Saturday, 14 June 2014

Last minute documentation


Since the change in theme, which I've written briefly about here and discussed further in my journal, I've found the installation more open to play with the surroundings. I allowed a bit of spontaneity and picked up a pair of five dollar curtains from an op shop. They're old white embroidered ones with stains, but I think it adds character. Besides which, the installation shouldn't focus on the curtains but the light filtering through them and falling on the carpet inside, which I hope will still look good as I haven't been able to look at them without the windows uncovered yet. 

There have been several complications relating to sharing the space. The other artist apparently needs total darkness as they've put up newspaper in the window. Hopefully I'll be able to take that down last minute or discuss it just before assessment.
Other issues include: length of the curtains, which I've written about in my journal. They don't look too great, but it was short notice and I didn't realise the window was floor to ceiling.
On the plus side the speakers work great, and I've figure out the technology using devices I already owned (that don't generate light and aren't too large) so that I can have two tracks playing at once.
I've also thrown in a stool so that the viewer can sit to contemplate. It's not particularly comfortable, but the audio goes for little over a minute, so I think they'll live.
Turned out the curtains I bought were all in one, so I cut it down the middle. 









*note - there have been difficulties in trying to upload audio and video files from the computer, and I didn't have time to organise a CD to track my progress

Susan Hiller - Sound Art Installation



susan hiller
Witness, Susan Hiller, 350 loudspeakers, 10 cd players, amplifiers, wiring,lights,etc .
Witness is an audio work about seeing; In Witness, relationships  between the visionary and the visualized are mediated by sound

(way of presenting sound art)

Strange Phenomena of the Mind

SOURCE

Déjà Vu
Déjà vu is the experience of being certain that you have experienced or seen a new situation previously – you feel as though the event has already happened or is repeating itself.
The experience is usually accompanied by a strong sense of familiarity and a sense of eeriness, strangeness, or weirdness. The “previous” experience is usually attributed to a dream, but sometimes there is a firm sense that it has truly occurred in the past.
Déjà Vécu
Déjà vécu is what most people are experiencing when they think they are experiencing deja vu.
Déjà vu is the sense of having seen something before, whereas déjà vécu is the experience of having seen an event before, but in great detail – such as recognizing smells and sounds. 
Déjà Visité
Déjà visité is a less common experience and it involves an uncanny knowledge of a new place. For example, you may know your way around a a new town or a landscape despite having never been there, and knowing that it is impossible for you to have this knowledge. 
Déjà Senti
Déjà senti is the phenomenon of having “already felt” something. This is exclusively a mental phenomenon and seldom remains in your memory afterwards.
You could think of it as the feeling of having just spoken, but realizing that you, in fact, didn’t utter a word.
Jamais Vu
Jamais vu (never seen) describes a familiar situation which is not recognized. It is often considered to be the opposite of déjà vu and it involves a sense of eeriness. The observer does not recognize the situation despite knowing rationally that they have been there before.
Chris Moulin, of Leeds University, asked 92 volunteers to write out “door” 30 times in 60 seconds. He reported that 68% of the precipitants showed symptoms of jamais vu, such as beginning to doubt that “door” was a real word. This has lead him to believe that jamais vu may be a symptom of brain fatigue.
Presque Vu
Presque vu is very similar to the “tip of the tongue” sensation – it is the strong feeling that you are about to experience an epiphany – though the epiphany seldom comes. 
L’esprit de l’Escalier
L’esprit de l’escalier (stairway wit) is the sense of thinking of a clever comeback when it is too late. 
Capgras Delusion
Capgras delusion is the phenomenon in which a person believes that a close friend or family member has been replaced by an identical looking impostor. This could be tied in to the old belief that babies were stolen and replaced by changelings in medieval folklore, as well as the modern idea of aliens taking over the bodies of people on earth to live amongst us for reasons unknown. This delusion is most common in people with schizophrenia but it can occur in other disorders.
Fregoli Delusion
Fregoli delusion is a rare brain phenomenon in which a person holds the belief that different people are, in fact, the same person in a variety of disguises. It is often associated with paranoia and the belief that the person in disguise is trying to persecute them.
It was first reported in 1927 in the case study of a 27-year-old woman who believed she was being persecuted by two actors whom she often went to see at the theatre. She believed that these people “pursued her closely, taking the form of people she knows or meets”.
Prosopagnosia
Prosopagnosia is a phenomenon in which a person is unable to recognize faces of people or objects that they should know. People experiencing this disorder are usually able to use their other senses to recognize people – such as a person’s perfume, the shape or style of their hair, the sound of their voice, or even their gait. A classic case of this disorder was presented in the 1998 book (and later Opera by Michael Nyman) called “The man who mistook his wife for a hat”

