tag:blogger.com,1999:blog-8722364385614606482024-03-05T16:17:24.689+00:00Open FileA Curatorial ConversationTim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comBlogger169125tag:blogger.com,1999:blog-872236438561460648.post-46179234236144176942014-03-01T14:34:00.000+00:002014-03-01T14:34:35.501+00:00Gilles Deleuze - Difference and Repetition<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">Gilles Deleuze - Difference and Repetition</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">1968, trans. 1994</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">After a string of books on other philosophers - Hume, Nietzsche, Bergson and Spinoza - Difference and repetition marked Gilles Deleuze's first attempt to 'do philosophy' for himself. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Deleuze <span style="background-color: white; line-height: 19.200000762939453px;">develops the concepts of '</span><span style="background-color: white; line-height: 19.200000762939453px;">difference in itself'</span><span style="background-color: white; line-height: 19.200000762939453px;"> and '</span><span style="background-color: white; line-height: 19.200000762939453px;">repetition for itself' in order to </span>create an ontology of unstable, unpredictable, creative forces<span style="background-color: white; line-height: 19.200000762939453px;">. He argues for the primacy of difference and repetition over the concepts of </span><span style="background-color: white;"><span style="line-height: 19.200000762939453px;">identity and negation in Hegelian dialectics. Repetition here, however, is to not to be merely understood as the reappearance of sameness, as he begins::</span></span></span></div>
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Repetition is not generality. Repetition and generality must be distinguished in several ways. Every formula which implies their confusion is regrettable: for example, when we say that two things are as alike as two drops of water; or when we identify ‘there is only a science of the general’ with ‘there is only a science of that which is repeated’. Repetition and resemblance are different in kind - extremely so. </blockquote>
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Generality presents two major orders: the qualitative order of resemblances and the quantitative order of equivalences. Cycles and equalities are their respective symbols. But in any case, generality expresses a point of view according to which one term may be exchanged or substituted for another. The exchange or substitution of particulars defines our conduct in relation to generality. That is why the empiricists are not wrong to present general ideas as particular ideas in themselves, so long as they add the belief that each of these can be replaced by any other particular idea which resembles it in relation to a given word. By contrast, we can see that repetition is a necessary and justified conduct only in relation to that which cannot be replaced. Repetition as a conduct and as a point of view concerns non-exchangeable and non-substitutable singularities. Reflections, echoes, doubles and souls do not belong to -the domain of resemblance or equivalence; and it is no more possible to exchange one’s soul than it is to substitute real twins for one another. If exchange is the criterion of generality, theft and gift are those of repetition. There is, therefore, an economic difference between the two. </blockquote>
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To repeat is to behave in a certain manner, but in relation to something unique or singular which has no equal or equivalent. And perhaps this repetition at the level of external conduct echoes, for its own part, a more secret vibration which animates it, a more profound, internal repetition within the singular. This is the apparent paradox of festivals: they repeat an ‘unrepeatable’. They do not add a second and a third time to the first, but carry the first time to the ’nth’ power. With respect to this power, repetition interiorizes and thereby reverses itself: as Peguy says, it is not Federation Day which commemorates or represents the fall of the Bastille, but the fall of the Bastille which celebrates and repeats in advance all the Federation Days; or Monet’s first water lily which repeats all the others. Generality, as generality of the particular, thus stands opposed to repetition as universality of the singular. The repetition of a work of art is like a singularity without concept, and it is not by chance that a poem must be learned by heart. The head is the organ of exchange, but the heart is the amorous organ of repetition. (It is true that repetition also concerns the head, but precisely because it is its terror or paradox.) Pius Servien rightly distinguished two languages: the language of science, dominated by the symbol of equality, in which each term may be replaced by others; and lyrical language, in which every term is irreplaceable and can only be repeated. Repetition can always be ‘represented’ as extreme resemblance or perfect equivalence, but the fact that one can pass by degrees from one thing to another does not prevent their being different in kind. </blockquote>
