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| [[HOW, WHAT, WHY ]] | | [[HOW, WHAT, WHY ]] |
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| '''2nd Synopsis
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| ‘The work of art in the age of digital recombination' by Jos de Mul
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| ‘The work of art in the age of digital recombination' by Jos de Mul begins by introducing the idea of media as a ‘means for presenting information’ and talks about the different relationships it creates between us and our world, us and fellow man and us and ourselves. Mul states that he will be examining the way ‘computer interfaces constitutes and structures aesthetic experience’, he then introduces Walter Benjamin’s seminal essay ‘The work of art in the age of mechanical reproduction’ as this forms a large proportion of the context to his argument. Mul outlines Benjamin’s theories on the aura, authenticity and the cult value of a work of art. which are all inherent in original works only. Benjamin puts forward the idea that a singular work with has one presence has the strongest aura and he also opens this analogy beyond artworks to nature in general. With the invention of photography the age of reproduction came into being and this in turn reduced the auratic nature of artworks for Benjamin.
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| Mul then moves to compare Benjamin’s ideas to his theory on recombination, as opposed to the latters reproducibility, which is inherent to media and digital technologies. He introduces the idea of database ontologies within computer technology, which we are now all so reliant on. Mul discusses how this multiplicity and constant reuse as well as reconfiguring of data changes the nature of the artwork in the context of Benjamin’s aura. He also gives examples of this recombination in terms of the genetic modification of animals and also within art and politics becoming manipulating forces on each other.
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| '''‘Remixing and Remixability’ by Lev Manovich'''
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| In Remixing and Remixability Lev Manovich discusses ideas around multiplicity and the modular. He focuses mainly on the internet as a space for these ideas to take place but also expands to talk about industrialization, culture and society in general. He begins by talking about the growth of the internet and the amount of information flow that is taking place online and introduces the term ‘collaborative remixability’ - describing the trend for borrowing and sampling from other sources to produce your own content. Manovich gives the example of architecture which reused styles form previous periods throughout history and compares this to the methodology of a contemporary artist or designer.
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| He then focuses on modularity, which is not reliant on remixability but both work very well together. Manovich gives examples of stocks of images and music files available for remixing and puts forward an idea of all content in the future being treated this way. He describes modularity as providing a fluidity of movement in which ‘cultural bits can move around more easily’. He gives examples of specific spaces online for remixing and sharing such as flicker, RSS feeds, blog posts etc.
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| Manovich then contextualises the idea of modularity within industrialisation and Fordism, as this was the ultimate modular and cheap mass produced system. This has lead to our current society of globalization and connectivity, in which the internet is at the center. However he also makes an important case for the individual within the modular, in that no one wants to be exactly the same and generic so there needs to be a consideration of the ideology of the individual.
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| Synopsis
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| Jealousy
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| Alain Robbe-Grillet
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| Jealousy is a short novel written by Alain Robbe-Grillet in 1957. Robbe-Grillet is a French author and film maker born in 1922, he is known for being a key figure in the Nouveau Roman movement of writing – a new, experimental form of novel. Jealousy is Robbe-Grillet’s fourth book.
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| Jealousy is set on a banana plantation and traces the lives of a couple who live on the plantation. The narrator of the book is anonymous in that his identity is unknown to the reader and all we learn about him is implied through other statements rather than being explicit. The narrator’s wife, who is also anonymous to degree being just referred to as ‘A…’, is suggested to be having an affair with a neighbor, Franck. Franck frequents the house most evenings and they all dine together.
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| The novels structure is based around this one location, which is described by the narrator in great detail. The book begins with a floor plan of the house, allowing the reader to build an image in their mind of this space from the outset. Robbe-Grillet’s writing uses an obsessive style of description focusing on shape, light, size, form, colour and texture which builds a detailed image of the house for the reader. Geometry is used as a descriptive tool, for example he describes the flies as ‘orbiting’ a light at various angles and degrees. Robbe-Grillet also uses the houses formal structure as a way of giving a sense of time passing by, for example, referring to the shadows moving across the veranda; using the house as sundial.
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| One of the most striking aspects of Jealousy is the anachronistic sense of time that Robbe-Grillet creates. There is a constant looping and repetition of events and scenarios that begin to step out of the normal chronology of time. For example breakfast is followed by the evening meal which then returns to midday and an event such as ‘A..’ and Franck visiting the local town together are endlessly repeated. The effect of this constant cyclical structure is one of an extremely hermetic and claustrophobic space.
