It is okay to be confused (It may even be better than knowing).まごまごとしどろもどろな事がいいです。(知識を比べて多分もっと良いか)

Brilliant words flowing … From those never knowing, how many lives they touch….

(2001) Connie Marcum Wong

全然知るの人から多い人生達を接触(せっしょく)がして素敵な単語は流麗(りゅうれい)です。

(二千一年)コニ.マルクム.ヲング

I would like to thank Tsunoda Japanese School and its students for helping me release and promote my ebook. The video we made to advertise the book demonstrates the uniqueness of the poetry me and my teacher strove to share with the world; and again I am extremely grateful to all the Taiwanese Japanese language students that came forward to help me with the release of this book.  Living and working in Asia for some years now I have come to be accustomed to situations where I do not know what is going on… This is not a problem  if an individual harbors honest intentions to learn then every moment remains a gift in itself. The dominant East Asian languages contain fantastic poetic structures but I have to admit other than Matsu O’ Basho and Dogen my understanding of the poetic of works is very little. However, I have in my studies delved deeper into the many interesting and smaller component parts of the language. Take for example the Japanese word  Zappai  meaning playful literature is a descriptive term that could apply to all the writing I attempt. The second example is the famous example of a kind of unique literature to Japan. The work Again in the Hōjōki’  by Kamo no Chōmei is an example of Zuihitsu (Texts that respond to the authors’ surroundings). I’ve yet to read this bit of Japanese literature I look forward to doing so because a work such as this contains an example of how deeply contradictory language is. For me when confronted with the Hōjōki (a ten foot square hut) I’m reminded of a certain confusion regarding language: it appears to us as being limitless infinite in potential but for humans the beings who are known for their dependency on language it is certainly finite and limited. 

Everyone and everything is in a ten foot square hut … 

Nobody and nothing is in a ten foot square hut …’ 

私のエ本を出す事が手伝うのでつのだ日本語学と学生達を有難いです。ビデオは私と森田先生の詩を世界でシェアしたいですので、台湾人の日本語学生ために私は本当にまた「ありがとうございます」と言うなければなりません。アジアでみつの年に住んだに私は知らないの経験を慣(な)れました。もし、すべての経験から個人は真面目な意思と習う事が出来るので問題じゃないです。東亜諸国の言葉は素敵で私的な形があるけど、松尾 芭蕉(まつお ばしょう)と永平道元無し私の知識を狭いです。しかし、私の学ぶ事で言葉の面白くて小さい部分に探りました。例えば日本語の単語で、私の書くので、雑俳(さっぱい)の意味はプレーフルな文学が記述的な用語です。二回目の例えは有名な文学が日本でユニークな物です。「’方丈記’」鴨 長明さんの本は随筆です。私はこの本を読めましたけどこの本が言葉の深い矛盾(むじゅん)を有ります。私の意見は方丈記で言葉のある種の当枠を連想(れんそう)します。言葉は無限と秒秒(びょうびょう)をみたいですけど、人間のために言葉が有限と限り(かぎ)ある。

「誰もがすべてが10フィート四方の小屋にあります…

10フィート四方の小屋には誰も何もありません…」

Language is certainly a contender for one of the strangest things known to humankind. The possibility of a language-less world is impossible; for nature has had its communication long before homosapiens started making complex patterns in sound. The genesis of language can be considered to arise or start from a need to make sense of pictures, of images, and the meaning they enable. Writing on this blog I have already posted about the inspiration of Derrida and Wittgenstein on how language constructs many competing perspectives. The most interesting of these is inherited from an important moment in the history of thinking. The moment which I speak of is the realisation and perhaps the rediscovery of a long held understanding: that if we seek to contemplate existence, what it means to be, we inevitably arrive at the notion that our mental or subjective experience of our own existence distorts and indeed governs the way we are. This is also a Buddhist notion that behind the appearance of things there resides a deeper truth to being. This can be rephrased as suggesting that having a perspective is not at all helpful in understanding the truer Truth. The European articulation of this is to be located in a line from Germany to France a life long conversation between the ideas of Martin Heidegger and Jacques Derrida. This version of our linguistic interest runs as follows: Humans in as far as they exist can only talk of this being. The being of beings, not of Being itself. Now, the scientists amongst you hawk and state this as rubbish and you are entitled to such an opinion; but do not stop reading just yet.

言葉は確かに人間の知識でどれか変な物です。世界が言葉無しは無理:ホモセピエンスの言う事が始まる時前に自然はコミュニケーション(疎通、そつう)がありました。絵とイメージの意味がわかるなければ必要ですからこれは言葉の原因(げんいん)です。このブログで言葉どうやってぶつけ合うの遠近法(えんきんほう)を作るのでデリださんとウィトゲンシュタインさんの文書は感奮しました。一番面白い遠近法はエウロパの考えるの歴史で大切な時から血を引きました。この瞬時(しゅんじ)は昔の理解仕方をまた見つけたに、もし存在の意味を知れば私達の精神的(せいしんてき)な経験と考え方も私達のいる方は治(おさ)めります。これも仏教のイデアですので見た目後ろに存在の真実が

ドエルです。言い換(か)えるのでもっと正しい真実は理解でければ遠近法が便利じゃないです。エウロパ的な判読(はんどく)はドイツからフランスまでの線でデリダさんとマルティン・ハイデッガーさんのイデア達間に見つける事が出来ます。この語学的な関心(かんしん)は述(の)べるので、「人間はこの存在が言えるだけ、有情無情の存在を言えるですけど実在が全然言いません。」と話します。今、皆で科学者(かがくしゃ)はだめと言うので、その意見もいいですけどこの文書を読んでください。

Science and its method always seeks to arrive at objectivity: a position of knowledge considered to be real. It frequently does produce useful information within a given context so the benefits of having this thing called science and the use of language it enables (highly rational, explainable, and believable) are there to experience yet it is also extremely relativistic. What am I trying to say here? Well let me simplify: a perspective that I am keen on nurturing is the one that questions the outcomes or result of language usage or behaviour that produces more knowledge. What happens if it is possible to know everything? What happens to that which is authentically new and relative if we believe it is already known or even knowable. Our perspective becomes impoverished we loose the initial premise knowledge itself is generated from the original position or proposition of not knowing. The fact that objective knowledge so often looses its way and becomes yet another commodity on a market I find unhelpful to living organisms. This process generates bad belief in a possessive type of knowing. In my ebook I’ve made a small attempt to point towards something else: An Uu (Understated-understanding) such an alliterated concept I would encourage to be defined as the potential to resist the pitfalls of objective knowledge and the havoc it wreaks on limiting the life experiences of so many members of the species…

科学と方法はいつも客観(きゃっかん)をくれたい「実な知識」です。科学はコンテクストでよくに便利な報知(ほうち)を作るから、それが可能にする言語の使用(非常に合理的で、説明可能で、信じられる)は体験することができますが、それはまた非常に相対論的です。ここで何を言おうとしていますか? 簡単に説明します。私が育成に熱心に取り組んでいる視点は、言語の使用や行動の結果や結果に疑問を投げかけ、より多くの知識を生み出します。すべてを知ることができるとどうなりますか? それがすでに知られているか、または知っているとさえ信じるならば、本当の新しい相対的なものに何が起こるか。 私たちの視点は貧弱になり、最初の前提知識自体が失われます。知識自体は、元の位置または知らないという命題から生成されます。客観的な知識がしばしばその道を失い、市場でさらにもう1つの商品になるという事実は、私は生物にとって役に立たないと感じています。 このプロセスは、所有のタイプの知識に対する悪い信念を生み出します。 私の電子ブックでは、他のことを指すように小さな試みをしました。Uu(Understated-Understanding)のようなうわべだけの概念は、客観的な知識の落とし穴とそれが制限にもたらす大混乱に抵抗する可能性として定義されることをお勧めします 種の非常に多くのメンバーの人生経験…

This Uu concept I hope can encourage lesser explored perspectives such as how cultures of writing can erase knowledge in a useful way. Or, how things such as the internet or the archival habit of humans (a desire for history and useful fiction and myth) point towards the possibility of collective appreciation of what already is… rather than the propensity to overvalue knowledge and attributing our own meaning over already deeply meaningful things. The fact that you had a past, you are in a present, and will be in a future makes me aware that creative use of language and the act of poetic expression can assist us in finding new moments for appreciation. 

このUuのコンセプトは、執筆の文化がどのようにして有用な方法で知識を消去できるかなど、あまり探求されていない視点を奨励できることを願っています。 または、インターネットや人間のアーカイブの習慣(歴史と有用なフィクションと神話への欲求)などが、すでにあるものを集合的に評価する可能性をどのように指し示しているのか…知識を過大評価して自分の意味を すでに意味のあること。 あなたが過去を持っていて、あなたが現在にいて、将来にいるという事実は、言語の創造的な使用と詩的な表現の行為が感謝の新しい瞬間を見つけるのを助けることができることを私に認識させます。

All I wish is for people who encounter this collection to leave after rethinking the value of having a confusion or being confused. Certainty can occasionally be overrated in some circumstances. 

私が望むのは、このコレクションに遭遇した人々が、混乱や混乱の価値を再考した後に去ることです。 状況によっては、確実性が過大評価されることがあります。

Please buy my ebook here <…>, or there <…>, or over there <..>.

このイービーを買えるのでここに<…>、そこに<…>, あそこに<..>.

Thank you,  Paul Harrison, Taoyuan, Taiwan 

どうもありがとうございます!ポール.ハリソン、桃園,台灣。

Brussels to China: Koi Animation

Working and living in Beijing has been an awesome change. In the past I spent so much time making stop motion animation and very recently I had made a new one. The capital city of China is a very animated place and therefore it inspired me to complete this animation. The reason for making it is a pleasant one; the moving image is for a good friend of mine. Joey Wright is an extremely musically and sonically attuned individual he has been busy playing in various bands and collaborative projects in his home city of Brussels in Belgium. The band Mishaps are a trio and Joey sings and plays guitar. Their style is very eclectic and animating for them was very enjoyable. My friend may still use and re-edit the animation in the future but regardless of what happens it was a lot of fun re-visiting my past creative habits and practice. So, this animation for the track titled The Trap was intended as a parting gift to this Brussel’s based creative.

The animation’s aesthetic is inspired by my fondness and personal experience of Asian culture and imagery. The Koi fish has a long-standing place in mythology and respect for the beauty of nature and so it was an obvious form to use with music. People may associate the Koi fish with Japan but like most things in East-Asia this fish was transported to this Island nation from China. This is the first time I have animated fish and the combination of their natural environment plus their physical shape lend a lot of potential to the possible sequences an animator may create with this fish. Moreover, in China there is a well known piece of mythology in which three Koi fish attempt to swim up a waterfall. Only one succeeds and reaches the top and in doing so transforms into a dragon. Being a Westerner I do not assume to understand the intricacies of this myth however a seemingly obvious interpretation would be: true transformation arises through perseverance. It would be interesting to see or ask a Chinese person for their own reflections on this myth and the place of this infamous fish in other places and stories.

I hope that people enjoy the music and take pleasure in viewing this scruffy and scrapbook like piece of animation.

Viral Complexities: Art’s Infective Fissures? -

Hello Blogosphere… I have been abscent for quite some time but now I am back with a horribly erratic and often unfollowable peice of writing. A small essay trying to build a metaphorical understanding for how Art of all kinds (but particularly visual) has a virus like quality. I attempted to create a concept that was useful when trying to imagine our refined cultural practices as not overly valued financially but closer to a biological autonomous event. I am not sure I succeeded and this is a bad essay for sure… read with caution.

Abstract: One has been thinking about artistic events and methods that are potentially ant-capitalist. Throughout the past two decades global culture has been accumulating and translating large changes in culture. Changes that have been driven by a surge in the use of new technology, science’s increased understanding of biology, and societies restless creative growth. This essay describes these changes in the aesthetics of one event. The visual event one labels as an Infective Fissure, an encounter with the radical potentials of the virus we commonly refer to as art. Having tried to both accurately explain this in current visual culture, and philosophically explore this event’s intellectual points of origin. The text features interpretations of the work of Philippe Parreno, Peirre Huyghe, and Joseph Nechvatal (among others). Combining with the writings of: Victor Burgin, Jacques Derrida, Jacques Rancière, Hans Ulrich Obrist, Nick Land, and Hito Steyrel to offer an exploration of an event that one for-sees in many of our artistic experiences today, tomorrow, and the day after. Infective Fissures are events that demand even more aesthetic reflection?

 

Key words: Infective Fissures, Events, Aesthetics, Politics, Techno-capital,

 

Cybernetics, Virology, and Art. (word count: 5515)

 

Viral Complexities: Art’s Old Medicine.

In the description of his personal project the video loop, ‘Virtual Amplification’ (2011). Edgor Kraft has written down an interesting sentence, ‘Each new mouse click takes us away from an answer and question just as each following step of developments of the media environment and virtualisation moves us further from the understanding of what is an authentic realityi.’ Such a sentence incubates and galvanizes contemporary thinking around new forms in art’s production and consumption. Kraft’s work immediately illustrates what one wants to articulate. One finds that the circular narrative of this video loop evokes the symmetry/asymmetry, inside/outside, of life. Post-web 1.0 an internet that was also referred to as an ‘information portal’, an environment that one could only read from. However we are now interacting with a newer version and are awaiting it’s next evolution. Art has been affected by these movement’s and we have witnessed large amounts of creativity. That use new digital media in the world of data, software, and networked communication. In the middle of all this is the potential for a unique event. A development which brings together technology and biology to invite new ways of thinking about the future of art? This writing seeks to outline, define, and persuade the reader of the importance of these new radically viral aesthetics.

In the essay ‘Recycled Electrons’ George Boole, an academic and logician, recollects his first encounter with the internetii. He says that, ‘the globe’s time and space had been instantly redrawn’ and that, ‘it’s trunk/branch/twig structure is an underlying framework that has become part of our very mode of thought’. If this is true then one believes new media art is virally complex precisely because it now serves as an ‘underlying framework’ for critical insight on arts place within capitalism. Another way of articulating this is that NMA is for today’s ‘art world’ what Karl Marx saw as the Proletariat (the workers), the first and only class. Suggesting a naive reality whereby new media artists have spawned a revolution, and the means of production the ownership of markets and wealth. Is as the internet should compel, equally redistributed amongst a community. Staying with the Marxist terminology in addition to Kraft’s and Boole’s word’s, the viral impact of media can be practically explored. Just observe the fact that in 2008 the online community Anonymous in reaction to the treatment of Wikileaks, disrupted and nullified the stalwarts of capital. MarsterCard, Visa, and Paypal, where stopped in their tracks by a community influenced by the

 

Evental Aesthetics: Aesthetic Inquiries 4, ISSN: 2167-1931. Submission (2017)

 

 

behaviour of online creativity and it’s circulating images. A fetishism dormant in the movements of a memeiii?

