a.mizuo

re re member

surely the answer is

http://www.youtube.com/watch?v=yZ8k6fVe25k

enjoy...xk

words without pictures

http://www.wordswithoutpictures.org/main.html?id=276
Here is an essay outlining a debate for a manifesto re pro-surfers and links artists use of web images, found photo's etc with photographic montage and film formalism.

Initially I was thinking about Tui's work, collecting and collating found internet images and Asumi's, collecting and re-presenting found print and photographic images, but this essay has I beleive, an even broader contribution to the post-conceptualism post-post-modernism debate.

Here's an exerpt...

"In “The Principles of Montage,” Kuleshov discusses the period, in the nascent stages of Soviet cinema, in which he and his comrades attempted to discern “whether film was an art form or not.” Kuleshov argues that, in principle, “every art form has two technological elements: material itself and the methods of organizing that material.” Kuleshov and his peers felt that many aspects of filmmaking—from set design and acting to the very act of photography—were not specific to the medium. Nevertheless, he argues, “the cinema is much more complicated than other forms of art, because the method of organization of its material and the material itself are especially ‘interdependent’.” In specific opposition to his examples of sculpture and painting, Kuleshov is describing a medium in which the very structure, indeed the very structuring context (its machines and process—in short, its apparatuses), is responsible for not only the production of signifiers but also the signification itself. This insistence on the “complicated” role of apparatuses foreshadows later critical insistence on the interdependence between the content and the hardware and software organizing the content of a work of new media art, and certainly in the art hack, by virtue of the work’s signification through resequencing.

When we apply this logic to the practices and products of pro surfers, we see that they are engaged in an enterprise distinct from the mere appropriation of found photography. They present us with constellations of uncannily decisive moments, images made perfect by their imperfections, images that add up to portraits of the web, diaristic photo essays on the part of the surfer, and images that certainly add up to something greater than the sum of their parts. Taken out of circulation and repurposed, they are ascribed with new value, like the shiny bars locked up in Fort Knox"

karena

Specific objects. Donald Judd

http://cepa.newschool.edu/~quigleyt/vcs/judd-so.pdf

If you paste this into search bar you can download entire pdf :) tui

dreamtime

Almost every digital camera these days has a built-in scene mode for extreme wide angles. You are able to create a panorama shot by taking several photographs in chronological order and later on composing them into one single image by using imaging software. The panorama mode helps you taking a matching continuous shot by superimposing the image previously taken into the display of the image that you're intend to capture just as.

Though the image emerging from the composition is able to pretend one singular moment in linear time, it actually derives from several different points in linear time. The composed image also does not provide any closer information on time relations between the single shots. If not adjusted afterwards, you can most frequently observe differences in exposure that can reveal process and position of the photographer but however these fluctuations of light don't function as reliable indicators for any estimation of time lag relating to the course of the sun.

Looking at a panoramic photograph I'm always trying to find traces that lead me to gates into a dreamtime - time which is experienced as a co-existing confluence of past, present and future - where I'm able to associate around circles of time, continually crossing an non existent date line and observing future as well as past mental states; alongside an associational network stretched not just this and that way in space but also back- and forwards in time.

So what is the barrier that, in certain incidents rejects us from such a comprehensive view?

Back to / La Machina:
The death of the panorama mode is the panoramic camera. It does what the panorama mode is not able to do in succession of an optical limitation : Capturing the entire panoramic scene in one single moment. Apparently these panoramic cameras are available as film cameras only. I think of old-school analogue photography I grew up with. The magic experience of the digital age seems to be not the immediate gaze at the image. It's more the awareness of a time overleaped and a certain experience casted away: Rewinding your film, taking it to the lab and waiting for it to be processed before you're able to view it....holding each single frame against the rays of the sun.

Boris Dornbusch

T U I K E R E H O M A

Apologies for the late blog. I hope it makes some sense. On short notice we have Mike.P visiting for Friday crits and I have the black book available in studio. It is on my main desk, Just turn on the lamps if you need extra lighting.
The black book will be a component in my final installation which I think will be quite theatrical in nature, a set-up, staged scenario of some kind. Perhaps resembling a press conference. So as follows is some material that may be of use for our discussion around this item tomorrow.
History. As some of you know I have had a problem with people helping themselves to the books/paperwork in my studio space and attempted to stop them by leaving a threatening note on a post-it. The problem continued regardless. As a social experiment I found this an amusing reflection of the relationship dynamics within the studio.
A thread of my research has concerns with a kind of ‘book hysteria’ that abounds and their status as main pathways of knowledge. Especially here within the university where they are building blocks. Today there was discussion of the inventory made of all the books found in Robert Smithson’s studio after his death. A desperate insight into the genius.

When considering the fact that our evolutionary success is due to our ability to pass on knowledge through language and reflecting on the status of the book: It is from here that I have concerns with the book as a gatekeeper. For exactly who has the opportunity to partake in this form of evolution? Considering the illiterate millions and the large percentage of them being female etc we all know the specs.

Mute. Umberto Ecos antilibrary has been an interesting vein of research concerning the above. His library consists of unread books as they remind him that what you don’t know is far more relevant than what you do know as whatever you come to know may become inconsequential if your enemy knows that you know it.

In a previous blog I used a quote by Jean-Marie Muler for UNESCO in which she discusses the fact that due to our ability to use language, violence therefore becomes redundant. This may be a decision harder for some when reflecting on the above, where it is clear that so many are without the means to engage in such a large and institutionally legitimized form of discourse.