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| Although the narrator’s personal emotions and opinions are mainly repressed it is implied to the audience through observation that his wife is having an affair with Franck. As such an atmosphere of suspicion, distrust and resentment is suggested within this central relationship. Through objective description it is also implied that the narrator may be spying on his wife through window blinds and doorways within the house.
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| The killing of a centipede becomes an important symbol within this repeating narrative as it creates a form of symbolic closure within an agonizingly cyclical structure. The centipede is squashed and killed by Franck on the wall of the house at ‘A’s…’ request, and this image becomes a haunting reminder of a creature that was once living.
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| The book concludes with no clear resolution, the endless cycle of dishonesty and the repression of emotions is continued from the looping structure established at the beginning.
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Latest revision as of 13:21, 29 May 2013
HOW, WHAT, WHY
Synopsis
Q to an unspecified object
Selected Interiors, Cotham School
Selected Interiors, Cotham School is collection of twenty two 35mm colour slides which are presented on a rotating slide carousel projector. The projector is placed on the floor and the projected image is around 20x30cm. The colours in the slides are of a vivid nature and the sound of the projector rotating is present in the space. The slides depict books that have been opened on particular pages presenting photographs of 20th century paintings within an ‘art book’ format accompanied by explanatory text. Each painting depicts a form of domesticated interior space. In some of the slides hands and fingers are visible pointing at particular paintings and in others the slides have been drawn and written on directly, presumably to focus the viewers attention.
Selected Interiors, Cotham School
How was it made?
The collection of 20 slides were found in a secondary school, Cotham School. They have just been represented in a new context. The slides are documentation of postcards and books that have been opened on various pages, showing reproductions of paintings from the 20th century. The paintings all depict scenes of domestic interior spaces.
Where did it come from?
The slides came from Cotham School and were found in a collection of obsolete resource materials which were to be thrown away. Due to this context and the nature of the images I assume a previous art teacher at the school produced the slides.
How does it make you feel?
The slides interest me due to the strong sense of subjectivity within them and another person’s gaze and hands being implicit in their production and form. The slides are a small collection of just 20 images and I like to imagine the intentions of the teacher when I view the images, building a narrative around their possible use and subsequent effect. The slides also make me think about how artworks are understood, mediated and circulated and how our experience of artworks are predominantly through secondary (and in this case tertiary) resources.
What does it believe in?
The slides themselves believe in education and aim to do this through artworks and, in this case, painting. The slides and their author believe in using what is at hand to aid this education, so reproductions of paintings in books and on postcards are a good stand in for the original works. The author also does not mind if surplus information is also contained within the frame, such as hands, other works, text, background table etc.
The artwork, Selected Interiors, Cotham School, does not discredit the beliefs of the slides and their author but just has a different context of a future position from their original production in which to understand the images from. Within this period technology, education and art have all developed extensively since the slides production and this new context makes the slides into curious objects and artifacts.
Screen #5, St Thomas’ Sq (photograph montage)
Screen #5, St Thomas’ Sq (photograph montage) is a framed work of 60x60cm. Inside the frame there is an off white mount with five 35mm black and white photographs, each being 10x18cm. The photographs are laid out in an unsymmetrical format where by no photograph has the same distance between itself and its surrounding images in relation to the rest. This creates a montage effect where the eye cannot settle easily on one image, instead encouraging a constant movement with no clear beginning or end. The photographs depict a small oblong shaped park, which is enclosed by a fence and surrounded by buildings. In the center of the park is a screen like structure that is made from a simple frame with three central panels. The position of the photographs revolve around the object as well as moving closer and further away. It is daytime as the sunlight and its shadows are visible.
Screen #4, Milan (structure)
Screen #4, Milan (structure) is a wooden structure made from four sections each being 50cmx170 each. These sections stand up straight in a slightly arched formation (if viewed from above) supported by wooden struts at the back in the center of each panel. The two side sections have ‘L’ shaped cut outs from their inner most side, which are in turn used as the supports behind. The wood is left untreated and the grain is visible. On the front of the two central panels is a printed motif. This is formed of two overlapping oblong shapes that are produced with a dark blue ink. The print is made up of tiny cross-hatched squares which resemble a thick weave. The prints are of varying density with the first layer being lighter and the second heavier, but the two panels do not match exactly.