<span style="font-family: Arial, Helvetica, sans-serif;">In the preface to the English edition Deleuze describes how chapter 3 of this early work was to become so valuable to his later thought. </span><span style="font-family: Arial, Helvetica, sans-serif;">There discusses the image of thought - the 'implicit, tacit or presupposed' image which 'determines our goals when we try to think.' By putting this image into question we may achieve different goals and reach different intellectual outcomes. In this sense the book acts as a precursor to later works with Félix Guattari; in A Thousand Plateaus the pair propose the rhizome as the preferred model of thought, over the arborescence of the tree</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">PDF of the introductory essay <a href="http://topologicalmedialab.net/xinwei/classes/readings/Deleuze/Difference-and-Repetition/English/DifferenceRepetition01.pdf">here</a>.</span></div>
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-41351112711342570542014-02-02T12:52:00.000+00:002014-02-02T12:52:21.144+00:00Bernard Piffaretti<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYwElWcvQenorI2Wh0pIjRTuY-kxg6LSHXbAIxeVj17XmT04BQCYWgydL6KaUIM89kbtRMrxtiIQGt8H86Yh9ZN2nFDRDgPpnqifdQ_1ojKO5mgIT0DrcAIQRxUzu_SLQF1UnR5T3sOZI/s1600/Open+File+piffaretti_image_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYwElWcvQenorI2Wh0pIjRTuY-kxg6LSHXbAIxeVj17XmT04BQCYWgydL6KaUIM89kbtRMrxtiIQGt8H86Yh9ZN2nFDRDgPpnqifdQ_1ojKO5mgIT0DrcAIQRxUzu_SLQF1UnR5T3sOZI/s1600/Open+File+piffaretti_image_1.jpg" height="480" width="640" /></a><br /><br />Bernard Piffaretti - <i>Untitled, </i>2012 </div>
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Acrylic on canvas<br />260 x 200 cm</div>
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Always repeating the same strategy within his paintings, Piffaretti's image making begins by dividing the blank canvas in two with a vertical line. Layering one side of the painting with a cluster of marks and gestures, and then repeating the same motives on the opposing side of the painting. </div>
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The repetition of the painted marks allows the viewer to address the painting as a taxonomy of gestures. As our eyes shuttle between each side of the image we are asked to differentiate the two sides of the painting from one another. Colour fields, grids, structures and flatness are deployed as a language of mark making. This language is both hermetic and referential. The paintings reference their own codes and systems of production whilst also the Modernist styled abstraction who's schematics have been so knowingly pushed and pulled over the course of the last century. </div>
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As a sort of 'Meta-image', Piffaretti's paintings act as a mirroring device that reflects upon its own production and the traditions of paintings that exist outside of it. </div>
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Bernard Piffaretti - <i>Untitled</i><br />2011<br />Acrylic on canvas<br />172 x 168 cmAnonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-2737315250015287122013-11-26T19:24:00.003+00:002013-11-28T11:47:10.508+00:00I DID, DID I - Curated by Kes Richardson and Darren O'Brien<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><span style="font-family: Arial, Helvetica, sans-serif;">I DID, DID I</span></i></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Installation view featuring work by Dominic Kennedy, Kes Richardson and Catherine Parsonage</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">ASC Gallery, London, 2013</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.ascstudios.co.uk/event/i-did-did-i-private-view-friday-20-september-6-9pm/"><i>I DID, DID</i> <i>I</i></a> was an exhibition curated by Kes Richardson and Darren O'Brien, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">staged at ASC Gallery, London, between September 21st and October 26th 2013. The exhibition featured pairs of paintings by Howard Dyke, Kate Groobey, Dominic Kennedy, Catherine Parsonage and Kes Richardson.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Dividing the space into two distinct areas, theatrical flats were placed in such a way as to create two identical, separated spaces. These mirrored areas contained one of a pair of paintings, with it's twin (identical or not) found in the other. The order and spacing of the hang was the same in each of the two rooms.