 

The Visual Meme’s (ideas, styles, or behaviours shared within a culture) on the website 4Chan, shows how an image can become a virus, mutating so quickly, that it gave birth to an entirely new culture and community. To understand the relevancy of this to art one could choose to see these changes as what the artist and media theorist Victor Burgin, saw as an ‘absence of presence’. Writing under the same title he explores changes fuelled by postmodernism and conceptual art. Burgin, whilst referencing Michel Foucault’s metaphor of fetishism as ‘capillary action’, and describing Freud’s articulation of fetishism as Disavowal (which is a splitting between knowledge and belief)iv. Seemingly embodied in the then art establishments very relation to history. Yet finding this splitting is very rewarding and should demand that those that are concerned with the openness of art. Need only turn and see new forms of media that have an unequivocal anti-capitalist metabolism. Even Foucault’s metaphorical use of ‘capillary’ lends itself to media art’s virus like body. If you are still doubting the accuracy of the viral narrative one is considering, and how Burgin’s ‘absence of presence’ is relevant.

 

Then look at recent events at the Barbican in London, one exhibition in partnership with Google: ‘Digital Revolution’ (2014). Claiming to be a comprehensive account of digital art: Google’s corporate presence (DevArt) spawned a critical counter exhibition ‘Hack The Art World’ which was a completely digital online exhibition originally geofenced (only available in that location) to the Barbican. It resembled for the art critic Jonathan Jones an exhibition in Paris in 1863, the ‘Salon des Refuses’, showing art rejected by the official Salon. So are these exhibitions and artists demonstrating yet another form of disavowal? Maybe, but the lead artist of the group behind the show Jan Vantomme made a very valid point. When he stated that tech giants should help start legitimising digital artists by buying and collecting their work. The way the art in this show was used directly to illustrate this point should be seen in an extremely positive light. The demand of these artists was legitimate and positioned so as not to detract from the work of the institution. Or from the artists in the physical exhibition, instead it did something more important. It shows that resistance need not be completely dismissive or demand full blown opposition. So another angle, perspective, point of view is necessary to decipher a way in which we can harness these aforementioned antagonisms – the material question is one of dissemination. Like the notion of the meme a one cell thick lining of the capillary, art can now be micro-circulated.

Trapped in a world terraformed by our technology and it’s numerical dominance in data or information. A global conversation contaminated by the axis of encryption/decryption, either infection or defection? One way of framing these issues is brilliantly elaborated in an essay by writer Lori Wike. Wike brings together the thoughts of Jacques Derrida and Roland Barthes on absence, presence, and temporality. In doing so interrogates the link between an image and a word – however it seems that it is actually Barthes words in this text that are more befitting to our contemporary digital creativity, ‘the Photograph mechanically repeats what could never be repeated existentiallyv‘. This statement by Barthes can be witnessed in the blossoming of digital affects, animation, and image manipulation due to computers. Today we unconsciously time travel through a multi dimensional sphere of representations, every single one of them manipulated. A process which is already pre-destined to increase – artists and cultural bodies need not fear these changes. Especially if like Derrida they embrace the affective enthusiasm of their parasitology, their ‘virus being many thingsvi‘.The benefit’s of being prone to infection are like a real immune system, art will develop new forms of isotope ones with an iterability, such precursory examples can be seen in recent projects.

 

‘No Ghost Just a Shell’ (1999) the reanimation of a Japanese anime character by Philippe Parreno and Peirre Huyghe. ‘Low Animal Spirits’ (2014), at Banner Repeater, London. A collaboration resulting in a live algorithmic score derived from the loss of the referent (presence) in both economy and language. Thirdly, ‘Dark Velocity’ (2014) which underlines the main topic that warrants the complex metaphor of this text. Brilliantly summarising, ‘The invariability of contemporary art’s commodity form makes object-ownership hold crucial levering power in the field thereby overshadowing the potential for financial diversificationvii‘. One views the separation between knowledge and belief in psychoanalysis, firmly rooted in the modernist questions of ‘why?’, and ‘how?’. As not entirely outdated in deciphering the above dilemma, the aforementioned overshadowing of diversification, has in this author’s opinion culminated in but one option. Media art and philosophy now have the unenviable task of articulating ‘what?’ and ‘when?’, as questions which will most strongly influence current and future culture. So staying with the letter V as the root linguistic pathogen we can glimpse yet more relations, associations, and paths to discuss. Moreover, art’s complexities will grow with strains and concept’s found in: virtuality, vitalism, and plasticity. Conceptually attaching themselves to the current ‘discipline’ of art’s newest media?

 

‘Discipline is no longer imposed on the body through the formal action of the law – it is printed in the collective brain through the dissemination of techno-linguistic interfaces, inducing a cognitive mutationviii.’

 

What exactly is this mutated cognition, and how does one come to fully appreciate it? Well the first step would be to suggest an event where the mutation is self evident. This would initially be found in a single movement specifically the aesthetic change within cultures of visual production. A transformation from the dominance of montage or collage into the current process of appropriation. This is the physical structure one observes as supporting the notion explored in this text that is the struggle to think through images as viruses, not viral images, but the virus that is an image. Exploring this positive pixel plague there are several artists and thinkers today that have been measuring this idea in a variety of interesting and sometimes semi-conscious ways. But, before referencing these creators one wants to detail the visual experience derived from ‘viral complexities’, and why philosophically speaking they are medicinal for artistic cultures. Earlier, one briefly touched upon some intriguing ideas: ‘absence of presence’, ‘parasitology’, and ‘micro-circulation’. Here Burgin and Derrida present a cloudy aesthetic which could be misconstrued as being contradictory, oppositional, or negative? On the one hand an absence, on the other the more ambiguous presence. In Seeing Sense Burgin solicites a consultation with Sigmund Freud to understand the origin of ‘visual thinking’, and through cigar smoke affirms its biologically older than words. In ‘The Ego and the Id’ Freud suggests that after observing Varendonck’s study of preconscious fantasies, that thinking in pictures is only a very incomplete ‘becoming conscious’, resulting in his question, ‘how we make something that is repressed (pre)conscious would be answered as followsix’. Of course Freud’s answer is ‘analysis’ and is concerned with reaching into the depths of his patient during therapy. However, for the sake of detailing this therapeutic imagitus, Art’s newest infection is not to be found prior to consciousness, rather it is located in its absence? Its possibility?

‘ambition and eroticism here is economically achieved through a pair of substitutions-a ‘v’ for an ‘n’. and a ‘t’ for an ‘r’ – which tacks the manifest verbal text onto its pre-text in the pre-conscious. By this device, the verbal fragment faces onto both manifest and latent contents of the image.x

This pre-textual birth of the virus is visible in the progressive ending of a recent social stigma; AIDS, ‘adding infinite dimensions’ is a nod to the value of experiencing a virus’s transmission. Here one implies that infection, the infectious mysteries of the image have never been nefarious. Simply wishing to allude to this blood disease’s past culture, its stigma, and how it could be both positive, liberating, and negative. Regarding the intentions of this text one does see a precedent in the overly aggressive homophobic reactions to Gay people contained within certain cultures of yesteryear. This word play alludes to this aggressiveness in the socio-visual prejudice against a body with a virus. Instead one catches a glimpse of the contemporary site of the aesthetic experience increasingly contaminating artistic creation today. Therefore, when seeking to make ‘heads or tails’ of the experience of erotic ambitions, Victor Burgin’s text details just how complex the connection between a picture and a plague really is – yet, Burgin only lifts the lid off the sample tube. In the quotation above a section throws doubt toward the notion that images are viruses; how exactly do finite humans breed such a thing, the grandest of infections named art?

Secondly, how is it that one is still grasping for fragments of language when the substitution of v for n (virus for noumena?) provides fuel for an alternative economic achievement? Artists, is it not infuriating? You are all trapped travelling psychoanalytically backwards in a pipette injecting linguistic interpretations onto a surface before consciousness. This dilutes the evidence and the current argument! Technology and it’s material territories behave virally, and art is the virus the object we can encounter. Here is one’s conclusion although the aesthetic experience one is describing has to be better described, and more critical evidence offered up to the reader. Let us look at some art where you can see the virus under its microscope. From the early 1900’s Hiroshi Kawano under the influence of the German thinker Max Bense1 created ‘Digital Mondrians’(1964), followed by Andy Warhol using an Amiga 2000 to digitise his soup cans onto floppy disks (1980’s), and recently the

  • One of the originators for the idea that beauty may be measured scientifically

virus called art has manifested inside the Petri dish where E. coli is the paint for Dr. T. Ryan Gregory2. Experiences with these works are all well and good, but to fully appreciate the event: an encounter with any image and its intrusive politicised ontology, will request the human subject to be comfortable with both being possessed and possessing.

 

Such an ideal would be welcomed if even attainable? Let us focus on ‘possessing’ because that is what images do and are constantly being subjected to … imagine the words of a wealthy collector or informed curator, ‘I’m in possession of an original Mondrian’, and ‘this painting possesses such and such a quality’ are both defunct utterances. Why? Because remember this discussion is exploring the event created by the very real material reality of the visual virus. Hosting the potentials of such an experiential artistic encounter, and its increasingly pertinent presence in the dispersion of new technologies in Art makes one contemplate what kind of laboratories or weather best transmits this pathogenic phenomenon? Today, encountering art as a virus has almost entirely become computational the repercussions of this are difficult to understand. Yet whilst recently reading one of Jacques Rancière’s books this great thinker adds more depth to a seemingly parasitic reality. Disagreeing with Walter Benjamin’s thesis that the mechanical arts of photography and film gave members of the public, the Masses visibility. Rancière demands that through what he calls the Aesthetic Regime of Art there exists a revolutionary kernel inscribed into Aesthetics.

 

‘This programme is literary before being scientific: it shifts the focus from great names and events to the life of the anonymous; it finds symptoms of an epoch, a society, or a civilization in the minute details of ordinary life.xi

 

For so many people ordinary life is programmed in such a way that there is a real threat that art will become auto-immunised, and the experiences available lost behind some unhelpful capitalist protectionism. If one cares about the infectious qualities of new images then referring back to the insights of the exhibition ‘Dark Velocity’ (2014) enables the question: what exactly nullifies the potential for ‘owner-less objects’, and ‘financial diversification’ innate within this primordial power of the artistic virus? How does the artist who sees the aforementioned potentials think through, and resist

the frequent habit of Capitalism to bleach, erase, and develop new anti-art antivirals? The biggest threat to art, its pathogens, and culture is that monetary habits continue to destroy free association and chain libidinal and sexual inhibition to profitability – a kind of, ‘you can have desire, but only through a screen!’ like attitude? Completely shattering the capacity for appreciating there has never been the right to copy, rather it is appropriate to appropriate; do not let the screen take from you! You take from it! Correct? Opting for passive consumption over infection does not bode well, one has to respond to this event, ‘The seductive force of simulation transformed physical forms into vanishing images, submitted visual art to viral spreading,xii’ Perhaps, Post-modernism’s empowerment of surfaces traps the above process on the screen, so eventually the visual event one seeks to detail is deprived of autonomous animation, and its transmission is terminated?

 

Wait, really, how to stop this termination? First, by naming the event under consideration, and protecting it with a clearer definition. Infective Fissures are events that allow for both the artist and the audience to gain a full appreciation of the relations innate to the possessive, or that what possesses? This includes the best articulation of this erotically ambitious economy, ‘When a hypercathexis of the process of thinking takes place, thoughts are actually perceived – as if they come from without and are consequently held to be true.xiii’ But, again does this psychoanalytical obsessiveness, a patient’s hypercathexis, an over investment in an object not present us with the need to libidinously battle against the conservative exclusionary economy. The industry that promotes a possessive obsessive ownership and deletes a sexy creative subjectivity? Therefore when thinking about Infective Fissures it is this synthesis of truth, a synthetic truth, that re-enacts potentials for a new biopolitical understanding of aesthetic experience in these new cybernetic techno-capital spaces. These events are somewhat unpredictable because of the omnipresent systems that violently enforce object ownership. By unpredictable one means that an Infective Fissure has a great potential to disrupt the market dictatorship, and offers very promising future transmutations. However, at the moment these events are too easily uncontaminated. The fate of ‘No Ghost Just A Shell’ (1999) is the best example of the need for communities involved in artistic creation to acquire temporal understanding. If a new way of sharing the rich wealth of possibilities is to appear, it wont be an aggressive territorialization?

‘The legal document which transfers Annlee’s copyright to a foundation That belongs solely to her is, in effect, her death warrant. Paradoxically, it Also gives her her freedom since “The acquisition of ANNLEE is part of an artistic project that consists in liberating a fictional character from the realm of representation.” “Give me liberty and give me death” could be her epitaph. …xiv

In a brilliant review of the exhibition when it visited San Francisco writer Marcia Tanner imbues the Anime character with yet more independence. Completely agreeing with the eulogy; even the art object itself desires death? The demise of an ‘objective dominance’ in the field runs in synchronisation with a whole new generation of image consumption. It is unavoidable the changes wrought by digital technology and an increase in the speed of information have combined to challenge hegemonies. That is why an Infective Fissure is an event, offering a hypercathexical deterritorialization. Always expanding a territory; the virus travels body to body, but it is important to state this does not imply ownership just the expansion of space. Sadly, Peirre Huyghe and Philippe Parreno’s exhibition was an event which ultimately succumbed to the white blood cells of capital’s infrastructure. Initially the project would be fearsomely exemplar of the event one seeks. The purchase of Annlee and her exploitation by other artists was not driven by capital, but by creative contamination. The 428 dollars used to purchase her took into consideration the level of visual detail in her characteristics; the cheapness of the digital file matching the blankness of this material canvas.

