Exhibition and Audience
11 – 16 July, 2015
A proposal for installation by christopher valenti, Ø (empty-set) and the blended-theory project to Noel Ivanoff, HOD Fine Arts, Whitecliffe College of Arts and Design
For consideration :
1. Transparency in exile : factual information may vary according to availability (working title) an intervention to an existing access corridor where information is copied, shredded and then reconfigured.
2. A place like you / a place like me / a place that no longer belongs to us (working title) a situation where visual information is gathered to then be recomposited as an online project at a future date.
The exhibition H F | R G at Jeu de Paume in Paris / France brings together the visions of two contemporary artists, HarunFarocki and Rodney Graham, whose work has a great deal in common, not least their film and video and their interest in the medium and its history and in self-representation.
No Blockbusters Here, Just Mind Expanders
By MANOHLA DARGIS Published: November 11, 2011
"THERE are a multiplicity of adjectives that fit Ernie Gehr’s experimental film and digital work: abstract, beautiful, mysterious, invigorating, utopian. The work can also be oblique; this is not a bad thing! His 14-minute film “History” (1970), to take one extreme example, largely consists of what looks like a sparkly black-and-gray blob that brings to mind a hallucination of a desert night sky, like van Gogh on acid.... "
Retrieved from: http://www.nytimes.com/2011/11/13/movies/ernie-gehrs-films-traffic-in-images-and-light.html
Recent works : Ernie Gehr: Bon Voyage http://www.centre.ch/en/ernie-gehr-multi-channel-digital-installations-en
Video retrieved from: http://www.theseventhart.org/main/videos/issue-9-ernie-gehr/#.Uk3nw7xQ2wA
Can we see philosophy? (what a great question)
"It is a question that is always haunting me: What is it that I’m working with? It’s also, What is a film? What is a digital work? Is it the physical item? Is it the projector? The strip of film? The tape? The disc? It’s all part of it. It’s mixed media. And the way these things all interact tell us so much about human perception and experience and the way one sees anything in the world."
Retrieved from: Can we see philosophy? A dialogue with Ernie Gehr By Peter Catapano and Ernie Gehr – http://opinionator.blogs.nytimes.com/2013/10/03/can-we-see-philosophy-a-dialog-with-ernie-gehr/
"Structuralist film theory is a branch of film theory that is rooted in Structuralism, itself based on structural linguistics. Structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication". taken from somewhere on the web
Here is a sneak at his recent video works : + raphael hefti - or or or?
updated as of : 2015.06
where is the interface? why can't a wall be an interface? how about a space, a void? is that not an interface? things are unfinished. some patterns seem to be emerging. talk is not about the things, object/images or otherwise, that occupy the wall but more about the ideas which surround them. the embedded meaning or rather the residual value which they impart. their place in the context of greater meaning or whether they even have a place within the space they temporarily inhabit? how to transport a viewer elsewhere? i enjoy encountering a space and making decisions in the moment. how much content to include? where should they be positioned? what is their relation to each other? is there one? a minimalist aesthetic? can one object/image carry that much weight? ...
... i was told to wait ...
images below from 'global / local' summer seminar whitecliffe college of arts and design mfa mid-course submission : 2015.02.16-22 : install at Pearce Gallery and SGBR Studio, 130 Georges Bay road, parnell, auckland
Our thirst for knowledge and our appetite for understanding is what has propelled humanity forward. As we continue to broaden the knowledge based economies of our interconnected lives the data and information we manufacture acts as a conduit where the content we exchange contains a new form of labour. This ‘user activated labour’ results from a transaction where the value of exchange is not immediately one of economics but rather an exchange of information ripe for harvesting. Objects and resources are embedded with an information shadow and as we engage with our data driven society we extend the value of any given resource beyond its sole purpose as a commodity. The information presented here acts as a mediating point and seeks to explore the possibilities where concepts and ideas might exist beyond the boundaries of their function and intent. The accompanying QR codes link to a digital space where ideas exist in another dimension. These black and white cryptographs act as an interface between a physical world and the digital universe.
You will need to download a QR reader to your device to scan and follow the links.
This project began as the Data Syphons project.01 on blended-theory. It has since been absorbed into the transparency in exile: eighty-eight or there abouts project. They straddle the same subject matter and as these projects continue to be refined they will migrate into more specific lines of inquiry.