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Focusing on works created in series Richardson and O'Brien set up a unique viewing situation whereby the visitor encountered the elements separately but in close spacial and temporal proximity, hung in such a way that they could not be viewed together. Carrying the memory of what was recently seen into the next space, the set up engendered a close consideration of the distinguishing marks of each work causing the viewer to scrutinise the paintings for similarities and differences. Details and differences became at once pronounced and questionable as the visitor paced from one space to other in order to check what had just seen in relation to what may or may not have seen before.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Installation views featuring works by </span><span style="font-family: Arial, Helvetica, sans-serif; text-align: left;">Kate Groobey and </span><span style="font-family: Arial, Helvetica, sans-serif; text-align: left;">Howard Dyke (top) and </span><span style="font-family: Arial, Helvetica, sans-serif;">Dominic Kennedy, Kes Richardson and Catherine Parsonage (bottom).</span></div>
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-44806262505495982572013-11-13T10:56:00.001+00:002013-11-28T11:46:10.902+00:00Roni Horn - Pair Objects<div dir="ltr" style="text-align: left;" trbidi="on">
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Roni Horn – <i>Pair Field</i>, 1991<br />
solid forged copper, stainless steel<br />
eighteen different pairs of identical objects<br />
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Spanning sculpture, photography, drawing and print Horn's work often orientates itself around notions of 'sameness' and 'difference'. Regularly commenting on her sculptures as being ‘site-dependent’, Horn borrows from the vocabulary of Minimalism whilst embracing the specificity of its surrounding location and the intrinsic material qualities of the objects themselves.<br />
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In her <i>Pair Object</i> series Horn's produces two identical objects out of materials such as copper, steel and glass and displays them in close, but not immediate proximity to each other. The work explores a sort of tension as the two identical objects are altered minutely by the different spaces that they occupy. </div>
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Similar to her work <a href="http://openfileblog.blogspot.co.uk/2011/05/roni-horn-you-are-weather.html" target="_blank">'You Are the Weather'</a>, where she took photos of a girl in a thermal bath milli-seconds apart. She asks the audience to experience an almost identical form as an act of rememberance, an echo or repetition that allows us to reconsider our initial perceptions. </div>
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"The pair form, by virtue of the condition of being double, actively refuses the possibility of being experienced as a thing in itself. The simple state of doubleness includes, as integral, the space or interval between. So twice over, this work insists on a recognition of circumstance." Interview with Roni Horn<br />
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Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-82264059025021755132013-10-31T12:47:00.005+00:002013-10-31T12:47:55.316+00:00Jacques Derrida - Differance<div dir="ltr" style="text-align: left;" trbidi="on">
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Jacques Derrida <i>Differance</i><br />
1968, published in <i>Margins of Philosophy </i>1972<br />
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'Differance' is a neologism coined by the French-Algerian philosopher Jacques Derrida to describe the play of (spatial) differences and (temporal) deferrals in the role of generating signified meanings. His use of the term revolves its simultaneous double signification of two apparently different meanings. 'Differance' differs from the word 'difference' only in writing - the substitute of the 'e' for an 'a' is not vocalized.<br />
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The text linked below is a transcript of a lecture delivered to the Société of The Sorbonne in 1968 in which Derrida talks us through his thinking around this term.</div>
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The essay draws on the double meaning of the french word <i>diff</i>é<i>rer</i> - in English translated as either <i>to differ</i> or <i>to defer</i>. Derrida identifies deferring as a temporalizing effect and differing as spatial. Drawing on Saussure, he points towards the deference at play in any system of signs -the signified is never truly present -, and the differences that enable us to make sense of words - "Within the <i>system </i>of language, there are only differences". Derrida places 'differance' here - neither a concept nor a word, but the possibility of conceptuality itself. 'Differance' is what makes the movement of signification possible, it produces the differences that makes language possible.</div>