 

This is as Tanner writes an exquisite corpse, the shared distribution of unformed matter. Resulting in the creation of identity and value is shared throughout the community’s territory. Unfortunately, this fissure, this event failed and the point of infection was blocked. Institutions and collectors moved in and bought the whole exhibition. At that time Curator Hans Ulrich Obrist saw this as a unique precedent, artists operating against market logic, disseminating/archiving information, and immortalising an undead thing. A communal sign one associates with the kind of solidarity necessary for a mutually possessive event. One in which technology, cognition, and emotion form a macro-biological wonder. Obrist question was this, ‘How can a community constitute itself on the basis of the same sign, identifiable to all, yet peculiar to each person? The first part of the question is good, and useful to understanding Infective Fissures, although penultimately what is ‘peculiar’ to the individual just encourages privatisation in an over confident individualism. Therefore more screens are erected, curtailing growth, and owning – Une mauvaise idée. Okay, if this is a process which destroys this aesthetic event then how is it possible to safeguard it from capitulation? The best way of reading this dilemma arises in a mixture of sources:

 

‘Whatever ultramodernity places under the dominion of signs postmodernity Subverts with virus. As culture migrates into partial-machines (lacking an autonomous reproductive system) semiotics subsides into virotechnics. 001010101101110010110101010100110010001000101010111010000101 01100101001010001100100111001000100000000010011111100010010010101 010100001000010101001111110010010001000110100100010100101011110001 010010000100 0111 … Yes No Yes No Yes Yes No longer what does it mean? but how does it spread?xv

 

‘… ultimately ends up creating a culture stretched between bulimia, steroid overdose, and personal bankruptcy. This perspective—one of more traditional Cultural Studies—views image spam as an instrument of coercive persuasion as well as of insidious seduction, and leads to the oblivious pleasures of surrendering to both.xvi

 

The most radical aspect of the failed Infective Fissure, ‘No Ghost Just A Shell’ (1999-2003) was brought up when Olbrist and Perrano interviewed Jean Claude Ameisen, an immunologist. Ameisen asks, ‘Can something live without death being present?’ a question which really takes the event under scrutiny into confrontation with its postmodern locality. Above, the rouge British thinker Nick Land is first to offer one’s discussion room to find its way. Moreover, the movement of the sign into virotechnics is of the up most importance for this discussion. So, after the stream of binary code Land points us again to the social question: how to transmit, avoid quarantine, and support artistic contamination? The nuances of this question coalesce with media artist, and thinker Hito Steyrel’s words. One translates her aptly named book ‘The Wretched Of The Screen’ (2012) as perhaps the best source to see the problems Infective Fissures encounter as and when they happen. One wonders if she would agree? That even Land’s ‘Hypervirus’ a super addictive art form yet to materialise has to somehow defeat this wretched screen.

 

Speaking about this with a Deluezian accent one becomes aware that instead of enabling the deterritorialization of this event. The screen behaves as a divisive surface inviting a politics of consumption and evaluation, rather than perception. If we delve deeper into Steyrel and Land’s texts we see the problem with more clarity. Currently the artwork and the surfaces it is presented on are still presented as objects in markets. So, artists if they wish to live in a genuinely emancipated society that can regularly experience Infective Fissures. They have to find ways of exercising their agency and assimilating persuasion and seduction outside of ownership. This involves a narrative that has to meander its way around the dehumanising forces of currency internal to postmodernity. Rancière’s notion of revolutionary aesthetics is useful in generating resistance against what Steyrel brilliantly describes: current changes in visual culture. Particularly haunting notions include the ‘poor image’, and the potential for the virus to be mere spam of the earth. Steyrel also has disdain for the sanitising screen, ‘TV has become a medium inextricably linked to the parading and ridiculing of lower classes.xvii’. Polluting the screen with ever more powerful strains of art is her call.

 

One individual that is undoubtedly answering this demand is the American artist Joseph Nechvatal. In a two year period (1991-1993) he pioneered a unique practice that resulted in the creation of an extremely original way of making art. Nechvatal uses his own vocabulary to explain his art. Viractualism is a specific exploration of the interfaces between the technological and the biological. This thinking is strewn throughout this artist’s defining work. In his (2015) exhibition bOdy pandemOnium: Immersion into Noise works on display manipulate these new possibilities and showcases all the revolutionary force of new aesthetics. The reason Nechvatal’s work and Viractualism could be the definitive example of what an Infective Fissure actually resembles. Certain essential qualities are obviously present: 1) the works are collaboratively made with at least one other person. 2) The exhibition features a method that actively embraces the degradation of the image and its information.

Nevertheless, maintaining a critical analysis one has to confess that there is something still missing from this art, that makes me suggest Nechvatal as the artist who next to Philipe Perrano and Peirre Huyghe is thus-far been the closest to realising the event one has attempted to describe. One is sceptical because if you look at Nechvatal’s ‘Viral Venture’ (2011), and his painterly ‘Alife’ method (surely one of the best fusions of programming, animation, virtual reality, and biological simulation?), at no point is the audience/perceiver of this work invited in to participate in the act of creation. One deeply agrees with Nechvatal’s articulation of his creations, ‘art and the history of technology are often marked by ruptures, and most histories overlook moments where “deep fusion” occurs’ and ‘This is important because it represents the seminal function that occurs between the wild real-time and the captured/protected.xix’. Yet, until the audience transforms from passive consumer to active participant, and is invited as co-author into the moment of creation. This event will remain marginal meaning one has been thinking through an event of the near future. A future where more and more people are free to engage with art because the world has accepted universal income in response to the continued debilitating qualities of grossly unequal financial ideologies.

Infective Fissures may be happening now in the creative practices of the younger generations, the teens that are so accustomed to lightning fast communication will welcome market diversification. For this progression to happen the current impetus has to be on stressing the importance of the virus itself? What one desires to stress is that the current phenomena so visible is that ‘appropriation’ is an undead replication of non living things. Resulting in the necessity of fully promoting just how radical this change could be? If one needs even more intellectual evidence? More deconstruction of the concepts at stake then one points you to Jacques Derrida’s idea of a dissimulated contamination, and William S. Burroughs’s ‘The Electronic Revolution’ (1970), both suffice to deepen the profile of the virus and the event which enables its encounter. As Burrough’s explains quoting a scientist by the name of Mr. Wilson Smith.

 

‘Viruses are obligatory cellular parasites and are thus wholly dependant upon the integrity of the cellular systems they parasitize for their survival in an active state. It is something of a paradox that many viruses ultimately destroy the cells in which they are living…xx

 

It is not that paradoxical anymore! The destruction at the cellular level took place in the relentless march of science and its technologies. Whereas it is a shame that it was not the coin instead of the cell? Joining these two realisations together creates an Infective Fissure; if, and only if humans embrace certain facts. Hidden inside our creative economy is a need not to repress sexuality, and at the same time master it?

Because the very same forces involved in successful reproduction are both controlling and liberating. Humorously the initials of one’s theoretical event combine to suggest a type of artistic infertility treatment? But, this is overdoing it and far from being unrealistic Infective Fissures are events that are not only set to increase. Moreover, as more and more of us become radically unhappy with a revolting pictorial reality again portrayed by Steyrel, ‘According to the pictures dispersed via image spam, humanity consists of scantily dressed degree-holders with jolly smiles enhanced by orth-odontic braces.xxi’. People will continue to succumb to the market’s overly monopolising malware. Unless the event called an I.F and those experiencing it cultivates a more confident relation to what Derrida acknowledged as παρασιτος (Parasitos), or always eating at the table of anotherxxii. Next to behaviour Nick Land clearly observed in the computational schizo-creation, called hypervirus, ‘yes yes no yes no nomadically abstracting its processes from specific media (DNA, words, symbolic models, bit-sequences), and operantly re-engineering itself… ROM is melted into recursive experimentationxxiii.’ If this clear structural evidence in support of Infective Fissures is not algorithmically acceptable, then putting it simply: the browser will close, and the event will be thrown in the trash bin of theory. Hopefully after reading this PET scan of an essay you also wish to experience an I.F, and come to agree with one’s belief. It is not that art should be like a virus, the understanding rests in appreciating it exists as a virus. Please, brace yourself for your next infection? Seek it out, share, and rejoice in the free contamination?3


  • I wanted to add sentences about Stuxnetthe weaponised computer virus that shut down Iran’s nuclear facilities in 2010. It is unavoidable, that we play with words: ‘Politically we need this virus lest we be just rendered useless fearing power and just stuck on a nuclear net! The work of Hannah Perry, her recent exhibition ‘Viruses Worth Spreading’ at Arsenal Contemporary, in New York could also if it had slightly more collaborative distribution, and less commercial aspects serve as an example of an Infective Fissure.
  • Edgor Kraft, Virtual Amplification, Personal Project, Video Loop, 01:20, (2011) <https://vimeo.com/23609366&gt; [accessed 26th October 2014]
  • Rod Stoneman, Seeing Is Believing: The Politics Of The Visual – Recycled Electrons, Black Dog Publishing, London, p.169, (2013)
  • Brian Knappenberger, We Are Legion: The Story Of Hacktivist’s, Documentary Film, Luminant Films, (2012)
  • Victor Burgin, The Absence Of Presence, 1965 to 1972 – When Attitudes Became Form, Kettle’s Yard Gallery, Cambridge, & Edinbrugh, p.17-24, (1984) [Art In Theory 1900 – 2000: An Anthology Of Changing Ideas, Blackwell Publishing, USA, p.1071, (2003)]

 

  • Lori Wike,   Photographs And Signatures: Absence, Presence, and Temporality In Barthes And

Derrida, In[]visible Culture: An Electronic Journal For Visual Studies, Rochester.edu, (2000) <http://www.rochester.edu/in_visible_culture/issue3/wike.htm>%5Baccessed 2nd November 2014]

 

volatility/> [accessed 2nd November 2014]

viiiFranco Berardi (Bifo), Proliferating Futures, Vol 1 #4, Winter/Spring (1996) [Proud To Be Flesh:, Mute Publishing/Autonomedia, London/New York, p.41, (2009)

 

  • Sigmund Freud, The Ego And The Id,The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume XIX (1923-1925): The Ego and the Id and Other Works, 1-66.

 

  • ( 1923 Das Ich Und Das Es,Leipzig, Vienna and Zurich: Internationaler Psycho-analytischer Verlag. Pp. 77.)
  • Victor Burgin, The End of Art Theory: Criticism and Postmodernity; Seeing Sense,Macmillan, (1986) pg60- 61
  • Jacques Rancière, trans. Gabriel Rockhill,The Politics of The Aesthetics: The Distribution of TheSensible, Continuum, New York (2004) pg32
  • Hito Steyrel, The Wretched of the Screen,E-flux Journal, Sternberg Press, Berlin, (2012) pg.10
  • Viro de Graphe-Matician, On Jacques Derrida’s Parasitology,February 8, (2011) <https://virographematics.wordpress.com/2011/02/08/parasite-auto-immunity-jacques-derrida/>%5Baccessed 10th August 2017]
  • Marcia Tanner, Requiem for a Mail Order Bride (Review of Pierre Huyghe and Philippe Parreno’s‘No Ghost Just a Shell’ San Francisco Museum of Modern Art December 14, 2002) Stretcher, Online Magazine, <http://www.stretcher.org/features/no_ghost_just_a_shell/&gt;{Accessed 12/08/2017}
  • Nick Land. Ed, Robin Mackay & Ray Brassier, Fanged Noumena: Collected Writings 1987-2007; Hypervirus, Urbanomic, Sequence Press, London/New York (2012), pg383
  • Hito Steyrel, The Wretched of the Screen, pg162.
  • William S. Burroughs, The Electronic Revolution,Ubuclassics, (2005), originally published by Expanded Media Editions (1970)
  • Hito Steyrel, The Wretched of the Screen, pg162.
  • Land. Pg 386

レッドタートル

All Turtles Should be Red:

Watching An Isolated Isolation in Reddo Tātoru: Aru Shima no Monogatari レッドタートル ある島の物語

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In 2016 Japanese director/producer Toshio Suzuki and Dutch animator Michaël Dudok de Wit collaborated to produce a jewel of a silent film; the title translates directly into English as Red Turtle: The story of an island. A film that features a narrative of a shipwrecked existence terrorised by a strangely coloured turtle. The Silence of this film lends and supports its Japanese flavour and taste. One loves the way it is animated with such care and compassion for the re-depiction of reality that it presents. Indeed the narrative of isolation that the protagonist suffers is also a potential re-depiction of reality in that although we are strongly grounded in living in communities of infinite variability this might not provide enough data for an individual to understand their own being. Thus after watching this film we could choose to take away from the experience a question: how do we understand ‘isolation’ as it is in the film and in wider contexts of life?

For me the medium of animation is partly isolating and this needs no proving it is self evident that even with contemporary production software that makes use of nodes and modes so as to maximise and streamline the working of animation the process remains time consuming and therein isolating. But animation is like an island a very small patch of land surrounded by a liquid and in this sense it carries a metaphorical energy that reminds of the place of the cell in artificial movement. But, here the cell seems closer to biology and therefore the belief that one might know a given state of the natural world; although is this not contrary to the truth of animation and its relation to that ancient belief; that ancient truth that states everything is subject to a force understood and experienced as change. Along with this, the relation we have had with knowledge is increasingly troubling me: for instance in the perspective ordered by science we use the word ‘isolation’ in tandem with a positive idea that of objective certainty, ‘we need to isolate the cause’, but at the same time thinking about the social use of the word we find a mainly negative usage of isolating.

There are ways in which individualism which is perhaps the term we might use to describe the idea that isolation is a positive. But, isn’t this cultist self so absurdly false and artificial that it deserves to be laughed at and derided because although there are great achievements made by remarkable individuals is it not the case that these are still socially determined and culturally by acts of barbarism? Is it not a point to wrestle with this antagonism between being all alone, and how in society this is often a kind of punishment: a naughty step, a sin bin, and a detention. Today, though we need to encourage retention so in this spirit one wishes to explore the theme of isolation not as a punishment ( we can do this another day) but rather as a part of survival itself. This will be attempted by way of a short exploration of the wider use of shipwrecked individuals and their islands both in art and wider cultural events. But, before we take a leap from the island with the red turtle let us make a brief nap on the island called language. In Japanese the name for island is Shima, the kanji 島 is composed of two parts bird and mountain and so from a Japanese perspective the position from which we are looking at the island and its isolation is one from the fluid movements of the sea.

Not all islands are in possession of mountains but they all possess their own geological culture which is not dependent on humans being marooned on its land. I wonder if this was a concern at any point for artist Charles Avery created a fictional island under the project The Islanders () one reads that our access to this island is mainly by a town brilliantly named Onomatopoeia and in the manner which these inhabitants might like or appreciate I can not help but take the noun of this capital topos and play on the place called island. Island sounds like its meant to be split into ‘is-land’ and I do not know are ‘is-lands’ the smallest land; is there not some land smaller than an ‘is-land’? I think so however I do not know so! Avery’s project is extremely seductive I want to read more about it and look at his dynamic drawings which are our only points of entry to this fiction that serves as a gateway towards greater insight on the determination that comes hand in hand with isolation. Do Avery’s islanders feel isolated and if so do they actually want foreigners visiting?