The above material is not really a question but to let you in on some of the principles surrounding the production of the black book. Whether it has a life force beyond this pre-amble is of course for you to decide and for me to negotiate within the final installation.

Thanks.

re member

1 question remains

Where do you position your reality in relation to the realities outside of you?

postponed

hi Tui,
Tomorrow is fine.
I will come in in the afternoon.
Thanks,
Asumi

T U I K E R E H O M A

Urgent:

Dear Asumi, I am unable to make it in this avo. However I am in till late tomorrow, shall we postpone till then? Aplogies for the late notice.

Sincerely t.

Japanese artists dvd

There's a dvd on my desk people may be interested in. I recorded it for you Asumi but anyone can have a look at it, just return it when you are finished
xkarena

reading for my next crit

Image: Video Still Paviljon Marinum

Concerning my project Paviljon Marinum I shot in Croatia this year, I'm interested to discuss Robert Smithson's essay Entropy and the new monuments
The essay is available online:
http://www.robertsmithson.com/essays/entropy_and.htm
Boris

slow motions

http://johnwardknox.blogspot.com/2008/08/slow-motions.html

Hi all, sorry I didn't get notice to everybody, but I had a show the other night in achilles house. the link above will take you to images. The installation was performed illicitly and unfortunately i was caught so didn't get any daytime pics.

On Telepathy re: Melvin Moti - K.O.Mortel

Melvin Moti - K.O. Mortel

Moti's K.O. Mortel (Lethal K.O.), consists of a black-and-white photograph of a boxing match held in 1946, and a jar with an actual soap bubble made of material that makes it unbreakable. The boxing match in question was initially called off by boxing legend Sugar Ray Robinson because he had dreamt that he delivered his opponent Jimmy Doyle a lethal blow. But Robinson was pushed into the fight despite his premonitory dream and the photograph depicts the precise moment Doyle falls in the ghostly light of the flash. In that instant, Robinson is made to witness his dream become reality.

Concerning Telepathy, I'm currently reading J.W. Dunne Experiment with Time.The British aeronautical engineer J.W. Dunne possessed the ability to dream of future events. He kept a detailed diary on the subject and in 1927 published the book An Experiment with Time in which he formulated the theory that experiences of the past, present, and future are inseparable from one another.

As the artist Moti I'm interest here in the limits of what can be mentally represented and what eludes historical systematization.
Boris

spellcast on 'portal'

"the day, the place"
Spell, Chemical Print on German Beechwood, 10x15cm
Boris Dornbusch 2008





Portal, Dane Mitchell - 2008, Spell, stainless steel, ink on paper

Asumi - messages

>Tui
Yes, Thursday after 5pm is fine!
I'm currently concentrating on reading/researching trying to find a break through...for ideas of the uses of my collection of found stuff.
Let see what I can bring for Thurs.

>Karena
I saw this book in Boarders (discounted to $29) and thought you might be interested. There are also 4 copies in various UoA libraries. (it's kind of ironic, or perhaps too 'as is' that it was published from TePapa...)

Exhibiting Maori : a history of colonial cultures of display
Conal McCarthy, TePapa press

>Boris
Though I don't understand what the title means, (very puzzling), I really liked the photo. Would you put it up again? or can I have a copy please.

Cheers,

IDENTITY ISSUES

HEY GUYS, IF YOU POST A COMMENT, CAN YOU PLEASE IDENTIFY YOURSELF.
SOMEONE LEFT A COMMENT ON MY LAST ENTRY WITHOUT IDENTIFYING HIM/HERSELF.
IT'S OUR COMMON BLOG AND NOT SOME ANONYMUS THING.
IF YOU WANT A DISCUSSION WITH ME, SHOW YOUR FACE, I AM VERY HAPPY TO TALK TO YOU THEN!

BORIS

T U I K E R E H O M A

Dear Asumi,
I'm totally in for a focus discussion. How about next thurs after you finish work? I'll be in late. We can both bring some work into the discussion, doesn't have to be finished, we could talk around your blog entries if you like. I'll have a black book and some notes. Maybe bring some tea along. Anyone else interested?
Sincerely t.

a comforting thing

re: telepathy
an analogy that may explain the telepathic phenomena - it maybe another state of matter, what-ever, let's say, x , operating from a specific but not explicitly named or stated part of our mind, the faculty of our consciousness and thought:

if you can imagine a tube reaching to some specific place or point in the universe or within any other organism. let's say as far as our so called sun. now, inside this tube there is a rod. if we move the rod (preferably made out of a material that makes you feel comfortable) in the tube at this end, it will move immediately at the other end too. it will take light, i presume about 7 minutes of your individual time unit to reach that distance.

this telepathic sense, or third eye will become more prevalent in future worlds. it all maybe to do with some further development of our kind towards more unification in terms of human motifs, so to say a mono-sense of living within multible realities.

apart from our usual five senses (see, touch, taste, smell, hear), we have the sixth or telepathic sense, our intuitive sense, which can show us our immortal self. it follows intuitively that life didn't end, that's why we are still here. an example of this mono-sense is with the pueblo native americans: speaking to his people, a spokesman for the pueblo was supposed to have said: “we shall be one person”, which can be a comforting thing.

boris dornbusch 2008, image: boris dornbusch (all rights reserved)