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When Derrida talks about 'writing' or 'text' it serves us well to remember his often quoted statement that "Nothing is outside of the text" (1) - far from a reductive statement that priveleges writing above all else, this indicates his expansive thinking of what constitues writing: "And thus we say “writing” for all that gives rise to an inscription in general, whether it is literal or not and even if what it distributes in space is alien to the order of the voice: cinematography, choreography, of course, but also pictorial, musical, sculptural “writing.” One might also speak of athletic writing, and with even greater certainty of military or political writing in view of the techniques that govern those domains today." (2)</div>
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Derrida draws a distinction between language and speech, arguing that speech <i>participates </i>in an existing language and is constituted by it; it is language that makes speech possible: Differance is speech's relationship <i>to </i>language.</div>
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<a href="http://www.kingscollege.net/lofts/courses/2204E/PDF%20readings/22%20Derrida%20Difference.pdf">Full text here</a>.</div>
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(1) <i>"...That Dangerous Supplement..."</i><i> </i>in <i>Of Grammatology</i><br />
(2) <i>The End of the Book and the Beginning of Writing </i>in <i>Of Grammatology</i><br />
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-13612759671871961722013-10-19T17:27:00.001+01:002013-10-19T17:27:32.684+01:00Tom Smith - The Future Hasn't Been Written Yet<iframe allowfullscreen="" frameborder="0" height="393" mozallowfullscreen="" src="//player.vimeo.com/video/59942170" webkitallowfullscreen="" width="700"></iframe><br />
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Tom Smith - <i>The Future Hasn't Been Written Yet,</i> 2011<br />
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<i>The Future Hasn't Been Written Yet</i> by Tom Smith is a dual channel film that simply displays the ending of <i>Back To The Future</i> and the beginning of <i>Back To The Future 2</i> simultaneously. <div>
<br />Made four years after, the sequel film starts off exactly where the first film finishes. The actors and the film crew have the difficult task of re-staging the last ten minutes of Rober Zemecki's film. With the actors now being older and the replacement of one of the actors, Smiths' video illustrates the discrepancies in the two films as they fall in and out of sync with one another. </div>
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Often working closely with appropriated footage from Holywood, Tom Smith's work asks us to think about the constructions and mechanisms involved in creating cinema.</div>
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Open File showed the work as part of the ‘<a href="http://openfile.org.uk/events/open-file-2/admitting-the-flats/">Admitting The Flats</a>’ event at MK Gallery in May 2012. <div>
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Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-65374141891507217282013-10-18T10:51:00.000+01:002013-10-18T10:51:55.543+01:00Cory Arcangel - Sweet 16<div dir="ltr" style="text-align: left;" trbidi="on">
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Cory Arcangel <i>Sweet 16</i></div>
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2010 (installation view)</div>
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Cory Arcangel's <i>Sweet 16</i> is a musical composition and video installation which applies a 'phasing' technique to the first 16 bars of Guns 'n' Roses <i>Sweet Child O' Mine</i>. Slash's instantly recognisable guitar riff repeats and builds, leading us up to the drum roll where our expectations are conflated as the song loops back round to the beginning. 2 versions of the riff overlay with one a note shorter than the other, looping over and over until they come back into time 15 minutes later, and creating some startling auditory effects along the way.</div>
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Phasing, devised by American minimalist composer Steve Reich, is an example of process music. In process music a simple device or compositional system is devised and applied to a piece of music and then allowed to play out to its conclusion. In phasing compositions 2 or more pieces of music are overlayed, identical in all aspects but their lengths. Reich's phasing compositions began with his magnetic tape experiments, such as 1965's <a href="http://en.wikipedia.org/wiki/It's_Gonna_Rain" style="font-style: italic;">It's Gonna Rain</a>, where Reich took 2 recordings of the same sermon and played them together on different machines. The slight mechanical differences created a 'phasing' effect when the tapes went out of sync. Reich later developed and appplied the technique to compositions such as <i>Clapping Music </i>(1975) in which one player plays a piece a semi-quaver shorter than the other, going out of sync a half-beat further each time until coming back in to time 144 bars later. </div>