Japan, we are told by a world history was isolationist certainly not protectionist as it is now. This most Eastern of islands has a history of not only being isolated but of isolated individuals its almost as if the presence of many separated land masses presented an opportunity for the Japanese to exercise their imagination in spectacular ways. Japan has an island exclusively for Cats, and an island unfortunately patriarchal in its spiritual value (the island of Okinoshima excludes woman). A man named Masafumi Nagasaki has lived as a hermit in Japan for so many years and does not seem to have cared about his isolated condition. Next to this is the specifically unique Japanese notion of being a hermit 引き籠もりHikikomori a withdrawn world. Japan is a country comprised of a series of Islands that gracefully slide from the east of the earth. There are so many beautiful places in this country from the outskirts of Hokkaido, Hiroshima, and Okinawa, to Kyoto and the towering Tokyo.

Next to these Japanese is-lands there is a widely read and influential Arabic story about a boy growing up on a desert Island. I was introduced to this story by the princely German Idealist Friedrich Wilhelm Joseph Schelling who references it in a text he wrote in praise of Immanuel Kant’s monumental achievement in re-defining the place of the subject in human thinking.[I] Schelling references Philosophus autodidactus in dismissing the causal scepticism of David Hume as Kant so forcefully did. Schelling’s words and sentences liken the causal presupposition the necessity of a portion of our judgements being prior to experience because the experience itself is created by the time and space already present at the moment of judging. This independence of our will is perhaps similar to the universal law of gravity suggests Schelling. So here we have an isolation in philosophy an attempt to give ground to a metaphysics that was then in need of solidifying as an objective science. I wonder if the child on this fictional Arabic island shares traits with the red turtle’s captive?

The child like the man finds a route away from isolation by the application of an innate understanding. We learn that this medieval jewel of philosophical reflection might not have made it through history if its author had not been the protégé of a prince who translated the works of Aristotle into Latin. The most delightful thing about this text and it is a quality shared by the animated film is that although theology is present it is as an undercurrent or something you have to see yourself. Rather then the usual focus on a neoplatonic emanation and a kensosis anchored to the One what you have instead is the number two: two islands, two islanders, two forms. Perhaps there are two ideas that are influential for our viewing of this fantastic film: I was recently watching something that gave me the idea that silence (remembering the animation is silent) is made possible by the failure of language. Next to this is the existence of pure negativity that our positivity has to constantly resist? I often wonder if Japanese notions of nothingness are able to mediate this issue. In our Arabic story of island isolation there are frequent moments where the language plays between this dynamic of universality construed as infinite and the finitude of the individual being.

‘since the notion of imperfection is nothing but a mere Non-existence or what depends upon it? And how can he in anyway partake of Non-existence, who is the Pure Existence, necessarily by his Essence; who gives being to everything that exists, and besides whom their is no existence; but He is the being, He is the perfection, He the plenitude, He the beauty, He the glory, He the power, He the knowledge?

     

As if you take any Body whatsoever in your hand, and then move your hand, the body will without doubt follow the motion of your hand? With such a motion as shall be posterior to it in Nature, tho’ not in Time, because they both began together. So all this World is caused and created by this agent, out of time, Whose command is, when he would have anything done, Be, and it is.’

 

–  Ibn Tufayl [II]

To further Tufayl’s contribution to the animated experience let us deal with the ultimate mischief maker called time. The above quote suggests time and space began together and this is indicative of the thoughts of Kant in his Critique of Pure Reason, ‘Time is nothing other than the form of inner sense, i.e., of the intuition of our self and our inner state. For time cannot be a determination of outer appearances; it belongs neither to a shape or a position, etc.’[III] Evil German philosopher Martin Heidegger found Kant’s definition to be inspiring and states so early on in his philosophical masterpiece, ‘…apriori is the interpretation of genuine historical beings. Travelling through time with their own historicity.’ [IV] This motion then is to be considered as nature; time is our natural state. But to resolve these German notions of time let us turn back to the medieval period and to an Asian master, Dogen Zenji who has a distinctly unique concept of time, a ‘Time Being’ or Uji in Japanese. It seems more befitting to both the marooned man attacked by a turtle and other historical individuals such as Nakahama “John” Manjirō who was one of the first Japanese translators to work with the Americans. As a young man Manjirō-san was indeed marooned and shipwrecked on Torishima Island.

In master Dogen’s essay on Time Being, we see how it might be a complete waste of time to initiate a thinking about isolation. Dogen’s words make it appear as if time is a unifying thing only if one has attained the capacity to see the way. Dogen describes a unified and not an isolated time thus, ‘The way the self arrays itself is the form of the entire world. See each thing in this entire world as a moment of time. Things do not hinder one another, just as moments do not hinder one another. The way-seeking mind arises in this moment. A way-seeking moment arises in this mind. It is the same with practice and with attaining the way. Thus the self setting itself out in array sees itself. This is the understanding that the self is time.’[V]This understanding is present and sharply felt if one finds themselves in extreme isolation when one is forced to consider the limits of being: time remains ever present and mischievous. Natural time then is unforgivably uniform and only appears to change; Dogen’s point is that we should learn to partake in this uniformity lest we fall and victimise the self.

In a way the Western perception of isolation dwells in an unhelpful negativity as described in a recent article by researcher Frank Johnson, he says ‘”[R]eality” resides outside the individual. The accepted orientation is to relate to the world in a direct and a discrete way as an external environment. States of cogitation which center on internal phenomena run the risk of being disparaged as irrational and dangerous.’[VI] Here though what is this natural force experienced as the blood red turtle other than a demand to work with this radical evil, this das radikal Böse, or a pure negativity? Freud gives voice to a potential for two methods to unite to solve unwelcome separations and to move towards surviving them; two methods that reside under the names Psychoanalysis and Zen Buddhism may be different but possess the same aim. Writing in ‘Beyond The Pleasure Principle’ Freud diagnoses this devilish red shelled being, ‘errare humanum est perseverare autem diabolicum (to err is human, to persist is of the devil). If this science of the human psyche and the most refined of Asian spiritual practices were to find themselves being brought closer together then we can continue to isolate what makes isolation always potentially part of the silence of animation.

“A state is called the coldest of all cold monsters. Coldly lieth it also; and this lie creepeth from its mouth: “I, the state, am the people.”

– Nietzsche, Thus Spake Zarathustra

Finally these guardian deities of the lonely spirit brought the war.

You are not to blame. I, of course, am not to blame. Everything is the doing of loneliness.

 

Loneliness made them carry guns, even made them, with the bait of loneliness, shrug off their mothers and wives

and leave toward where the flags flapped.

Trinket makers, cleaners, clerks, students,

all turning into folk shaken with the wind.

 

Every and each one, no distinction among them. All taught to die was best.

Petty, timid, good-natured people, their thoughts darkened in the name of the Emperor, went off like brats, delighted, hubbubbing.

 

But on the home front, we’re nervous,

fearful of an arrow with white feathers,

forcing ourselves to push aside skepticism and anxiety,

we try to spend just this one day, we’re all doomed anyway,

drunk on the sake given out.

Egoism, and the shallowness of love.

Bearing it in silence, women wait for rations,

linking themselves like beggars.

People’s expressions growing sadder day by day,

the fate of the folk of an all-out nation,

I had not seen, since my birth, a loneliness so immediate, so profound.

But I no longer care. To me, such loneliness doesn’t mean anything now.

 

The loneliness that I, I now truly feel lonely about

is that I can’t feel, around me, any desire, not even of a single person,

holding his ground in the opposite direction of this degradation, trying to find the very roots of loneliness as he walks with the world. That’s it. That’s the only thing.

 

On 5 May 1945, Boys’ Day

– Mitsuharu-Kaneko, The Song of Loneliness

 

………………………………………………………………………………………………………………

I. Friedrich Wilhelm Joseph Schelling. (1994) ‘On the History of Modern Philosophy: Kant, ed. By A. Bowie Cambridge, CUP, 94-106 

II. Ibn Tufayl. (1929), The History of Hayy Ibn Yaqzan (Alive, Son of Awake), Translated from the Arabic by Simon Ockley. Westminster Press, London

III. Immanuel Kant. (1998), Critique of Pure Reason, Cambridge University Press, B 50. 163

IV. Martin Heidegger. (1996), Being & Time, State University of New York Suny Press. 11

V. Zen Master Dogen, Moon in a Dewdrop, trans. Dan Welch and Kazuaki Tanahashi  https://www.thezensite.com/ZenTeachings/Dogen_Teachings/Uji_Welch.html

VI. Frank Johnson. Psychological Alienation: Isolation and Self-ESTRANGEMENT , Psychoanalytic Review (1963), 62:3 (1975:Fall) p.369


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全ての亀は赤い亀を入れなければなりません:レッドタートル有る島の物語で塊然い孤独を見っています。

2016年で日本人の演出家スズキ・トツオとホランド人のアニメーター、デゥドクデウィット・マィークル静粛な映画を作るのでご協力しました。題名は英語に翻訳して「Red Turtle: The story of an island」です。映画のナラティブは難破の存在が変なカラード亀経由して恐怖しました。映画の静粛な事は日本的な嗜好に支持しました。私は映画のアニメ仕方で実をまた描くのために用心と慈悲がとても大好きです。実際には、主人公が苦しむ孤立の物語はまた、我々は強く無限の変動のコミュニティに住んでいるに基づいているが、それは個人が理解するのに十分なデータを提供していないということで現実の潜在的な再描写である。したがって、この映画を見た後、私たちは、経験からの質問を取ることを選択することができます: どのように我々はそれがフィルムで、生活の広い文脈で「分離」を理解するのですか?

私ためにアニメの媒体/ミディアムはちょっと孤立化んですので当世流な作る方がノードとモードを使う事にしてもこの孤独から多い時間を過ごすと自明です。でも、アニメは小さいランドを環海の島をみたいだって、このセンスで比喩表現と不自然な動きの細胞が連想します。しかし、ここに細胞は生物学へもっと近くみたいなので、自然の具合の知識を信じる事で他の昔の信心がアニメの実で諸行無常を反しません。そして、前の文章の事隣に皆さんの知識と関係は私に心配を増加しるので、例えば科学の遠近法でこの単語「イソーレシン」と確実で積極的なアイデアで「原因を隔てれなければなりません」ですけど同じ時間でアイソレイトが消極的で社会的な意味を有ります。

アイソレイトの積極的なアイデアの説明するで個人主義を使えます。でも、このカルト自己はむやみに空々しくてアーティフィシャル居るけど、この自己の業績は社会と蛮行経由して決心するからこの業績ために笑いだしますか。要領は西の国の社会で一人で受刑:やんちゃなステップ、シンビン、拘置の対立関係を取り組みますか。今日、保持をしなければなりませんのでこの孤立は処罰じゃない(他の日出来る)いっそ孤立が生き残る方を探ります。アートと文化の旧事で難破の人のソトーリーに島と早く探索しています。でも、島とレッド亀から跳ねる前に言葉の島で小さい昼寝をします。日本語でアィランドの名前島ですので、漢字が”島”二つの部分有って鳥みたいな、山と日本の遠近法から離島に見る立場は流動的な海からよ。

全ての島は山じゃありませんですけど全ての島が人間の難破を依存しないから地層の文化持ちます。私は画家チャールズ・アブーリさんを同じ考え方と思うという事とこの画家が虚構の島を作って居ます。プロジェクトはザーアイランデズだから、皆さんはこの島の参入するのオノマトペ村へ入れるので市民の順調な好み経由して、僕がこの国都の名詞をこの場所で遊びます。アイランドの音はイズーランドに切れてなるを聞こえます。そして、私は知らないにイズーランドが一番小さいランドですか。他のランドはイズーランドに比べてもっと小ささを有りますか。考えるですけど知らないね!アブーリさんのプロジェクトはとても悩ましいのでもっと読みたいと彼の行動的な絵を見たいです。このドローイングは虚構の門と孤独の決心により一層眼力をくれます。アブーリさんのアイランドの人は孤独を感じるか、もし、感じてからこのアイランドの人は外国人を出入りしたいです。

日本、世界の歴史は孤立主義有ったけど今保護主義ですので皆さんに言いました。一番東の島達は孤立主の歴史有るけど遠隔の人という事も別途な陸岸から日本人の想像力を仕方の機会みたいです。日本は青島愛媛県、そして一つの島は隠岐の島が女性差別過ぎます。男性はナガサキ・マサフミさん、日本で多い年に隠者を居ると住んでいましたので気にしないでした。このユニークで日本的な隠者居るで引き籠りが内向的な世界です。日本は国と一連の島が世界の東側から優雅でずらす。日本でたくさん美しい場所有るので北海道と広島と沖縄と京都も屹然い東京です。

これらの日本の島々の隣には、砂漠の島で育った少年についての広く読まれ影響力のあるアラビア語の物語があります。私はこの物語を、人間の思考における主題の場所を再定義する際のイマヌル・キャントの記念すべき功績を称えて書いたテキストの中でそれを引用している、ドイツの理想主義者フリードリック・ウィルヘルム・ジョーゼフ・スケリングによって紹介されました。[1] シェリングは、カントがデビッド・ヒュームの因果的な懐疑を却下する際にフィローソーフィカズ・オートディダクタズを参考にしました。 シェリングの言葉や文章は、経験そのものが判断の瞬間にすでに存在している時間と空間によって作られているので、因果関係の前提は経験の前に判断の一部が必要であると考えています。私たちの意志のこの独立性はおそらくシェリングを示唆している普遍的な重力の法則に似ています。 ですから、ここで私たちは哲学を孤立させ、形而上学に根拠を与えようとしました。 この架空のアラビア島に住む子供が、アカガメの捕虜と形質を共有しているのでしょうか。

男のような子供は、先天的理解の適用によって孤立から離れた道を見つけます。 著者がアリストテレスの作品をラテン語に翻訳した王子の原始者でなかったならば、この中世の哲学的反射の宝石は歴史を通してそれを成し遂げなかったかもしれないことを私たちは学びます。このテキストについての最も楽しいこと、そしてそれがアニメ映画によって共有されている品質は、神学が存在しているけれどもそれはあなたが自分自身を見なければならないという何か不足しているということです。 そうではなく、ネオプラトニックな発散と、人に固定された尖塔に焦点を当てることは、2つの島、2つの島人、2つの形式です。この素晴らしい映画を見るためには、おそらく2つのアイデアがあります。私は最近、言葉の失敗によって沈黙(アニメーションは沈黙していること)が可能になるという考えを与えてくれるものを見ていました。 これの隣に私達の積極性が絶えず抵抗しなければならない純粋な否定性の存在がありますか。私は、何もないという日本の概念がこの問題を解決することができるのではないかとしばしば思う。 島の孤立についての私達のアラビア語の物語では、言語が無限として解釈されるこの普遍性の動的と個人の存在の間で演じる場面が頻繁にあります。

 

