Setting up the video footage and Generative particle effects in Lightforms Creator software. Also testing caustic effects of projection with holographic material (on right)
Have set up the Lightform projector in T24 test space. Painting the glass debris of pixels with a broom into a form that is reminiscent of ocean movement. Tried dragging a wig over it’s surface, but it wasn’t firm enough, a broom shifting the glass into a surface reminiscent of pebbles deposited on a digital shoreline, as if an invisible ocean had swept through long ago.
https://maifeminism.com/glitter-a-methodology-of-following-the-material/
Thinking about how the work can imply technological artefacts, digital debris, a simulation waiting to be rendered. To recreate an actual literal memory recall, our own stored files. The entropy of a memory
Thoughts while setting up the work. The material's properties and the effects it elicits. Properties of glass, dispersion, pixels, multidimensional, light reactive, physical medium, with light as material affecting its surface. The immaterial nature of water becoming material.
Trying to imbue elements of loss, of the death of our planet, our dystopian future, a remembrance, a eulogy for a memory. A memory that is fading. Glitched, a cellular trace level recording. Memoir artefact. Memory archive.
Augmented reality, using projection mapping to augment the physical space, to transport the observer into another realm, portal like.
Thinking about themes relating to what makes us human? Our attachments to memories, define our humanity.
Testing the effects of Holographic surfaces with the video work renders interesting caustics.
Interested in the word haptic and how it relates to the work, or the work relates to it.
Haptic perception (Greek: haptόs "palpable", haptikόs "suitable for touch") means literally the ability "to grasp something". Perception in this case is achieved through the active exploration of surfaces and objects by a moving subject, as opposed to passive contact by a static subject during tactile perception.
Painting the glass, moment frozen in time, interference, ephemeral, over layed with digital light projection of a memory, spatial and temporal. dimensional. juxtaposed against a still fragment of pixelated glass. Photons, shifts, memory, glimmers, cascading ocean, pools of flickering color. Holographic surface, shimmering reverie a moving subject, as opposed to passive contact by a static subject during tactile perception.
“Removing formalistic interpretations of nature and enhancing haptic sensibilities. Not to reproduce nature but to analyse human responses to nature.”
"the spatial and temporal dimensions of human interference in complex ecosystems”
“Why is the triad of medium substances and surfaces, our surfaces so important? The surface is where most of the action is. The surfaces where life is reflected or absorbed, not the interior of the substance. The surface is what touches the animal, Not the interior. The surface is where chemical reactions mostly take place. The surface is where vaporisation or diffusion of substances into the medium occurs. And the surface is where vibrations of the substances are transmitted into the medium.”
(Conjecture, projection, our perception of surfaces. Unrenderable. Unknowable completely. Fragments of reality, of truth.)
1 J.J Gibson, the ecological approach to visual perception (Boston, MA Houghton Mifflin 1979) , 23
It’s a metaphorical representation of both the external world of the object and the internal world of the self. “Can you see a whole opaque physical object in a given moment of the perception or most only some part of its facing surface?” and so on. 2
2. Reflections on surfaces
Avrum Stroll
University of California, San Diego
La Jolle, CA 92093
USA
Making the intangible tangible. Light and surface. Materiality, Glass reflects the light, momentarily coming alive. Absorbing, bouncing, refracting, changing, multi dimensional.
It’s a virtual landscape for a virtual world.
Themes and imagery from Bladerunner 2049, as Love, a skinjob cyborg, accesses physical memory orbs from storage.
Crit review feedback
Climate change
Vulnerability of the land
Erosive
Erosion
Entropy
Resonance, waves, frequencies
Fleetingness of human life and solidity and permanence of the land
There is a stillness and contemplation in the work.
Captured the stillness juxtaposed against the motion.
Breathtaking
Artificial
space to experiment with the work
Narrative story extension
Resonance
Laura prefers the stillness and repetition
Inspiration has come from artists Alison Shotz, Anne Veronica Jansens, Tara Donovan
What is the criticality in this work?
What is real? Do androids dream of electric sheep by Phillip K Dick questions in his novel themes around what makes us human, authenticity, our memories and how they define us and make us human. Provoking the reader to question what is real what is constructed? Defining that what makes us human is our memories.
Laura suggested reading the paper “The internet does not exist”
Have started watching “All Watched over by machines of loving grace” a documentary on how we are colonised by the computer. From its beginnings, with Ayn Rand and her myth around selfishness and it being a catalyst for silicone valley.
How does the work assert a position?
Drilling down into it so that you have a way to critique your own work, how do I find a position?
Connection between memory and what is present and not present?
Currents
Memory and hazyness and your own connections to oceans and water
Does have its own merits having an open interpretation for the observer, a way in for own interpretation and memories of similar experiences on the shoreline.