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Arcangel's composition follows this same logic, applying the techniques of the 20th century avant garde to an example taken from popular culture. </div>
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-48159370995323368062013-10-17T11:16:00.000+01:002013-10-17T11:16:14.002+01:00Félix Gonzáles-Torres - Untitled (Perfect Lovers)<br />
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Félix Gonzáles-Torres - <i>Untitled (Perfect Lovers)</i>, 1991<br />
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<br /><br />Made in 1991 by Félix Gonzáles-Torres, <i>Untitled (Perfect Lovers)</i> uses two identical, shop bought clocks. Displayed adjacent to, and barely touching one another, the two battery-powered clocks were initially set to the same time, but as time passes they inevitably fall further and further out of sync with each one another. <br /><br />As a beautiful and simple allegory of love and partnership, Gonzáles-Torres pairs together two ubiquitous objects which are ultimately destined to disrupt their perfect harmony. He is known for combining the impulses of Conceptual art, Minimalism and political activism. During his life time he repeatedly commented that his primary audience was his lover, Ross Laycock who died from AIDS 6 years before his own death from the disease in 1996. Bringing an autobiographical sadness to the work, ideas of mortality are introduced to his allegory of love and synchronicity. </div>
Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-6210217299329151172013-10-04T16:44:00.000+01:002013-10-04T16:52:58.389+01:00Christian Marclay - The Clock<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">Christian Marclay <i>The Clock</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Experimental musician and appropriation filmmaker Christian Marclay's masterpiece <i>The Clock</i> is a 24 hour looped video work. The piece is composed of thousands of appropriated film clips featuring references to the time - sometimes incidental (someone passing a clock, or a incidental shot through of one through a window), sometimes direct (someone looking at a watch, or referring verbally to the time). The film runs in real-time, acting, as the title suggests, as a clock.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The clips cycle through rapidly, eliciting a cascade of recognitions and associations in the viewer. The film becomes a meditation on time, cinema and the images that form the collective conscious.</span></div>
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Building on previous works such as <i><a href="http://www.youtube.com/watch?v=yH5HTPjPvyE">Telephones</a></i> (1995) and <i><a href="http://www.tate.org.uk/art/artworks/marclay-video-quartet-t11818">Video Quartet</a></i> (2002), Marclay's work is a tour-de-force of video editing, constructed with a team of assistants of researchers. Since Marclay began working in this way we have seen the advent of YouTube and the rise of easily-available digital video. Coupled with this, the increased accessibility of video-editing software has made montage film-making in the manner of Marclay's early work a trope most often executed by bedroom editors generatnig amusing web content. Marclay stages the trope on an epic and spectacular scale, with a poetic elegance that mesmerizes and enthralls.</div>
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<span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 17.9375px;">Winner of the Golden Lion award at the 2011 Venice Biennale, numerous 24 hour screenings have been staged when it has been shown.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Christian Marclay <i>The Clock</i></span></div>
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-8813106574760740892013-09-27T10:59:00.000+01:002013-10-04T14:45:30.345+01:00Stuart Croft - Century City<div dir="ltr" style="text-align: left;" trbidi="on">
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Stuart Croft - <i>Century City</i><br />
8 min 46 sec, continuous gallery loop<br />
<a name='more'></a><span class="Apple-style-span" style="font-family: inherit;">As an artist and a film maker, Stuart Croft utilizes the aesthetics and linguistics of cinema and presents it in the context of a gallery. Writing and directing dialogue based narratives, Croft's films often weave together Hollywood styled characters in an endless cycle of story telling. Always shown on loop the films never have a beginning nor an end just an elliptical narrative that folds into itself. </span><br />