「不完全さの概念は単なる非存在に他ならないのか、それともそれに依存するの か? そして彼はどうしてもとにかく彼の本質によって、純粋な存在である存在しな いのに参加することができます。誰が存在するすべてのものに存在を与えるのか、 それ以外には存在しないのか。 しかし、彼は存在であり、彼は完全さであり、彼は 寛容さであり、彼は美しさであり、彼は栄光であり、彼は力であり、彼は知識であ るか。

あなたがどんな体をあなたの手の中に持っていってそしてあなたの手を動かしたか のように、体は間違いなくあなたの手の動きに従うでしょうか? それらが共に始ま ったので、時間内ではなくて、自然の中でそれの後にあるような動きで。ですか ら、この世界はすべて、このエージェントによって引き起こされ、創造されたので す。」

イブン・タフェール [2]

アニメーション体験へのタフェールの貢献をさらに深めるために、私たちは時間と呼ばれる究極のいたずらメーカーに対処しましょう。上記の引用は時間と空間が一緒に始まったことを示唆しています、そしてこれは彼の純粋な理由の批評におけるカントの考えを示しています、「時間は内なる感覚の形式、すなわち私たちの自己と内なる状態の直感の形に他ならない。しばらくの間、外観の決定はできません。 形や位置などに属さない。ドイツの邪悪な哲学者マーティン・ハイデガーは[III]、カントの定義が感動的であると述べ、彼の哲学的傑作の早い段階で述べています。自分自身の歴史を持って時を経て旅をする[IV]。時間は私たちの自然な状態です。しかし、これらのドイツの時間的概念を解決するために、私たちは中世の時代と、明確にユニークな時間の概念、日本語での「時の存在」またはUji(有時)を持っているアジアのマスター、道元禅師に話を戻しましょう。他の歴史的な人、マンジロウ・”ジョン”ナカハマさんと難破の男性にもっと相応をみたいですので、マンジロウ・”ジョン”ナカハマさんは日本人の翻訳者がまずアメリカ人と働きました。若い人でナカハマさんは鳥島に難破しました。

道元禅師氏のTime Being(有時)に関するエッセイでは、孤立について考えることを開始することがいかに完全な時間の浪費になるかを見ています。 道元の言葉は、時間が道を見る能力を達成した場合にのみ、時間は統一的なものであるかのように見えるようにします。道元は統一された、孤立した時間ではない、と説明しています。この全世界のそれぞれのものを時の瞬間として見てください。瞬間がお互いを妨げないように、物事はお互いを妨げません。道を探す心がこの瞬間に生まれます。この心の中に、道を探す瞬間が生まれます。それは練習でもやり方でも同じです。このように、配列の中に出ている自己はそれ自身を見ます。これは自己が時間であるという理解です。[V] この理解は存在し、存在の限界を考慮せざるをえないときに極端に孤立していると感じると鋭く感じられます。自然な時間はそれから容認できないほど一様で、変化するように思われるだけです。 道元のポイントは、私たちが転倒して自己を犠牲にしないように、この統一性に参加することを学ぶべきだということです。

ある意味では、研究者フランク・ジョンソンによる最近の記事で説明されているように、孤立に対する西洋の認識は有益でない否定性を示しています。「現実は個人の外にあります。 受け入れられている方向づけは、外部環境として直接的かつ個別の方法で世界に関係することです。 内部現象を中心とした共引用の状態は、非合理的で危険だと惑わされる危険があります」。[VI] ここで、この急進的な悪、このdas radikalBöse、または純粋な否定的なものと共に働くという要求以外に、この自然の力はどうしているのですか。フロイトは、歓迎されない分離を解決し、それらを生き残るために動くための2つの方法の可能性を表明します。疎遠’精神分析とZen Buddhism禅という名前の下にある2つの方法は異なるかもしれませんが、同じ目的を持っています。「喜びの原則を超えて」と書くと、フロイトはこの悪魔のような赤い殻を診断します(誤った人間は人間であり、持続するのは悪魔です)。 この人間の精神の科学と最も洗練されたアジアの精神的慣行が互いに近づくことを発見することであるならば、孤立を常に潜在的にアニメーションの沈黙の一部にするものを孤立させ続けることができます。

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寂しさの歌   四

国家はすべての冷酷な怪物のうち、もっとも冷酷なものとおもはらる。それは冷やたい顔で欺く。欺瞞は、その口から這い出る。
「我国家は民衆で有る」と
ニーチェ・シアラトウストラはかく語る。

遂にこの寂しい精神のうぶすなたちが、戦争を持ってきたんだ。君たちのせぬじゃない。僕のせめでは勿論ない。みんな寂しさがなせるわざなんだ。

寂しさが銃をかつがせ、寂しさの釣出しにあつて、旗のなびく方へ、母や妻をふりすててまで出発したのだ。かざり職人も、洗濯屋も、手紙たちも、学生も、風にそよぐ民となつて。

誰も彼も、区別はない。死ねばいへと教へられたのだ。ちんぴらで、小心で、好人物な人は、「天皇」の名で、目先まつくらになつて、腕白のやうによろこびさわいで出ていつた。

だが、銃後はびくびくものであすの白羽の箭を怖れ、懐疑と不安をむりにおしのけ、どうせ助からぬ、せめて今日ー日を、ふるまひ酒で酔ってすごさうとする。エゴイズムと、愛情の残さ。黙々として忍び、乞食のやうに、つながつて配給をまつ女たち。

日に日にかなしげになつてゆく人人の表情から国をむけた民族の運命のこれほどさしせまつた、寂しさを僕はまだ、生まれてからみたことはなかったのだ。しかし、もうどうでもいへ。僕にとつて、そんな寂しさなんか、今は何でもない。

僕、僕がいま、ほんたうに寂しがつてぬる寂しさは、この零落の方向とは反対にひとりふみとべまつて、寂しさの根元をがつきとめようとして、世界といつしよに歩いてぬるたった一人の意欲も僕のまはりに感じられない、その事だ、そのことだけなのだ。

昭和(ショウワ時代)二○・五・五
端午の日

 


1.フリードリック・ウィルヘルム・ジョーゼフ・スケリング(1994年). ‘近代的な歴史: カント’. エッドはボウイ・ア、ケーンブリッジのプレス

2.イブン・タフェール(1928年). ‘ حي بن يقظان’, ‘フィローソーフィカズ・オートディダクタズ’アラビア語から翻訳者はサイモン・オックレ、ウエストミンスタープレス、ロンドン

3.イマヌル・キャント(1998年).’純粋理性批判’ ケーンブリッジ大学のプレス

4.マーティン・ハイデガー(1996年).’生存と時間’政府大学のニューヨークのスニープレス

5.道元禅師(ドウゲン・ゼンジ)(1996年)’露滴の月’ 翻訳者はダン・ウエッチと棚橋・カズアキ

6.ジョンソン・フランク(1693年).’心理的な疎隔:孤立と自己の疎遠’精神分析のレビュー,62:3(秋1975年)

 

 

Inorganic Animations

Inorganic Animations:

A Review of Spyros Papapetros’ ‘On the Animation of the Inorganic: Art, Architecture, and the Extension of Life’(University of Chicago Press: Chicago & London, 2012).

 

_____

 

Paul Harrison (2019).

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To what extent do humans have agency in the worlds they inhabit? What can we consider as animation? How far does life extend? These three questions are but an initial triangle shaped sample of the many questions nestled within the pages of Papapetros’ book. A book that encompasses a vast range of important aesthetic and historical interventions and explorations. Drawing on the work of some influential European art historians such as Aby Warburg, Wilhelm Worringer, Otto lehman, and Ernst Haeckel this book is one of a handful of critical studies of the fluid movements that have been considered as possible explanations for the movement that resides in matter we long considered to be dead. Such is that ingrained assumption inherited from ancient cultures that things that are visibly in motion are alive and that which is opposite isn’t. How then does this text undermine and usurp this assumption?

By taking these mostly conservative German sources and drawing a line from Warburg’s dissertation ‘Sandro Botticellis “Geburt der Venus” und ‘Frühling,’(1893) with its aims of exploring the animated status of the fabrics and clothing decorating the bodies of art on to Worringer’s Abstraction and Empathy (1919) putting forth how this historian saw an inorganic framework of the swirling motifs of the animal ornamentation of the Nordic and Celtic forms. Lehman, who was a crystallographer, coined the term ‘flüssige or fliessende Kristalle’ (liquid or flowing crystals) measuring the changes in expansion under heat and cold temperature. Finally, Haeckel also adds to this liquid crystalline section of the book, but he demands we consider the homophagy involved in the creation and merging of crystals: clearly pointing to, ‘how immobility can become pregnant with a new form of life’. This nod to cannibalism makes me think of how languages swallow other languages; and how some languages manage to resist such a process. German is encountered on every other page of the book because of its unique place in aesthetic thinking.

It is certainly true that next to this gratitude we should have for the book’s capacity to teach and remind the reader of the beauty of the German language; there is another unarguably special quality this book contains. Everyone understands that books are better when they have pictures in them and in this case you shall not be left disappointed. One example of such a visual delight comes from a cartoon in a political magazine called Simplicissimus (1919) the image is of an aggressive German expression of cubes attacking man; the German reads, ‘Die Kurve, die Grundform des Kapitalismus, ist überwunden. Die neue Beist bricht an. Dröhnend marschiert der kubus durch das Universum’ (“The curve, the primary form of capitalism, is overcome. The new day dawns. Threateningly, the cubes march through the universe.”). Other examples of visual events that are striking include a slide of a book, James Furgusson’s Tree and Serpent Worship (1868); on Asian culture and belief that supports a reverence for snakes and their mechanical cold blooded motion.

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Next to this Ouroboros reminder we find a delightful reference to a French love of liquor found in the very first advertisements for the tire manufacture Michelin. One poster is titled with the Latin Nunc est Bibendum (“Now let us drink!”) we learn these posters carry a force from the painter Fernand Léger that moved from the ancient pneuma (soul/spirit) and towards a French pneumatique invested in the production of rubber tires; objects that remain just like the beings who invented them something capable of inhaling and exhaling air. Prior to this automotive turn there is the matter of how artists and philosophers such as Picasso and Emile Durkheim wrestled with that powerful form of nature the forest. But, as we soon find out this place of wonder is also a place of horror and so reflects the book’s line of inquiry as it shivers down its spine. Penultimately culminating in perhaps the most iconic transformation or animation in the history of Western art; the flight of Daphne from Apollo. The psychoanalyst Jacques Lacan thought of Daphne as an example of an architectural limit, a plane of identification that is beyond our reach, and so completes this texts invitation to reflect on the inorganic and its maddeningly marvellous movements.    

Such illustrations allow a route into the aim of this book. By highlighting the human’s struggle against reality Papapetros also simultaneously highlights how the struggle itself lends form to an inhuman energy: an animation. One that is in need of special attention and although this book is nearly eight years old it has lost non of its power to enrich the minds of its readers.

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Paul Harrison is a graduate of Sheffield Hallam University and KU Lueven University studying Art and Philosophy respectively. His work has always centred around understanding animation but is increasingly becoming interested in language. In the future there are plans to combine these things.

 

Interactivity and Animation

Interactivity and Animation: Recent Developments in Motion Design

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Designing motion is a really interesting thing humans are both capable and incapable of doing it. Moving away from the idea that motion is the sign of life; from the unmoved mover (Aristotle’s god) to our daily experience of consuming oxygen and producing carbon dioxide we are capable of manipulating our directions and the forms which inform our motion. This is the purpose of this post to provide a brief insight into artists that are providing an opportunity to study and look at the space occupied by interactivity and animation. So, we may appreciate their presence and prescience. Studying and learning from their great examples together. […]

# Matthew Williamson

I went to art school with this mad South African animator. When we were studying at Sheffield Hallam University Mathew was interested in sound and experimented extensively with this medium; his degree show exhibition was a soundscape of considerable depth. I am not sure about other influences, but I am sure he may agree with me when I say that it was not only the awesome presence of Chris Cunningham, Warp records, and Aphex Twin that influenced Williamson’s progression. His extensive use of computers to create striking imagery surely must reference the machines which invite talented individuals like Mathew to express themselves to the best of their creative abilities. There was a particular moment that I realised Mathew’s work had taken a leap up to the next level when he made an animation installation for Sheffield’s festival of mind. This Installation was projection mapped onto a curved surface and although I was not there to see this in person the image of it struck me as a moment where Matt realised the full extent of his digital potentials. Since then he has been busy living up to that potentiality recently completing work for the newest series of Doctor Who. Below, are screen shots of said Dr.Who work and other visuals stolen from his instagram you should follow him @mattwilliamsonav. You should also tune into his streaming channel and get zapped by the current. https://m.twitch.tv/mattwilliamson

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# Universal Everything

Another resident from that urban urspring of English creativity called Sheffield. Universal Everything is the baby of a certain Matt Pyke. Completing his education in Portsmouth and London he is arguably director of the most prominent and innovative team of motion designers currently swimming around the multi-verse. For a good idea of this creative characters background and person read an interview with him here >>>. Of course you should have already visited their awesome website and gawped at the magic they have drawn into existence. Below, are a few of my favorite examples of this everything which would be universal. The name is evocative and shoves the problematic presence of animation right to the edge of your eye. I will ignore the interpretation or perspective of this studio’s name that is suggestive of an easy relation to capital, ‘if everything is universal, including ourselves, then we can do everything’ – nothing is out of bounds and of course in this case although they cultivate commercial relationships with the worlds biggest companies and therefore supportive of monetary ideology; as long as we are gifted such visual wonders then perhaps we may ignore the hidden flux of finance that powers such innovations. No, not ignore, just be grateful that this group of creators are creating with such ferocity. Also, it is very much a group and this collaborative part is important: Universal Everything could be a precedent for what creatives or human creativity should achieve in the expected third industrial revolution where social networks merge with new technological spaces to produce an entirely new economy.

I really love all their images but the moving images that feature and ask the question about the relation between the organic and machine are mesmerizing. Tribes makes me think of the Anthropocene and the vast size and difficulty of providing an image that is truly applicable to all humans and their behaviour. For the next few years I hope to study language and animation so the work OFFF, a series of hybrid typographic-architecture prototypes is well lodged in my memory and has an immediate association and affinity with the architectural practice of Eniatype.  