Theories on how memory works
In computer machines how it stores it and forgets it, blank pixels a corrupt file. look at several models or conflate materially and digitally and how things are stored in boxes and pods and layers.
Ocean is primordial what is held within the storage water holds memory. Water is ancient
Seeing pattern working close with the materials and then meta matter those two scales the personal memories and subjectivity and then overplayed with the larger scale of the large. Macro and micro.
Capturing that emotion and holding it
Fragmented glass
Macro and micro
The tiny pieces make up the composite whole
how do you title this work?
Render me
Physical materiality
Digital memory
Post digital art
Digital technologies emerges a hybrid of digital and physical realms
Making the Intangible tangible
Temporal and eternal
Subversion of media technologies
Revealing of its Infrastructure and materiality of the medium
The subsurface materiality of representation
Erosive wave motion a metaphor for
Beyond digitality
Tangible relationship that seek to make a connection between society technology and culture
Post internet art
The internet as a medium
Digital technology becomes embedded in the physical world
The infinite reproducibility and mutability of digital materials
Merging of digital and material realms
Blend digital and non digital as part of the same reality
To use material forms of engagement with technologies to supplement and extend critical reflection with an emphasis on critique and expression rather than technical sophistication and function
Can intersect in unorthodox ways
Cultural reference rather than just a medium
Cultural and social effects on us in daily life
Light as a material as reflection manifestations of reality in a new way
To decipher other reality’s
Temporal overplayed onto the static
Creating a other worldly experience
The movement of light on water
Childhood memories
Natural phenomena light and nature
Perception
Collaborations with programmers and electronic music
Light is multi dimensional
Painting the ocean movement
Observed phenomena
To share that experience
Immersive installations
Light refraction changes the materiality in the space
Donna harraway
Cyborg manifesto blurring of nature culture
Post internet
Matt suggested I could try using old monitor screens talking to past technology and the screen, how we receive our information and experience of reality now. Speaking to our times. Colonized by computers
What am I doing? Why am I doing it? Creative practice is the enquiry, we are not seeking to prove something. You can extrapolate many interpretations from someone’s work.
Subvert
Hack
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“Video feedback is a classic example of complex dynamical behavior. It arises from the way energy circulating in the system interacts chaotically with the electronic components of the hardware.”
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“The post digital aesthetic”
https://2020.xcoax.org/pdf/xCoAx2020-Ferreira.pdf
“In order to frame the main traits of a post-digital culture of artistic production, the paper starts by addressing the concept of the post-digital as aesthetics of failure. It then considers the changing conceptions of the term and related artistic approaches that gradually shift their focus on the digital medium’s infrastructure towards the broader socio-cultural effects of the ubiquity of computational technologies. According to this view, we highlight how a contemporary post-digital culture of audiovisual production explores two main forms of hybridity pertaining to merging digital and analogue media and conflating digital and physical realms.”
Discusses:
Our perceptions and experience of reality is shaped by the ubiquity of digital technologies
Artistic practices a hybrid media forms neither analog or digital and that merge digital and material realms
Hacker attitude of taking systems apart and using them in ways which subvert the original intention of the design
Against the corporate state of its usage
See behind the screen being it into the physical world with the environment and
Computation becomes experiential spatial and materialized in its implementation embedded within the environment and embodied
The involvement of the audience makes them part of the work not reducible to the digital world human and non human agents
Post digital aesthetics hybridity
Rejecting the new by the functional repurposing of old media
Deconstruct and subvert media
Reading suggestions from amber Strain:
Ian Cheng's "Emissaries"
His work using computer AI generated worlds to create his work? He has a book in the Library called: Ian Cheng: Forking at Perfection
Digital Biology: How Nature Is Transforming Our Technology and Our Lives
Alone Together: Why We Expect More from Technology and Less from Each Other
Haunted Media: Electronic Presence from Telegraphy to Television
Reading https://www.diva-portal.org/smash/get/diva2:1191754/FULLTEXT01.pdf
”The internet doesn’t exist”
https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/fictionnownarrativemediaandtheoryinthe21stcentury/manifestly_haraway_----_a_cyborg_manifesto_science_technology_and_socialist-feminism_in_the_....pdf
http://raley.english.ucsb.edu/wp-content/Engl800/e-flux-no-Internet.pdf
Donna Harraway, The Cyborg Manifesto :
https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/fictionnownarrativemediaandtheoryinthe21stcentury/manifestly_haraway_----_a_cyborg_manifesto_science_technology_and_socialist-feminism_in_the_....pdf
Contact Greg Bennett
https://academics.aut.ac.nz/greg.bennett