User:123cld: Difference between revisions

Latest revision as of 16:13, 28 December 2023

disclaimer: my wiki sucks, I always neglect it - everything here is in progress/process - forgive the poor form - I will update it and make it neat and tidy one day

QUICK NOTES HERE

https://www.opb.org/article/2023/09/13/university-oregon-scientists-bionic-eye-retinal-implant-technology/

https://www.abebooks.com/9781909400030/Eye-Art-Ancient-Greece-Studies-1909400033/plp

https://cloudflare-ipfs.com/ipfs/bafykbzacebyag7ya4eg7isaoap63nmprzsozh7ha5yosohl2npnsmvg6pry2q?filename=Jennifer%20M.%20S.%20Stager%20-%20Seeing%20Color%20in%20Classical%20Art_%20Theory%2C%20Practice%2C%20and%20Reception%2C%20from%20Antiquity%20to%20the%20Present-Cambridge%20University%20Press%20%282023%29.pdf

https://cloudflare-ipfs.com/ipfs/bafykbzacectqumu6ouhm2jzuw7veyhecsdmx3xcjdi6olit5vg2uetd2qkyk6?filename=Michael%20Squire%20-%20Sight%20and%20The%20Ancient%20Senses-Routledge%20%282016%29.pdf

https://www.nano-retina.com/technology/#3dni

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7198351/table/T1/

https://spectrum.ieee.org/bionic-eye-obsolete

eyes inlays in greek sculpture

https://www.getty.edu/publications/artistryinbronze/statuettes/14-hemingway-abramitis/

https://www.abebooks.com/9781909400030/Eye-Art-Ancient-Greece-Studies-1909400033/plp (chapter 4)

https://www.metmuseum.org/toah/hd/prms/hd_prms.htm

Françoise Frontisi-Ducroux, Dédale: Mythologie de l’artisan en Grèce ancienne

Françoise Frontisi-Ducroux, “Living Statues,” in Antiquities,

materialist theories of vision in greek philosophy

https://www.abebooks.com/9781909400030/Eye-Art-Ancient-Greece-Studies-1909400033/plp (chapter 4)

https://www.routledge.com/Sight-and-the-Ancient-Senses/Squire/p/book/9781844658664

https://artreview.com/the-uncanny-properties-of-print-michael-snow-cover-to-cover/

Reading Cover to Cover is much like watching one of Snow’s films: visually quite mundane, where what happens isn’t as important as how it’s being shown to you, with a sustained focus that sits with a relatively simple idea for longer than you might think. Accordioned depictions of sitting, walking, even doing nothing, become extended meditations on how we experience the world. Underwriting the intensity of Snow’s work is a consistent sense of his wry smile, being quietly profound with a casual shrug. Snow is a rare beast: a structuralist with a sense of humour, a filmmaker who recognised that tinkering around with the limitations of the medium was also a way to rewire our sense of everyday perception – using art as a means to capture and crystallise the whatthefuckness of strolling around with a thinking, feeling body. Here he uses the means of a photobook to trace the contours of his body, his house and the existential possibilities of a book itself. Books, those weighty space-fillers, can turn your brain inside out; the means to reconfigure reality are right at our fingertips

vision loss in contemporary age

https://www.youtube.com/watch?v=ObtW353d5i0&t=1448s

https://dr-younes-henni.medium.com/how-to-slow-the-decline-of-your-eyesight-97ac815957e

daston and galison - blind sight

https://www.youtube.com/watch?v=NnFgnEwN1FU (galison)

https://canadianart.ca/interviews/michael-snow/

https://vimeo.com/fruhauf

https://www.youtube.com/watch?v=T25WqM6OFDg (hollis frampton artifical light)

https://www.youtube.com/watch?v=S3GYYmIWQHQ(hollis frampton snowblind)

https://www.youtube.com/watch?v=BdqPC-dIHUM (hollis frampton information)

https://vimeo.com/203365058

https://movimcat.eu/post/616817178500644864/no-land-2019-by-emily-chao

a refusal to make a fetish of the final “work” - to operate almost exclusively on the level of the sketch. - is there value in this stance? what is it?

agenda (list of stuff to be done in the very near future)

GRS2023

ongoing (really? still?) projects/research

NS project / making/mapping an archive

The Absolute Flicker, or: Appropriating Tony Conrad's The Flicker: a frame-by-frame breakdown, a score/set of instructions, a library of loops, a full digital bootleg/remake/cover, some notes on.