# Ryoji Ikeda

A Japanese sound artist who is completely subdued and is continuously seducing with his mathematically inspired work. Ikeda’s work is very Japanese and he has earned his reputation through a unique blending of number and minimal components of sound. Sine waves, bass, sub bass, pitch, blips, high hats, samples, white noise, sets, sub-sets, dots, dashes, equivalences, riddims, horns, digits, bits, and much more could be wielded by this great Asian alchemist. Sound is interesting because of its ontological diversity it exists but so ephemerally and this trace like structure makes us think of the quantum physics that suggests waves comprise the inner workings of physical matter. But, this idea from physics does not portray the whole story with the exact standards of science and therefore Ikeda’s work achieves something remarkable and transforms or should I say animates the physical innards of sound into images. Doing so in such a natural way that his installations often seem to be revealing the workings of the contemporary technology driving the processes that have exploded and will explode even more in the coming decades. I am suggesting that Ikeda-san has really dug deep into sounds unique matter and discovered its affinity with math. I like his work because it has that Japanese aesthetic that we all love and it makes me think of the dynamism and dualism of theories that originate in the original attempts to ground/ discover the source of mathematics. I understand that in the history of this kind of thinking there are two Set theory, and Mereology. The first discusses and determines collections of objects and the extent to which number supports said collections, the second is the study of parts and wholes, and I think that Ikeda’s art invites much more inquiry into these matters. Please enjoy these samples of his work below.

1262156_135350_ryoji-ikeda

# Team Lab

Are Team Lab Japan’s answer to Universal Everything? I do not think so they are a team of creatives equally matched to deliver moments of animated audacity. Only team lab seems much more concerned with reproducing nature as we experience it naturally and I think this is a running theme throughout their work – after all they are Japanese. Japans relationship with wave forms is well documented from the Hokusai’s ‘Giant Wave’ 神奈川 Kanagawa-oki nami ura and through Asia’s dominant traditional writing style. The calligraphic strokes of Black ink seem to effortlessly harness the force of liquid lines. What I find most interesting about Team Lab is and other creative entities like them is their commitment to shared processes of creativity. In their video works interactivity is blended with floor to ceiling projections to provide an immersive experience. Some of their installations follow the cultural practice of wrapping; the Japanese delight in the representation of things so a precious yet transient equality is maintained. With both the representation and its content bask in the shared ease at which they are transmitted to a perpetually increasing fan base. Here it is necessary to pay Team Lab a great compliment in their own language. Their art is a quintessential visual practice in which they provide memories as a Furoshiki風呂敷 (Thanking present) or as a continuation of Giri 義理 (Gift giving). So I compel you to enjoy these Japanese gift givers. The work below is from the groups exhibition in California, Continuous Life and Death – enjoy

# Evan Roth

An American artist widely acknowledged as an influential contributor to the new artistic domains of the 21st century. Roth can be easily seen as a front runner and already a great influence on artists seeking to use technology in there work. Roth is also a co-founder of the awesome Graffitti Research Lab, and the Free Art and Technology Lab both influential groups expanding into new spaces and potentialities of visual networked communication. The recent aesthetic of his work is very bloody I like the red of these works: Internet Landscapes (2016), a body of work that explores the artists experience of traveling Sweden searching for the physicality of the Internet. The press release from collect the WWWorld. Exhibition (2011) describes this newish realm of creativity,’to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and post-production: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of visual material produced by popular culture and advertising.’ really simplifies the climate of the last 8 years. Roth in many ways is a fine example of a creator who is well positioned to make good use of the new technologies such as quantum computing and developments in the internet as it grows and changes.

evan_roth_ljus_er-med  2-1

# Rose Butler

Rose Butler primarily works in moving image and video and is a very respected teacher and researcher (again in that beautiful place called Sheffield). A handful of her work makes use of interactivity where the observers of her work are considered as active components. The first example being Butler’s collaboration and commission  for FACT in the UK. This work was perhaps the first time this artist worked with the concept of surveillance; in this case pedestrians and members of the public were recorded going about their daily business and often shocked to see themselves on the big screen. An art installation that simultaneously explores the bigness of screens and how we are now watched and/or watching? Other works and exhibitions that include interaction are Stall, Barnsley (2005) featuring a reproduction of a market stall and then an interactive animation in which due to a loop in the recording participants can re-visit their initial visit to the market therefore offering a commentary and experience on the changing economic structure of markets. Again click on Rose’s Hashtagged name  to see more of her work.

Site/Auto Italia South East

 

Auto Italia South East: A recent trip to London.

The last time I was in London it was a fleeting experience. I was on the way to Belgium to collect some of my possessions; the remainder of my belongings (especially some books, and an artwork). I was invited to go to Auto Italia for an event, a live reading. Featuring the voices of Marta Barina, Moza Almatrooshi, Imani Robinson, Rhona Eve Clews, Gonçalo Lamas, and Ebun Sodipo. All were fabulous … and I shamefully can not remember the name of the head curator, but the whole event was local and very very, vocal; it was a very warm and inviting experience. I enjoyed the invitation for all attendees to move their chair and adopt the use of eye masks so as to envelop and shroud the room in a deep state of listening.

ReadMyLips.png

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  • Auto Italia South East ‘Read my lips’, London, 2018

I have two personal highlights from the experience. They are Moza Al Matrooshi’s bilingual reading; in Arabic a language that I admire visually because of its naturally cursive and calligraphic form of writing. Yet, it was lovely to hear her address cultural assimilation and migration in a graceful way. Next to Al Matrooshi’s voice I and many others were moved (in an aggressive way) by Imani Robinson. Going last, the speakers voice gave voice to the structural racism that physically and psychologically affects so many Black people throughout the world. As soon as this reading began you could feel the collective attention and mode of sensory consumption of the audience alter. The words that were spoken confronted our ears were not for entertainment. Rather, a masterclass in how to use rhythm, time, and tone to deliver an intervention; not just a reminder of the stark inequalities that remain ever nefarious but a performance that informed everyone present.

I have researched a little further into these creators and artists; below are a few points of interest, and links to some sources.

  1. Moza Al Matrooshi

#The Boundaries of Storytelling / #Tashkeel /

Moza-Al-Matrooshi-IMG_4171-1024x683

  1. Ebun Sodipo

#http://ebunasodipo.tumblr.com/ / #Shades of Noir / @toblacken

maxresdefault

#https://www.martabarina.com / #atpdiary_sp3Treviso

martin Barina

  1. Imani Robinson

#https://imanirobinson.co.uk / #https://ceasefiremagazine.co.uk/from-ferguson-to-the-uk/

Imani Robinson

  1. Rhona Eve Clews

#http://rhonaeveclews.com/ / #http://www.audiofoundation.org.nz/programmes/exhibitions/rhona-eve-clews-mathew-cowan

Rhona Eve Clews

  1. Gonçalo Lamas

#http://goncalolamas.com/

Gonçalo Lamas

 

All Crystals are Displayed at Site:

Sheffield’s Long Standing Contemporary Art Gallery re-opens. 

Liquid Crystals School of Engineering.

Crystals are essential to Lasers, image take from Edinburgh University Engineering

‘Liquid Crystal Display (LCD)’ is an exhibition about the expansion of our crystal culture. Our ever increasing complexity of the usage of crystals as surfaces for images. From André Breton’s metaphor for the Surrealist and Freudian realisation that dreams offer insight into the workings of the unconscious. The metaphor Breton used to describe intense processes of creation; he chose the object of the crystal because it carried both a movement of extreme pressure and also a connection to the earth all but one that remains invisible. On a discourse on how that which is inorganic is animated, the author makes many a reference to art historians of yesteryear. One of them, a man called Haeckel mentored and tutored a crystallographer Otto Lehmann made some experiments that would be the first in which the term liquid was affixed to the crystal. The German term flüssige or fliessende Kristalle (liquid or flowing crystals) contained an addition to a discourse that has remained relevant since antiquity; a discussion on the relevancy of that which is stationary or that which is in motion. Lehman published his visual evidence, his microphotographs of the internal workings of crystals in a book Die neue Welt der flüssigen Kristalle und deren Bedeutung für Physik, Chemie, Technik und Biologie, Liepzig, Akad. Verlagsgesell-schaft. m. b. H, (1911). (1) Such a small historical comment, is an insightful initial source but to deepen the contemporary roots and background for this exhibition the interview between Jeanine Griffin and Jussi Parikka on medium is well worth your time.

Coinciding with this exhibition a new book by Esther Leslie was published but it is an earlier study of her’s Synthetic Worlds, Leslie references chemical mastery and new industries emerging from within this mastery. Specifically an American company is shown to have been one of the first to transform the ashes and remains of a loved one into a crystal stone; connecting directly to Otto Lehmann’s European discoveries and the material exploration of being; the discussion of the shared space the animate and its dual share. The exhibition is centred around a special structure that enables the rich plurality of creation exhibited. I only looked through once but I enjoyed Jennifer West’s ‘Spiral of Time’ a 15mm exploration of film’s continued space for rumination, the pairings of tools by Shimabuku, and the Otolith Group’s ‘Anathema’ reminds me of a dear friend of mine’s degree show work in which the computer chip’s circuitry was used to show it’s urban aesthetic and the city as a site of utopian fantasy. Finally, the animation made by Norwegian artist Ann Lislegaard ‘Crystal World (After J.G. Ballard)’ is a very pleasant linear and tonal use of animation. The shifting shapes located within its digital structures reminded me of some of the beautiful architectural achievements humans have invented.

juleslister_24sept2018large_4024-large

Ann Lislegaard ‘Crystal World (After J.G. Ballard)’

The exhibition’s richness does indeed make everything different the day you ponder its contents and in many ways the collection of images and creativity on display displays the increasingly creative environment that art and science need not compete for. Recently, physicists discovered the existence of time crystals; ‘a bizarre state of matter with an atomic structure that repeats not just in space, but in time, allowing them to maintain constant oscillation without energy.’ (2) To summarize why these are so special and why there validation is important this article puts forward the idea that they show how the well established notion that matter if malleable exists in a balanced state (equilibrium), but with the existence of time crystals this allows for matter to exist in an unbalanced state (dis-equilibrium). The scientists who made the discovery used crystals to generate these mysterious objects. They used two lasers to keep the ions (atoms with missing or extra electrons) in an unbalanced state; creating a magnetic field, and then to manipulate the atom’s spin.


 

  1.  Spyros Papapetros. (2012) ‘On the Animation of the Inorganic, University of Chicago Press: Chicago and London. 122-123
  2.  BEC CREW, ‘It’s Official: Time Crystals Are a New State of Matter, And Now We Can Create Them’ Science Alert, 9 MAR 2017

Sai Tamiya / タミヤ・サイ

 

03

タミヤ・サイ /  Sai Tamiya,

私は君の絵とイラストレーションが本当に素敵ですのでもっと習いたいだから、もし、今月から三ヶ月まで君のお仕事を私とインタビューで話したら、本当にいいです。このアートはどう描けますか。絵は、マジックとみたいですけど、実君のタレントで、良い日本ので野党的な版画家と耽美を続ける事から現在世界に持って来ます…もっと当世流なし方です。

I think your illustrations are amazing and I want to learn more about them so it would be really good if over the next couple of months you would be willing to engage in an interview with me about your art and illustration practice. How you started making the images you make? Images, that somehow as if by magic, but really by your talent, carry and transform the rich tradition of Japanese printmaking and aesthetics and really brings it into the contemporary world – in a more modern way.

その絵は肝心の日本的なスタイル有りますから皆さんが見えなければなりません…

I would like to help promote your work… because your images contain an essential Japanese style that everyone should see.
ポール・ハリソン  (歩流・梁尊)

Paul Harrison

 

 

ポール ハリソンさん

 

メールをどうもありがとうございました。

ポールさんが私のイラストレーションを気に入ってくれて、私も嬉しいです。

 

Thank you for your email.

I’m glad that you liked my illustration.

 

まず始めに申し上げますと、私の作品はCGであって、リアルの版画ではありません。私は日本画や版画が好きですが、本の挿絵などの仕事として制作するには、岩絵の具や墨を使って描くことは、時間的にもコスト的にも現実的ではないからです。だから私はペンタブレットを使って、なるべくリアルの日本画や版画に見えるように描いています。

 

First of all, my work is CG, not real wood prints. I like Japanese paintings and wood prints. But it is not realistic in terms of time or cost to draw drawings using rock paints or inks. So I use a pen tablet to draw as realistic Japanese paintings and wood prints as possible.

 

使用しているアプリケーションはPainterとPhotoshopの2つで、ペンタブレットを使っています。人物や背景などのアウトラインをPainterで描き、Photoshopで色を塗っています。そして、リアルな版画や日本画の質感を出すために、スキャナーで取り込んだ紙のテクスチャーを

レイヤーで重ねて、最後に色の調整をして完成です。

簡単に説明するとこのような工程です。

 

I mainly use Painter, Photoshop and a pen tablet.

Draw outlines such as people and background with Painter and paint colors with Photoshop. Then, to lay out realistic prints and textures of Japanese paintings, layer the paper texture captured by the scanner.

Finally, color adjustment is done and it is completion.

田宮

Best regards, Sai

 

 

2018年半にブログのポストから私たちは一緒に喋る事が大好きです。是非、1つのエメールで2つの質問をしましょう。色々なトッピクので君のワークから、日本と世界も。

I would really love to interview you over the second half of 2018 for a blog post. Let us email each other with two questions each email. About all kinds of topics that relate to your work, Japan, and the wider world.

 

ここにまずの2つの質問です

Here are the first two questions:

 

一    墨絵と木版よりデジタルなソフトの方が好きです。あのー君はこの働き方の現実化時が説明を出来ませんか。

1) You use digital software rather than the older woodblock printing. Can you describe to me the moment you realized that this way of working was the best for you?

 

二    雪舟・等楊さんのアートが大好きとブァン・ゴーは墨絵ので大きく影響しました。君ために外人で誰がインスパイアしませんか。

2) I love the work of Sesshū Tōyō and the fact that Van gogh collected Japanese wood block prints. Are there any western artists that influence you?

 

(この返事は遅過ぎたのでごめんなさいです。最近、いつも忙しかったです。)じゃ、来年私はまた東京に来るから、その時に私たちを1回目会えます。良い友達をなる。

(I am sorry this reply is late, I am always too busy…) I am planning on visiting Tokyo next year so after our discussion we will become friends in person…

 

Paul ポール。(歩流・梁尊)

 

こんにちは、ポールさん。

 

インタビューに関してのご返信です。

私は英語が上手じゃないので、あなたにうまく伝われば良いのですが。

 

1

私は最初はアクリル絵の具を使っていましたが、

私がイラストレーターとして仕事をし始めた1996年頃に、デジタルイラストレーションが世に出始めて私もMackintoshとFractal Design Painterを使い始めました。デジタルではペンタブレットを使って手書きのように描かくことができ、色の調整や編集が容易であることそして、その頃から出版業界でも次第にフロッピーディスクによるデータ入稿が主流になったのも、私がデジタルソフトウェアを使い始めた一因です。

1

At first I was using acrylic paint, about 1996 when I began working as an illustrator, digital illustration started to appear in the world and I started using Mackintosh and Fractal Design Painter.In digital, you can paint like a handwriting using a pen tablet, it is easy to adjust and edit colors.

