gestures of coincidence: 1/2 : more happy than disgusted – corrupted self
camera
Invisible Image
more happy than disgusted
a contiguous expanse
in 1 . studio /
a sweeping uninterrupted view captures the surrounds of a periphery ... the slow circular movement... clockwise / anticlockwise – forwards / backwards . a revolution is stretched by the interruption of the "interplay of directed actions" ... a transformation or a compression of movement / the panorama extends our field of vision in the hope of revealing a wider truth but the lateral return to its point of origin feels like a second take, a cut, a 'flicker' moment which embeds itself in uncertainty. not perfect, did it miss something? is there something else there to be seen? as it returns to record its passage it leaves behind a stretched pixel, a moment in time when it was something else, attached to something else. a remix, "a rough-cut of sequences"...
HF | RG (Harun Farocki | Rodney Graham) / Jeu de Paume, Paris
http://youtu.be/IAwkneBcB04
By Enrico on 4. May 2009
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.
http://vernissage.tv/2009/05/04/hf-rg-harun-farocki-rodney-graham-jeu-de-paume-paris/
Niépce, ca. 1826. View from the Window at Le Gras
The quietus of the object and the dexterity of 360º vision.
in 4. essays /
The subject of cameras and surveillance is widely written and commented on both in academic circles and in popular culture. It's a duopoly of mind which tugs at our notions of privacy and identity, security and comfort. As technological and manufacturing advances increasingly move into the nano-space, not only are we able to capture every second of our daily lives, but we can also instantaneously ‘transport’ ourselves into the lives of others in different location on the planet.
Eleanor Heartney, author and art critic describes the artist as “having a lens on the world”. [1] It is a lens which not only observes and focuses on the here-and-now but one that also comments on that which encompasses the periphery, those events, attitudes and perceptions of what is happening on the boundaries of an increasingly changing world. Through this lens the artist can question and observe what life might be like, not only on the fringes but into the future as well; a germane metaphor for the digital age. From the Hubble telescope and CCTV cameras to mobile devices and endoscopic cameras there is very little these days that is not being observed, not being monitored, not being scrutinized and not being recorded through the lens.
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translucent mould of me 1_640
marking time with memories
[image] Laurent Millet - Translucent Mould of Me, Piezography, 40x50cm, 2013.
Abstract memory: organisation and categorisation as a form of memory / computer terminology contact points ( – cloud storage . who monitors . polices the system . censorship. Digital - the scalable pixel .
"Memory Studies examines the social, cultural, cognitive, political and technological shifts affecting how, what and why individuals, groups and societies remember, and forget. Despite the epistemological and causal significance attributed to memory in the study of such questions as the formation of personal and public identity, culture and politics, and social communities, there remains dramatic divergence on the basic concepts and methods of the area."
First visiting Fellow Prof John Sutton, of the Warwick Centre for Memory Studies, delivers the inaugural lecture launched by Prof Susan Bassnett, Pro Vice Chancellor, University of Warwick.
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