"""finished""" works

1 or 2 images (EYE Research Lab short film)

Text on practice or (A PIECE OF) SELF-CONSCIOUSNESS/SELF-CRITICISM (ABOUT MY PRACTICE SO FAR) or else A MAP(-PING) OF PRESENT PRECARIOUS PROJECTS AND INCOMING IN-PUTS (IN-TERESTS, IN-FLUENCES, IN-TUITIONS, IN-TENTIONS) and A SELECTION (FROM AN ONGOING COLLECTION) OF SCREENSHOT AS A (SELF- REFLEXIVE) STATEMENT (ABOUT MY PRACTICE)

A cameraman filming aka FILMINGWATCHINGBURNING

IMG 5728 aka A horse running in a loop, looped

Untitled (Diamante)

First year prototyping/sketching/tryouts/ideas in progress aka serious playgrounds

Three Screens

blow-up / shiny stuff

screensaver

Variable Aspect Ratio

burning film loop

scherm lcd

24x1

four formats

abstract loops from abstract films

plans, plans, plans (notes on/for future projects + general research directions/intentions)

an ongoing screenshot-based statement/manifesto?

Dubai Dispositif (re-edit)

Sat morning sonnet

reading and writing seminar

readlist, watchlist

annotations

http://cldtl.com

LENS-BIASED MEDIA, a speculative sticker

@@ Line 1: / Line 1: @@
+[[File:WhatsApp-Image-2023-01-24-at-19.31.12.gif|frameless|269x269px]]
+<small>disclaimer: my wiki sucks, I always neglect it - everything here is in progress/process - forgive the poor form - I will update it and make it neat and tidy one day</small>
- [[name of new page|NS materials]]
+'''QUICK NOTES HERE'''
+https://www.opb.org/article/2023/09/13/university-oregon-scientists-bionic-eye-retinal-implant-technology/
-CLAUDIO
+https://www.abebooks.com/9781909400030/Eye-Art-Ancient-Greece-Studies-1909400033/plp
-ORIGINAL
+https://cloudflare-ipfs.com/ipfs/bafykbzacebyag7ya4eg7isaoap63nmprzsozh7ha5yosohl2npnsmvg6pry2q?filename=Jennifer%20M.%20S.%20Stager%20-%20Seeing%20Color%20in%20Classical%20Art_%20Theory%2C%20Practice%2C%20and%20Reception%2C%20from%20Antiquity%20to%20the%20Present-Cambridge%20University%20Press%20%282023%29.pdf
-WHAT
+https://cloudflare-ipfs.com/ipfs/bafykbzacectqumu6ouhm2jzuw7veyhecsdmx3xcjdi6olit5vg2uetd2qkyk6?filename=Michael%20Squire%20-%20Sight%20and%20The%20Ancient%20Senses-Routledge%20%282016%29.pdf
-Dubai Dispositif is a 50-minute long film essay made from amateur travel footage uploaded on Youtube by ordinary people showing their experience of staying in Dubai. It is divided in seven sections - plus an intro and an outro - and can work both as a single screen film and a multi-channel installation - which I haven’t tested yet though. Every section has a title and is built around certain recurring elements of the original footage. The sections are organised in such an order that builds up a spatial experience throughout the city’s environments. The original footage is reframed by overlay black frames and it is accompanied by a text in the form of subtitles/captions. Dubai Dispositif deals mainly with notions of bodies, space (urban, architecture, environmental), (self-)representation, technology.
+https://www.nano-retina.com/technology/#3dni
-HOW
+https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7198351/table/T1/
-I binge-watched the footage and collected it - first by means of playlisting, then by offline downloading. In the editing software I broke the videos into pieces, hunting and gathering recurring fragments - always different, always identical, which I then re-arranged in compilations -  the seven sections of the film. I turned all the footage in black and white, to allow a more abstract, detached viewing, as well as to emphasise its always-different-always-identical nature. I reframed the footage with overlay black frames, intended to re-orientate the viewer’s gaze towards certain features of the images used that I found significant. Every section has its own specific framing. All along the editing process I wrote a text, by additional fragments, that combines essayistic elements, quotes from readings, personal notes. The text is superimposed onto the images to create an additional layer of interpretation and meaning. Finally, I extracted the original sound from the footage and made a drone-like, mostly low-pitched soundscape that complements the images on screen.
+https://spectrum.ieee.org/bionic-eye-obsolete
-WHY
+eyes inlays in greek sculpture
-The film speculatively considers Dubai as a hotspot of our times; as a place in which certain tendencies and processes of our times take extreme forms and become therefore paradoxically visible. Dubai as an optical prism through which reality is decomposed and made visible; as a divination crystal ball in which, through its present, a possible future can be foreseen. The main intention of the work is therefore to intercept images coming from a radically different place, to penetrate into them deeply and dissect them, to then recompose them trying to bring to sight and understand how that “other”, faraway place is closely related to “our” present and near future. To generate speculative fiction from fragments of reality, in an exercise of alienation and projection.