And from that time on, the publishing industry gradually became the mainstream of submission of data by floppy disk.

That is one reason I began using digital software.

 

2

私は学生の頃は油絵を描いていて、ゴッホも私が好きな画家の一人です。

私は西洋のテンペラ画がの色合いや質感が好きで、Sandro BotticelliやFra Filippo Lippiをよく参考にしました。私がデジタルで描き始めた頃、私はテンペラ画の質感を表現するために色々なマチエールを作り、それらをスキャンしてイラストレーションに使いました。その手法は今でも使っています。

2

I was drawing oil painting when I was a high school student and Van Gogh is one of my favorite painters. I like the color and texture of western tempera paintings, especially Sandro Botticelli and Fra Filippo Lippi. When I began to draw in digital, I made various material to express texture of tempela picture, scanned them and used it for illustration. I still use that method.

ポールさんが来年東京に来た時はもし会えれば良いですね

It would be nice to meet you when you came to Japan next year.

 

 

  1. You have had a lot of success with your style. I really think that works like: ‘man with carp’ , and ‘the Girl with an umbrella’ are not too idealised or realistic but achieve a great blend between the two. [I am not sure of these titles are correct, but your instagram account provides a great overview], then you also have deeply erotic illustrations. I wanted to ask you two questions: 1) Which Japanese artist working with eroticism do you like? 2) Do you think works that are erotic in some way are more subjective than objective? Because sex can be thought of in many different ways?

 

  1. 君のスタイルと盛況をくれました。私は絵から, ‘男性と鯉’と’彼女と傘’が理想家と現実的を過ぎるじゃないので良いブレンドをしました。(多分、タイトルは正しくないです。分からない…) そして、深くて色っぽい絵も有るから、2つの質問を尋ねたいです。一、誰の色っぽい画家が好きですか。二、サイくんは色っぽいアートをもっと主観的か客観的でどう思いますか。セクスは色々な考え方を有ろう。

 

02

man with carp

 

ポール ハリソンさん

 

こんにちは。

日本では8月は酷暑でしたが、9月になり涼しくなってきました。

そちらは日本よりだいぶ涼しいでしょうね。

 

大学で2つの試験したからこの返事は遅過ぎましたので本当にごめんなさいです。全然問題ないですよ。

 

3

>1)Which Japanese artist working with eroticism do you like?

 

彼らはエロチズムを描くアーティストではないかも知れませんが、私は林静一や小村雪岱が好きです。(一応、彼らはヌードも描きます)

林静一は私が子供の頃の1970~1980年代に挿絵だけでなく様々なメディアで活躍したイラストレーターです。彼の描く女性はどこか物憂いな雰囲気でとても魅力的です。小村雪岱は80年以上前のアーティストです。

彼の描くイラストはシンプルながら構図が洗練されていて、物語性を感じさせます。それは浮世絵のようで浮世絵ではない、古いようで新しいスタイルです。

 

>2) Do you think works that are erotic in some way are more subjective than objective? Because sex can be thought of in many different ways?

 

それは場合によって違うのでどちらとも言えますが、仕事で描いているものは客観的なものですね。小説の挿絵などは読者が物語のシーンを想像する手助けをするためのものですから、登場人物や情景、時代背景至るまで、私は出来るだけ物語に忠実に挿絵を描いています。

 

 

3

1) Which Japanese artist working with eroticism do you like?

 

They may not be an artist who draws erotism, but I like Seiichi Hayashi and Komura Settai.(They also draw nudity)Hayashi Shiichi is an illustrator who played an active part in various media in the 1970-1980 years, and the woman he draws is very attractive with its annui atmosphere. Komura Settai is an artist over 80 years ago. Although his illustrations are simple, the composition is refined and makes it feel narrative. It seems to be an ukiyoe print, not an ukiyo-e, it seems old and a new style.

 

2) Do you think works that are erotic in some way are more subjective than objective? Because sex can be thought of in many different ways?

 

Since it depends on the case, it can say either, but what you are painting at work is objective. Illustrations of novels are for helping readers imagine the story scenes,I draw illustrations faithfully to the story as much as possible, from characters, scenes, to the background of the times.

 

 

Best regards

 

Sai

 

 

四つと五つと六つの質問しましょう。

 

The 4th, 5th, 6th questions…

 

四・サイさんの全ての絵からどちら一番大好きですか。そして、理由は何ですか。

  1. Sai, in all your images which one do you like the most?

 

五・日本は有名な芸者いるので最近この文化は退行とみたいですけど、いつか普通の日本の女性は着物を着ったら�芸者もみたいです。芸者のでサイさんの意見は?

  1. Geisha are famous in Japan, recently thisCulture is regressing but sometime a normal Japanese woman wears the kimono and seems like a Geisha. Sai, what is your opinion on this?

 

六・最近私の同僚はおススメしました。本の作家が、『ユキオ・みしま、仮面の告白』です。そして、私はアニメが好きだから、どちらアニメが好きですか。例えば、鋼の錬金術…

  1. Recently a colleague of mine made a recommendation. An author of a book, ‘Yukio Mishima, “Confessions of a Mask”. And, I like anime, which anime do you like? For example, “Hagenenorenkinjitsu”…

 

SAI, I will send you some more questions soon… もうすぐ、多分もっと三個の質問を送っています。じゃ、元気だね…

 

歩流…

 

ポール ハリソンさん

 

こんにちは。

先日のインタビューの返信です。

 

4

最近描いた絵の中では「祭りのあと」が好きです。

理由は人物の表情と構図でしょうか。縁日から帰ってきて少し寂しい雰囲気が表現できたと思います。

 

I like “after the festival” in the paintings I drew recently.

The reason is the expression and composition of the person.

I think I was able to express a little lonely atmosphere as she came back from the shrine festival.

 

 

01

The Girl with an umbrella

 

5

日本では現在でもお祭りで浴衣を着たり、成人式などで着物を着ますが、

芸者は宴会などで客を楽しませる技能を持ったホステスのことなので、日本人の私には着物を着ている女性と芸者は全く別に見えますね。

私は着物が普段着のようにもっとポピュラーなものになってほしいです。

 

In Japan, I still wear a yukata at a festival and wear kimonos at an adult ceremony etc, In general, geisha is a hostess with skills to entertain customers at banquets and the like,a woman wearing a kimono and a geisha are quite different to me in Japanese. I want kimono to become more popular like everyday wear.

 

6

私は最近のアニメはあまり見ませんが、私が子供の頃によく見たのは世界名作劇場と呼ばれるシリーズです。どの物語も好きですが、その中でも特に「赤毛のアン」が好きです。

 

I don’t see much of recent animation, but I often see it when I was a child is a series called “World Masterpiece Theater”. I like all the stories, but I especially like “Anne of Green Gables” among them.

Best regards

Sai

 

オケー、終わるの四つの質問です。(私たちは忙しい人ので僕に悲しさを成るですけど会えるでこの話すを続けている) そして、君の答えが好きです。私は多くて新しい事を習います。

Okay, four last questions (It makes me sad but we are both busy and can continue our conversations in person), and I like your answers. I am learning many new things.

 

七ー    日本でスタジオジブリのテーマパークを開ける事が楽しみにしますか。行きませんか。ディズニーランドも有るととても人気なー。

  1. Are you looking forward to the Ghibli Theme park opening? Will you go? Japan has Disneyland and it is very popular.

 

八ー     音楽は話しません。ゴールデンボンバーよりBABY METALどちらが好きですか。どちら聞きたいですか。

  1. We haven’t discussed music. Which one do you prefer? Golden Bomberor Baby Metal? Which will you listen to?

 

九ー   私はタオ・オカモトさんが敬愛します。この彼女は映画にザー ウルバリーンで見えました。誰かが好きですか。

  1. I have a crush on the actress Tao Okamoto. I saw her in the film ‘The Wolverine’ (2013). Is there someone who you admire?

十ー    しまいに世界に将来お仕事を説明しで下さい。何の君のアートの展覧会が皆さんは楽しみにします。

  1. Finally, please tell the world what work you have planned for the near future. What exhibitions of your work can we look forward to?

 

 

ポール ハリソンさん

こんにちは。インタビューの返信です。

 

私は宮崎駿のファンなのでジブリパークの開園は楽しみですね。

私はジブリの映画の中ではとなりのトトロが好きなのですが、

私が大学生時代に住んでいた所沢は”となりのトトロ”の舞台でもあって、郊外には今でもトトロの森があります。

映画の舞台になった街を散策するのも良いです。

 

I’m a fan of Hayao Miyazaki, I am looking forward to the opening of Ghibli Park.

I like “My neighbor Totoro” in Ghibli’s movies, Tokorozawa I lived in college days is also the stage of “Totoro”,

there are still Totoro’s forests in the suburbs.

It is good to take a stroll around the city where the movie was set.

 

残念ながら私はどちらのアーティストの音楽も聴かないです。

私がよく聴くのは1970~80年代の音楽で、ディスコやファンクが特に好きです。洋楽ではEarth, Wind & Fire、邦楽では山下達郎が好きで、最近は80年代の日本のシティポップスをよく聴きます。

 

Unfortunately I don’t hear either.

I often listen to music in the ‘70s and ’80s, especially like disco and funk.

I like Earth, Wind & Fire in Western music, and Tatsuro Yamashita in Japanese music. Recently I listen to Japanese popular city pop in the 80’s.

 

私はマイケル・J・フォックスが大好きです。彼の映画では”バック・トゥ・ザ・フューチャーが”有名ですが、The Secret of My Successも私の大好きな映画です。

I love Michael J. Fox. In his movie “Back to the Future” is famous, “The Secret of My Success” is also my favorite movie.

 

10

私は現在は書籍の挿絵やブックカバーを主に描いていますが、将来的には私はその他のメディアでの仕事も増やしていきたいです。

私のイラストレーションは日本画のような日本スタイルの描き方をしているので、私は海外での仕事でもそれを活かせるようにしたいです。

 

Currently I mainly draw illustrations of books and book covers, but in the future

I would like to increase the work on other media as well.

As my illustration is drawing Japanese style like Japanese paintings, I would like to make use of it even in overseas work.

イラストレーションを添付します。 インタビューをどうもありがとうございました。

Best regards

 

 

タミヤ・サイはフリーランスの挿絵画家(イラストレーター)です。彼は東京・日本に住んでいます。

Sai Tamiya is a freelance Illustrator who lives and works in Tokyo Japan. See the illustrations at: http://www.artlimited.net/14860 and on Instagram: @saitamiya

Three Essential Film Makers: Bo Choy, Sasha Litvintseva, and Stuart Croft

Created with GIMP

#Bo Choy

It can be a hard profession or even reality if you call yourself an artist. There is so much self directed pressure to succeed to show the value of what you create. In my case, such pressure to fulfill such an expectation gradually grew to unbearable and so like the following artist I also had to navigate a difficult period where due to my own inability to communicate ideas and also deal with both the tedious difficulties of bringing a project to fruition and then coping with the immediate sense of disappointment (often following completely irrational expectations). Such things still draw my considerations because there is a connection between feelings and economies. Such things may be initially freely associated with a concept such as alienation. But, this term and other related notions need a visualization and so Ms. Choy did just that. When Bo Choy makes new work these days it will be after leaving behind and resolving unhelpful feelings of being inauthentic as she explained in the recent Y.A.C interview (watch her film ‘Unfolding’)  I conducted with her a couple of months ago. This artist has shown recent work in a festival in Greece and when I met her for the first time she expressed a deep satisfaction with the country and a love of the Greek locals including the environment of the the 6th Thessaloniki Biennale.

Bo, has obviously overcome the feeling that initially was a little problematic for her, and one of the signs that she has indeed surpassed the difficulties is her film “Anat’s Party”. A beautifully crafted film that uses the very issue we have started discussing to lay open an inviting narrative. The film features the artist Anat who has organised a party in which the camera is representative of her perspective the narrator’s gaze. The party has guests including Richard: a gallerist, Francois: a painter, Franziska: ex professor now marine biologist, Eulya: who is Anat’s cousin, Cecil: a recent graduate and assistant to Anat, and Amelia: the creative director of an advertising house. The characters are ready and the stage is set; we the viewer are situated ready for a peek into creative people celebrating in a great gathering.

It is actually a birthday party; the celebration for Anat’s birth is kickstarted with white lilies then a sequence of sorts: Haitus + Patronage + Pay Off + Critical Acclaim… in Anat’s own questioning words, “Is my career riding me, or am I riding it?” An active disavowal (by active disavowal I simply mean the state or condition of knowing and not knowing something…) can be seen; such a process is very real and many artists go through such a process. Yet what is so fascinating about this work (there are many things totally fascinating about this piece of work) is that as a viewer you are completely aware that it is scripted, it is staged but this only adds to the power of the eulogy because as we progress through the party everything seems to be rather pleasant; a reunion of very good and close friends. Eventually though this is shattered  by a confession and admission by Anat. I wont relay it here, in writing, because it should be watched by many people. The way the film incorporates this narrative tactic shows a mastery of the manipulation of storytelling. The way the characters are so rich and allow for a deep questioning of what an artist actually is? How an artist has to navigate the “huge beast of capitalism”. The film really naturally invites those consuming it to join in its fictional speculations. Including expressing gratitude (immensity and wholeness) in the face of mortality + reflection, the measuring of success (inertia and the stretching of the imagination). At one point Nietzsche, a philosopher always chilling in his own relevance is quoted by Anat. But these words are from his thoughts on good and evil.