Friday, 13 June 2014

Revolution 9 - The Beatles


This experimental song by the Beatles is a large part of my inspiration for audio montage. Initially upon listening to this I was kind of freaked out, didn't help that I was in a house on my own with only a desk lamp on.
The creepiness quickly became appealing somehow, I've mentioned before I like that psychological sort of thing. And as a music student with copious training in aural theory, I began to pick apart the sounds in the track, recognised which were distorted, how many layers in each section.
I researched it as well; this was pretty innovative for its time.

- The song is a compilation of tracks, some from the recorded archives of a recording studio, others were recordings of the band members themselves
- The voice repeating 'number 9' is an engineer testing equipment

Use of repetition is especially effective - 'number 9', and a couple of particular musical recordings, one of these is classical piano, the other is reversed, which interestingly makes it difficult to interpret what instruments are playing; definitely strings - probably cello, the higher music is possibly clarinet? some kind of woodwind.

Tuesday, 10 June 2014

Speaking of personal associations (from previous post)

I've talked about the themes for the upcoming final project in my studio journal, along with a whole bunch of brainstorming. The main element will be the audio component, in which I compile an audio montage made from collected audio excerpts (from recordings I make myself, film, music, and other media) which will serve to communicate the theme to the viewer and hopefully also affect them in some way. Last semester I created an installation similar to this, but instead of being installed in a large space like the room I am planning on using this time, I built a human sized box to restrict movement and isolate the viewer from the outside world.
The themes for this semesters project were to be relating to social anxiety, and would incorporate primarily recordings of outdoor, social surroundings.
As the project unfolded, however, I found that the process of recording sounds of such a specific nature (I was looking for a lot of dialogue, specifically that which could feel potentially oppressive), and still having only a vague idea of what that 'specific nature' was, it would be difficult to pull together a project with those themes in the time I have. May be an idea for a longer term project.
Back to the theme of 'personal associations', and also memory.  I am very interested in all aspects of the human experience, especially psychological related ones, I think an idea that is explored in a book I've been reading, 'The Remembered Film', which talks about the unconscious associations a viewer makes from their experiences in life and from previous films could be something to explore as a theme.
       - Immediate external surroundings; subconscious associations provoking certain reactions and            emotions
This is something I'll be looking into more, but I think a majority of the recordings and other audio excerpts I've collected from the other project apply to this theme. The fact that the audio is quite abstract will help along the idea of the audience making each their own personal associations based on the things they've encountered throughout their life.

Sophie Harris Taylor (photographer)





I really like these sort of desolate looking domestic spaces, but of course what initially drew me to this collection of photographs was the windows, and the various ways light is entering the room through them. In fact my first thought was that that was what the series was about - various windows. 
A sight like this of light at different times of day, coming from different directions and hitting the interior of the house, different objects and furniture draws a lot of personal associations with memories of different houses I've lived/been in growing up and also provokes some accompanying emotions and nostalgia. I wonder if it is the same for others and whether I could use techniques involving lighting, or recreating a recognisable, but generic space in order to encourage personal associations based on memory.

David Williams


These images (Sidestreet Cinema Sign and White Balance Nightmare) are similar to the photos by Tayler Smith I selected in a previous post in the vivid colours, in the case of the left image the colouring is more natural due to the neon and the reflection of streetlights. The colour scheme in the image on the left is kind of - dream-like was my initial response - interesting that the image is titled 'Nightmare'




This is another response to light, also accompanied with shadow and silhouette. In these the direction of light is a factor, and the light conveys a different mood in each. Stark and bright in the first (titled Resistance Is Futile), accompanied with the silhouette, the image is somewhat threatening. In the second (titled Light Experiment) the light is warm and softer than in the first image.
The second image is something I've had to think about for my final project which will involve some type of sensory deprivation - namely, sight - or possibly light control to force the viewer to look at a certain place in the room and, in doing so, also control their posture. We'll see how this will affect the response of the viewer in accompaniment with the audio component of my final installation.