+https://www.getty.edu/publications/artistryinbronze/statuettes/14-hemingway-abramitis/
-EDIT 1
+https://www.abebooks.com/9781909400030/Eye-Art-Ancient-Greece-Studies-1909400033/plp (chapter 4)
-WHAT
+https://www.metmuseum.org/toah/hd/prms/hd_prms.htm
-Dubai Dispositif is a 50-minute long film essay made from amateur travel footage uploaded on Youtube by ordinary people showing their experience of staying in Dubai. It is divided in seven sections - plus an intro and an outro - and can work both as a single screen film and a multi-channel installation - which I haven’t tested yet though. Every section has a title and is built around certain recurring elements of the original footage. The sections are organised in such an order that builds up a spatial experience throughout the city’s environments. The original footage is reframed by overlay black frames and it is accompanied by a text in the form of subtitles/captions. Dubai Dispositif revolves around notions of bodies, space (urban, architecture, environmental), (self-)representation, technology, and the intertwined relations between them.
+Françoise Frontisi-Ducroux, Dédale: Mythologie de l’artisan en Grèce ancienne
-HOW
+Françoise Frontisi-Ducroux, “Living Statues,” in Antiquities,
-I binge-watched the footage and collected it - first by making online playlists, then by downloading it on my computer. In the editing software I broke the videos into pieces, hunting and gathering recurring fragments - always different, yet always identical, which I then re-arranged in compilations, that constitute the seven sections of the film. I turned all the footage in black and white to allow a more abstract, detached viewing, as well as to emphasise its always-different-always-identical nature. I reframed the footage with overlay black frames, intended to re-orientate the viewer’s gaze towards certain features of the images used that I found significant. Every section has its own specific framing form. All along the editing process I wrote a text by additional fragments, that combines essayistic elements, quotes from readings, personal notes. The text is superimposed onto the images to create an additional layer of interpretation and meaning. Finally, I extracted the original sound from the footage and made a drone-like, mostly low-pitched soundscape that complements the images on screen.
+materialist theories of vision in greek philosophy
-WHY
+https://www.abebooks.com/9781909400030/Eye-Art-Ancient-Greece-Studies-1909400033/plp (chapter 4)
-The film speculatively considers Dubai as a hotspot of our times, in which certain tendencies and processes of our times take extreme forms and become therefore paradoxically visible. Figuratively speaking, it regards Dubai as an optical prism through which reality is decomposed and made visible; or as a divination crystal ball in which, by observing its present, a possible future can be foreseen. The main intention of the work is therefore to intercept images coming from a radically different place, to penetrate into them deeply and to dissect them, and then recompose them trying to bring to sight and understand how that “other”, far-away place is closely related to “our” present and near future. To generate speculative fiction from fragments of reality, moving on the edge between alienation and projection. I did not want my film to refer directly to Dubai. The word Dubai is in the title, but in the film it is never mentioned, and Dubai’s most renowned symbols are not shown. In doing so I intended to create a certain sense of ambiguity: I admittedly use images exclusively coming from Dubai, but on the other hand I do not show anything of what Dubai actually is in collective imagination and its expected representation, focusing instead on rather anonymous, generic moments, settings, actions that might possibly belong to anywhere.[[File:Screen-Shot-2022-09-21-at-19.44.33.gif|thumb|958x958px]]
+https://www.routledge.com/Sight-and-the-Ancient-Senses/Squire/p/book/9781844658664
+https://artreview.com/the-uncanny-properties-of-print-michael-snow-cover-to-cover/
+Reading ''Cover to Cover'' is much like watching one of Snow’s films: visually quite mundane, where what happens isn’t as important as how it’s being shown to you, with a sustained focus that sits with a relatively simple idea for longer than you might think. Accordioned depictions of sitting, walking, even doing nothing, become extended meditations on how we experience the world. Underwriting the intensity of Snow’s work is a consistent sense of his wry smile, '''being quietly profound with a casual shrug.''' Snow is a rare beast: '''a structuralist with a sense of humour, a filmmaker who recognised that tinkering around with the limitations of the medium was also a way to rewire our sense of everyday perception – using art as a means to capture and crystallise the whatthefuckness of strolling around with a thinking, feeling body.''' Here he uses the means of a photobook to trace the contours of his body, his house and the existential possibilities of a book itself. Books, those weighty space-fillers, can turn your brain inside out; the means to reconfigure reality are right at our fingertips