‘Actually, why do we even assume that “true” and “false” are intrinsically opposed? Isn’t it enough to assume that there are levels of appearance and, as it were, lighter and darker shades and tones of appearance – different valuers to use the language of painters? Why shouldn’t the world that is relevant to us – be a fiction? And if someone asks: “But doesn’t fiction belong with an author? “ – couldn’t we shoot back: “Why? Doesn’t this ‘belonging’ belong, perhaps, to fiction as well? Aren’t we allowed to be a bit ironic with the subject, as we are with the predicate and object? Shouldn’t philosophers rise above the belief in Grammar? “(1)

‘Quidquid luce fuit, tenebris agit (What happened in the light goes on in the dark.): but vice versa too. What we experience in dreams, as long as we experience it often enough, ends up belonging to the total economy of our soul just as much as anything we have “really” experienced. Such experiences make us richer or poorer, we have one need more or less, and finally, in the bright light of day and even in the clearest moments when minds are wide awake, we are coddled a little by the habits of our dreams.’ (2)

Nietzsche’s words support all artists and support art as a realm in which processes of all kinds can exist without a naff sense of morality but with an ethos that is self sustaining; even without the living breathing members of reality being aware of this special distinction. Things that are both real and unreal can contribute to the soul. Moreover Nietzsche’s suspicion of philosophical grammar moves us towards special spectrum[s] of reality. They are observable in Choy’s film as it makes us think about many customs and arts and how we experience them between Versuch (attempt or experiment) and Versuchung (temptation). Is this between-ness a desire for a feeling to last forever? After, the turn of feeling within this party what other thoughts could this work of art incubate? There are so many but a strange thought that entered my head is how art can immediately challenge the idea that the body is always a site a location for consumption or communication. Lastly, how language may be a dead material that generates a necessity to invest more life into it, and the most interesting thought this film forced upon me was, ‘how the very concept of communication as a spectrum between inner and outer is deeply related to the movements of our breath? A wholly natural economy full of drama, full of mechanical and organic periods of acceleration and deceleration.

It is a pleasant perspective to see from; that in the near future art will potentially  help us build a new economy, or rebuild one which we have perhaps forgotten in these times of heady reputations, instant identifications, and many a selfish self. Such an economy will be or should be all inclusive and in this sense it is strictly in tandem and identical to art. I was for a long time immature and arrogant, I over valued the scope of my talent and so I abused it and let it be abused. Bo Choy’s capacity to create has gifted us moments in moving image that indirectly exhibits something very important for those of us who strongly embody creativity. We struggle to build relations (Not only between humans), we are fundamentally bound by this struggle to relate. Or, instead this film involves how the figure of the artist resides outside the understanding of others even those who are the closest to us. This is indeed a deep burden for those attempting to bring difference itself into existence. Such a process may be something extremely existential and that is what one is getting at with the idea that art may have something to help alter the stagnant and turgid realm of the financial and knowledge based economy. Furthermore the fictional relations of this film softly suggests the vast unknowable scope of what can be contained in a special three letter word called art. If one thinks about these topics and if we follow language freely a person may arrive at a thought such as this: everyday is someone’s birthday, and a person’s birthday is not always a day of celebration. But, in some sense it is because everyday is a day of birth, both for the day and for people?

Before you watch this small but great artist’s film, perhaps a paragraph I found in Spyros Papapetros’s discussion on the animation of the inanimate. In a section of the book under the subheading, ‘Two External Worlds’ will serve as a nice step into the drama of Choy’s film. Will these words be most suitable in promoting this work as an example of what can be achieved by the honest artist whose labour is the most valuable of all? A Sentiment that I think is shared in this paragraph. Below this collection of words, ‘Anat’s Party’ can and must be watched.

‘Far, then, from being disengaged from context, Worringer’s “ethnopsychological” abstraction is largely determined by it. Following contemporary biological and aesthetic theories, Worringer claims that the main factor distinguishing the different types of art-producing-humanity is the “shifting juxtaposition [Auseinandersetzung] between man and the external world.” The polarity between abstraction and empathy is in fact the product of two different external worlds, both of which appear to be equallytreacherous. The first is “the world of phenomenal appearances [Erscheinungswelt]” - the world of the “Pure Greek” who lives in emphatic plenitude with his comfortable surroundings and its “evershifting play” of perceptions. The second is the hostile world of the Northerner, who maintains a contested relationship with the in “inharmonious nature” he lives in, but never comfortably inhabits. This second external world has a Haunting permanence in contrast with the transience of the first. Both worlds have a problematic relation to the visible.”(3)

#Sasha Litvintseva

Born in Russia, I met Sasha in London after I had selected her film …. for a touring screening The Lumiere Screening curated with my good friends Catriona J. Mackie, and Leon Read. Sasha is a very interesting film maker she is currently completing her phd at Goldsmiths proposing the concept of ‘Geological film making’ and I find this interesting in terms of the vast scale of film making it reminds me of the writings of one of the great contributors to political aesthetics. In professor Esther Leslie’s book Synthetic Worlds we see a history of how electronic chemical and technological developments culminate, a long a side the progression of the cinema, as a commercial site of escapism. Here Leslie builds upon the great Frankfurt school’s critical investigation of supposed rational progress. Leslie in a wonderful waltz through the essential German Gang of: Kant, Hegel, Marx, Benjamin, Goethe, Adorno, and many others; retraces the very fabric of synthesis both in our thought and in material, historical, and cultural events. I feel like this book at least helps me to understand the Geological in a much wider sense than what the word entails…such an understanding is also surely what Sasha is also wrestling with and because she is Russian via way of birth I can not help but offer up an historical dismissal of my homeland. The country is described in this way, ‘England is just as unkind and inimical to Art as the Arctic zone is to life. This is the Siberia of the mind.’(4) Of course I do not agree, this is quoted only as a passing note establishing a relation between the countries, but I also feel that it is very fitting when we think about geological film making. Leslie references this dismissal in relation to a group of artists based in the North of England. These artists, the Vorticists published a journal called ‘Blast’ designed to resist in healthy competition to whatever the south could muster. The title was chosen to embody a hygienic gale but on the cover this took the form of a ‘storm cone’ a signal used by coast guards. Here I am not sure that the Vorticists choice of title is fitting surely ‘Blast’ better commentates on the heat of a furnace or the production of new metals? Yet, this reference to the coast is interesting: it forces the figure of nature in all it’s powerful liquidity and madness into our considerations of the geological. Then, Theodore Adorno makes a small relation between society and landscape.

‘Adorno perceived in the American landscape of lightness, brightness and substitution a kind of madness. Adorno’s description of a bookcase in a villa he visited in Maine in 1959 conveyed his terrors in the phoney society. The great titles of literature faced him and he reached out to take one. The whole display collapsed. It was all fake. The world as a simulation of itself is a crazy thought, but a true one too. In Adorno’s story there is something else at play. It concerns the death of learning, the death of culture and the victory of the ‘culture industry’. But the phoniness is present everywhere. Adorno mentions wily restaurants that sell bottles of ‘counterfeit’ red wine coated by a layer of synthetic dust. Time itself is synthesized.’(5)

If I were Sasha a part of my thesis would have to wrestle with competing and chaotic ideas. Ideas such as those found in the texts of the scientist James Lovelock, Philosopher Nick Land, and Edward W. Soja. Lovelock is the author of the Gia Hypothesis the notion that the earth with humanity included constitutes a self regulating system akin to that of other living organisms. In Soja’s book ‘Postmodern Geographies’ (1989) the notion of space is explored in critical social theory. The relevancy of this for Litvintseva is that the text explores the spatio-temporality of being (something which film is explicitly also engaged in), and Soja does this by commentating on how philosopher Jean P. Satre’s movement towards Marxism contains a praxis that Martin Heidegger’s insistence on “place” concealed within history does not. Satre, is described by Soja, ‘he links to a movement whose fundamental direction is determined by ‘scarcity’ and which provokes the formation of groups to struggle collectively for such scarce necessities, such ‘worked matter’. Satre describes this horizontal vertical movement as a spiral’.(6) This description then reminds us of the Vorticists ‘storm cone’ and makes us question this spiral and cone. In one of Litvintseva’s recent film works ‘Salarium’ the artist explores the appearance of sinkholes on a boarder between Isreal and Palastine. In combination with her text ‘Sinkholes In Signification’ we are presented with a real opportunity to grasp the artist’s recent research. The essay ends, after referencing the Zionist Archives and their technique of punching holes into images, and uses this to draw a link between a lack of an archive and the puncturing or suturing of a historical narrative.

still-3-salarium_main

‘Salarium’ 

So, we have these routes through history these holes in the ground and these empty spaces that swallow human things; this sinking may be read in line with Gia Theory and this is the total organism decaying it’s skin being breached by the entropic activity of the energy traversing and underlining its very existence (Adorno and Horkheimer also have a form of Gia in The Dialectic of Enlightenment). Next to this is an interesting development in terms of thinking about geological thinking, and this musing about the earth comes in a description of Trauma from the contemporary philosopher Nick Land. In a series of texts the notion of ‘Geotraumatics’ is made; a notion that when the earth was born 4.5 billion years ago the psychological echo of the earths violent birth when it’s molten core was formed as it’s volcanic activity burnt its own terrestrial skin. Land see’s this as an unconscious pain that reverberates throughout current matter both living and non-living (Cthell).(7) However rupturing and interesting in terms of being empathetic towards the earth Land’s Arche (first principle) may not be that useful to Sasha’s research but it does offer another Geographic perspective. It is the other project which one prefers and finds most dramatic. Universal Syntax attempts to unravel how we experience the world as a text. For this project Land also has something to say about language and its way out of a body (not necessarily human), in ‘KataςoniX’.(8)

Speaking in terms of the interests of such a Syntax I feel like Leslie’s mining of modernism in the spirit of so many great European thinkers offers more to a filmic perspective on language. In particular Leslie cites a universal language. Literally, a pamphlet under an identical title, Viking Eggeling and Hans Richter sent this Universal Language to the director Einstein. The language focused on a system utilizing analogies and polarities derived from an abstraction of nature. Resulting in geometrical forms that express the German Schopenhaur’s sentiment of looking at the world from the perspective of a blessed star.(9) A perspective that Schopenhaur’s countryman the poet Geothe may have appreciated as both men had developed advanced theories of colour and what can be seen within the eye that spies is of utmost importance (against the Newtonian and Leibniz inspired picture of a mechanical existence). Sasha’s work of course makes one consider other concepts such as the Anthropocene, terra-forming, and the like, but is it not true that it will be your eye another spherical object that constitutes the ground which you walk on? Perhaps, these great projects will succeed in generating a correlation between spaces, places, and faces but it is comforting that Sasha Litvintseva is pushing film and moving image closer and closer or further and further into this world.

‘The holes punctured in the representation are slowly migrating to the object of reference: the landscape itself. That is, ‘killed Images’ become ‘killed landscapes’, with holes and lacks puncturing their surface. The sinkhole is that lack: not merely a lack of matter or soil, but an archival lack that punches holes into the stability of the historical narrative. If history – as the Zionist Archives demonstrate – leans on a representational regime that aims to signify the landscape and the humans that dwell within, the sinkhole defies clear signification and threatens linear history with a discrepancy, an interruption, or a plot hole.’(10)

#Stuart Croft

Stuart sadly died in March 2015, and I was recently reminded of this… it made me very very sad for one important reason. I met Stuart Croft in 2011, he had selected my animation ‘Away From The Unknown’ for a touring screening of Artist Film and video supported by Outpost Gallery in Norwich. When you begin on doing something  anything, by yourself for the first time, it can be difficult. And, even if you had done such a thing many times before when seeking to take it to the next level you need encouragement. Meeting Croft and having work shown next to such great creators was such an encouragement in those early years. Stuart’s use of actual film set him apart from others and in this way perhaps the only other male film maker who operates within the same unbelievable realm of finesse is Ben Rivers. Stuart made a decision whilst still a student that could be said to have defined and determined his entire body of work; this is the deep interest in the relation between film as a material medium and the concept of cinema itself; including all the unique culture that comes with it. Then, a question, ‘how to take this and put it into a contemporary art gallery?’ His work easily answered this question.

Stuart Croft The Stag Without a Heart still 2 2010

A Stag Without a Heart

My personal favourites from Croft’s filmography are ‘A Stag Without a Heart’ (2011), and Drive In (2007). Both of these films show Croft’s genius at its very best. In the former the title represents a character next to a fox and a lion. The narrator’s voice draws us through the ensuing drama, trauma, and re-animation. The film reminds me to actually watch and re-watch such films as Der Himmel über Berlin (the Heaven Over Berlin), and Last Year in Marienbad (films that I once edited under the force of Gravity). Croft’s film features a narrative that grows the soundtrack feels as if it is sneaking up on you and the narrator. The dialogue of ‘A Stag Without a Heart’ fluctuates within a trinity of two predators and one prey. The phenomena of ‘fear’ is felt by the stag as the predators are perhaps expressing regret or remorse after they made their fellow animal shiver. These events of fearing and shivering of intuition and effect fit nicely within a larger and fundamentally more powerful effect the film carries. After watching it I felt that although all I saw on screen was human this human was now closer to the animals carried within his speech. Drive in features a car journey with a lady describing a story in which a paradise is lost. The film is beautiful both for the story and its believable utopia; one in which we are reminded by way of a mistaken object, “It’s not coconut juice it’s a Piña-fuckin-colada” that all paradises are paradises lost most forcibly put in the world of literature by Marcel Proust.(11)

Loosing one’s way in another person (in being with…), or as another person (becoming someone different)? There is a novel that is birthed within the passenger lady’s narration. The plot twists within this reading of human desires and human empires and “doing some [fucking] thinking in the middle of the ocean”. In terms of the male author he has a dreamy encounter with a dreamy female painter washed up on a dreamy beach. Dreaming he continues to be driven by his drives inwards and onward. Stuart’s fantastic films carry us into the psyched up philanthropic psychology we all share, sell, and partake in. Stuart Croft’s work makes me want to become a film maker, and his life serves as a timeless reminder that our achievements will remain long after we have left this world, and if you were Stuart Croft your achievements where many, so many. What more could be more inspiring, more encouraging, and more vital than a human being’s capacity to create?

 

words by a Paul Harrison.


(1)  Friedrich Nietzche, (2002). ‘Beyond Good & Evil: Prelude to the Philosophy of the Future’ (Cambridge University Press), 34.

(2)  Ibid, Nietzsche, 193.

(3)  Spyros Papapetros, ‘On the Animation of the Inorganic: Art, Architecture, and the Extension of Life’, (University of Chicago Press, 2012), 143.

(4)  Esther Leslie. (2005). Synthetic Worlds:Nature, Art, and The Chemical Industry, (Reaktion Books, Great Britian).123

(5)  Ibid, Leslie, 239.

(6)  Edward W. Soja, ‘Postmodern Geographies: The Reassertion of Space in Critical Social Theory’, (Verso, London/New York, 1989), 136.    

(7)  Nick Land, (2012). Fanged Noumena: Selected Writings 1987-2007 (Urbanomic/Sequence Press, London, Berlin)

(8)  Ibid, 481

(9)  Esther Leslie. (2002) Hollywood Flatlands: Animation, Critical theory and the Avant-Garde, (Verso, London/New York). 56

(10) Sasha Litventseva, Daniel Mann, ‘Sinkholes in Signification’, (SONIC ACTS Academy 2018) 66.

(11) Marcel Proust, (1992) ‘In Search of Lost Time: Swann’s Way’,(The Modern Library, New York). Sorry for the lack of pagination; I promise Proust does say this {https://www.readingproust.com/finding.html}