ramblings / cartesian encounters

August 29, 2018 in 2 . notes /

sound mirrors

July 06, 2016 in 3 . resources /

http://www.soundmirrors.org/

http://www.andrewgrantham.co.uk/soundmirrors/

the day after

April 28, 2016 in 1 . studio /

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 .

Installation proposal - 2015

July 24, 2015 in 1 . studio /

cval12_july 2015_install_proposal_Page_06

read full proposal here : cval12_july 2015_install_proposal

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

2015.06.22/15:06

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.

Install notes here

a contiguous expanse

March 03, 2015 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"...

[image] An image from “Serene Velocity” (1970).2011113-DARGIS-slide-ZHUE-articleLarge — [image] An image from “Serene Velocity” (1970).2011113-DARGIS-slide-ZHUE-articleLarge

Ernie Gehr – the structuralist film maker

February 02, 2015 in 3 . resources /

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

[youtube=http://youtu.be/KF3am9peDRg]

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?

[youtube=http://youtu.be/Ip8Z1loR_xE]

information shadows - a brief digest

January 30, 2015 in 1 . studio /

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

Information shadows

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.

update: 2015.06

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.

Niépce, ca. 1826. View from the Window at Le Gras

The quietus of the object and the dexterity of 360º vision.

March 02, 2014 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.