William Forsythe



World-renowned choreographer and artist William Forsythe has just unveiled his latest “choreographic object,” an old municipal market space filled with hundreds of suspended pendulums that swing in timed sequences. As visitors move through the space they are forced to duck, dodge, and dart through the rows of swinging weights (technically plumbobs) resulting in an impromptu dance. Forsythe is known for his unique blend of choreography and artwork where the viewer often becomes a participant in his interactive installations.
Titled “Nowhere and Everywhere at the Same Time No. 2,” the exhibition is located at Circus Street Market as part of the Brighton Festival, an annual arts festival in England. 
Official film by Shy Camera

Tayler Smith




I really enjoy the vivid, unnatural colours - the sense of light and luminescence is very appealing.
This is a general interest of mine - the way various kinds of light can be used to provoke various reactions or associations in a space. 


I have some catching up to do in my blogging, the next few posts are works of artists I've collected that have been waiting to be made into posts for weeks. Many of them won't be in any way related to the final project for the semester, but ones from photographers like Tayler Smith initially got me thinking about the different ways of using light, colour and space.


Sunday, 27 April 2014

Vivian Maier







Photos from various photographers provoke certain emotions in me that prompt ideas that I can use in artwork. 
I often enjoy an image that is either visually appealing, or tells a compelling story. Some images can be adapted into physical ideas around the use of space, lighting, he figure, shadow and reflection. These are all characteristics of a photograph I am commonly drawn to.

Vivian Maier's photographs are largely black and white and are for the most part a series of everyday images portraying humanity on the city streets. I'm drawn to her colour images as a passage for creative inspiration

Sunday, 6 April 2014

Catie Newell

Curfew, Catie Newell






Curfew is a site specific installation provoking the loss of a larger space to fleeting apparitions of darkness and memory. Simply, the work is ghosting a darkened window, made of strange and violent spacial lines embedded with candlewicks burnt away and trailing smoke true to the term curfew (rooting in the French term 'to cover the fire' - it's the time to blow out the candles and go to bed). Fleeting and vanishing (both physically and in memory) the line work is a dance between the fewest lines that can be trusted, and the imagination projected on to a darkened reality. Suspended in the threshold between the two spaces, visitors to the show have to occupy the work - literally walking through it. Formally the aim is to evoke a larger sense of space (both real and imagined) and also calling to question the passing from one space to another - where perhaps on both sides, different darknesses exist. Its implications and threat of vanishing is the unknown reality, one that seems familiar, though always unfamiliar. Curfew remains something that is there amongst us, but anxious fleeting, and aggressive, though even frightened in its own being.

Saturday, 29 March 2014

David Maljkovi


David Maljkovi - Retired Form 2008-10, photo collage on paper
- reflection
- distortion
- illusion

I first thought the image was of a sculpture with mirrored surfaces that gave the illusion of transparency. Turns out that in itself is an illusion, as the image is actually a photo collage. Now you see the lines, probably cut using a stanley knife.

Sunday, 23 March 2014

Alumination

Unfortunately I forgot to take a picture of the work as it looked on the floor before I had presented it.
The work was all about texture; several people noted the subtlety of it. True, as at a distance it was indistinct, though it was apparent that the aluminum foil was not completely flat.

I invited people to walk on it, to further highlight the impressionability of the material. 

 The original texture was slowly lost the longer it was left in the corridor, making it less recognisable as the inverted texture of the wall it was displayed alongside



Eileen Gray

Black Block Screen, 1923

Eileen Gray was a furniture designer and architect, and I imagine a piece like this was intended more for interior decorating than art, but artistically I appreciate the repetition of geometric form, emphasised by the lack of colour. 


Sunday, 16 March 2014

Alumination

Instead of replicating closed objects I decided to test adapting finer textures using one sheet of aluminium foil. Sparked originally by the idea of pressing the foil into the pavement outside and then installing it on the floor indoors.

Detail


The process was time consuming, but nearly as frustrating or difficult as the previous experiment. I used a piece of folded up fabric to press the foil into the bricks - this was more effective than using my hands for the most part, although sometimes the material would quite reach all of the detail.

The 1.5 meter lengths are taped to the wall at the moment, I plan to lay them flat on the floor of the corridor just before assessment to avoid them being stepped on (though allowing this could be an experiment for after)

There was some tearing, particularly in the cracks between bricks, but I feel this only further emphasizes the qualities of the material.