+vision loss in contemporary age
+https://www.youtube.com/watch?v=ObtW353d5i0&t=1448s
+https://dr-younes-henni.medium.com/how-to-slow-the-decline-of-your-eyesight-97ac815957e
+daston and galison - blind sight
+https://www.youtube.com/watch?v=NnFgnEwN1FU (galison)
+https://canadianart.ca/interviews/michael-snow/
+https://vimeo.com/fruhauf
+https://www.youtube.com/watch?v=T25WqM6OFDg (hollis frampton artifical light)
+https://www.youtube.com/watch?v=S3GYYmIWQHQ<nowiki/>(hollis frampton snowblind)
+https://www.youtube.com/watch?v=BdqPC-dIHUM (hollis frampton information)
+https://vimeo.com/203365058
+https://movimcat.eu/post/616817178500644864/no-land-2019-by-emily-chao
+a refusal to make a fetish of the final “work”  - to operate almost exclusively on the level of the sketch. - is there value in this stance? what is it?
+<u>[[123cldagenda |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">agenda (list of stuff to be done in the very near future)]] </u>
+[[cldtlGRS2023|<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;"><u>GRS2023
+</u>]]
+'''ongoing (really? still?) projects/research'''
+<u>[[NSarchive |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">NS project / making/mapping an archive]] </u>
+<u>[[tonyconradtheflickerremake |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">The Absolute Flicker, or: Appropriating Tony Conrad's ''The Flicker'': a frame-by-frame breakdown, a score/set of instructions, a library of loops, a full digital bootleg/remake/cover, some notes on.]]</u>
+'''"""finished""" works'''
+<u> ''[[1or2images |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">1 or 2 images (EYE Research Lab short film)]]''</u>
+<u>[[Textonpracticefinal2023 |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">Text on practice or <small>(A PIECE OF) SELF-CONSCIOUSNESS/SELF-CRITICISM (ABOUT MY PRACTICE SO FAR) or else A MAP(-PING) OF PRESENT PRECARIOUS PROJECTS AND INCOMING IN-PUTS (IN-TERESTS, IN-FLUENCES, IN-TUITIONS, IN-TENTIONS) and A SELECTION (FROM AN ONGOING COLLECTION) OF SCREENSHOT AS A (SELF- REFLEXIVE) STATEMENT (ABOUT MY PRACTICE)</small>]]</u>
+<u>[[Burningfilmloop |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">A cameraman filming aka FILMINGWATCHINGBURNING ]]</u>
+<u>[[Ahorserunninginaloop |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">IMG 5728 aka A horse running in a loop, looped ]]</u>
+<u>[[Untitled(Diamond) |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">Untitled (Diamante) ]]</u>
+'''First year prototyping/sketching/tryouts/ideas in progress aka ''serious playgrounds'''''
+<u>[[Three Screens |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">Three Screens ]]</u>
+<u>[[blow-up |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">blow-up / shiny stuff ]]</u>
+<u>[[incaseofnecessityplease |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">screensaver ]]</u>
+<u>[[Variable Aspect Ratios |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">Variable Aspect Ratio ]]</u>
+burning film loop
+scherm lcd
+x1
+four formats
+abstract loops from abstract films
+<u>[[plansplansplans |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">''plans, plans, plans'']] (notes on/for future projects + general research directions/intentions)</u>
+''<u>[[screenshots |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">an ongoing screenshot-based statement/manifesto?]]</u>''
+<u>[[Dubai Dispositif |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">Dubai Dispositif (re-edit) ]]</u>
+''<u>[[satmorningpsonnet |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">Sat morning sonnet]]</u><u> </u>''
+''<u>[[readingandwriting |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">reading and writing seminar]]</u>''
+''<u>[[readlist, watchlist |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">readlist, watchlist]] </u>''
+<br>
+<br>
+<br>
+''<u>[[annotations123cld |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">annotations]] </u>''
+<br>
+<br>
+<br>
+[http://cldtl.com <span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;"><u>''http://cldtl.com''</u>]
+<br>
+<br>
+<br>
+''<u>[[LENS-BIASED MEDIA |<span style="color:black; background-color:white; font-family: Helvetica; font-size: 15px;">LENS-BIASED MEDIA, a speculative sticker]] </u>''
+[[File:LENS BIASED sticker.jpg|frameless|313x313px]]