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<span class="Apple-style-span" style="font-family: inherit;">In<i> Century City</i>, t<span class="Apple-style-span" style="line-height: 20px;">he murder of an actress prompts an illogical, circular phone conversation between a detective in Cape Town and a movie director in Los Angeles. As the plot unravels so does the fiction of the film studio. Lighting rigs, camera's and scenery flats start to interrupt the narrative and thus our attention is directed towards devices and structures deployed in film making.</span></span><br />
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This is an edited clip from the film (8 min 46 sec) which is played on a loop. <i>Century City</i> was also shown by Open File as part of<a href="http://openfile.org.uk/events/open-file-2/admitting-the-flats/" target="_blank"> 'Admitting the Flats'</a> at MK Gallery, May 2012</span></div>
Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-75836475341050691892013-09-11T14:34:00.000+01:002013-09-11T14:34:35.650+01:00Douglas Gordon - Meaning and Location<div dir="ltr" style="text-align: left;" trbidi="on">
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Douglas Gordon <i>Meaning and Location</i></div>
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Installation view at Tate Britain<br />
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In Douglas Gordon's early text work <i>Meaning and Location</i><i> </i>the artist has taken a passage from the Gospel of Luke (Luke 23;43) and created a cyclical composition in which, at first glance, the text comes round on itself and repeats. The simple shift of a comma, however, demonstrates the change in meaning made possible by such a slight alteration:<br />
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Truly I say to you, today you will be with me in paradise.<br />
Truly I say to you today, you will be with me in paradise.</blockquote>
The phrase itself is an oft quoted promise, purportedly made by Jesus on the cross to the repentant thief, crucified with him. The work calls into question the possibility of exegesis of this text in the face of such ambiguity. This change in meaning, simply caused by the change in the comma's location, draws attention to the specificity of our grammatical system. The book of Luke is translated into English from an ancient Greek manuscript, here documenting words presumably spoken in Aramaic; how can we hope to be sure of the intended meaning of these words?<br />
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Installation view at University College London</div>
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-39692240841254102302013-09-01T10:59:00.000+01:002013-09-01T10:59:01.588+01:00Jean-Luc Nancy - Elliptical Sense<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOCNZo6jlrnF-oKSFle6lR2Nuq9NeEB79oKKxuOIrlx4Ta4gu3eNXl-5Ku_iZnxle5cPfk7wyuSv8kRrdET6jCkZQS-TP4QyVkcPnyicmfGXFHQ9n8IybEJ7fXSQoEgGpwdma4QrNyZO4/s1600/Jean-luc+nancy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOCNZo6jlrnF-oKSFle6lR2Nuq9NeEB79oKKxuOIrlx4Ta4gu3eNXl-5Ku_iZnxle5cPfk7wyuSv8kRrdET6jCkZQS-TP4QyVkcPnyicmfGXFHQ9n8IybEJ7fXSQoEgGpwdma4QrNyZO4/s640/Jean-luc+nancy.jpg" width="494" /></a></div>
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Jean-Luc Nancy - <i>Elliptical Sense, Research in Phenomenology</i>, 1988</div>
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As a chapter in his journal <i>Research in Phenomenology</i>, <i>Elliptical Sense</i> by Jean-Luc Nancy addresses the work of Jacques Derrida. Aware of their similarities and proximity in writing, Nancy uses this text to explore subtleties of difference between themselves, and consequently the particularity of sense making and definition.<br />
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Using the poetic symbology of the 'ellipse', Nancy explains how thoughts often converge around certain points, but as the ruminations fall short of being circular, the orbit of thought both helps to centre and de-centre it from meaning. This linguistic tactic by Nancy demands a poetic distancing from the topic at hand and therefore he realizes that to write on ellipses would require him to not exactly write "on Derrida", but requires "accompanying the movement or the movements of the ellipsis for no other reason, in sum, than the pleasure of repetition."<br />
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Read the full text <a href="http://www.scribd.com/doc/64274860/Nancy-Jean-Luc-Elliptical-Sense" target="_blank">here</a>Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-86767550817210392112013-08-23T14:20:00.000+01:002013-08-23T14:21:45.879+01:00Sean Edwards - Portrait (for a screenplay) of Beth Harmon<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6iayZopxbSLFw0AVt8YrXP1HK0KQJYLY3H4YbVc3a8K0DjE6Z8gcCWC-sfrTSVpcyEY_Y0LCpTrbbREWB0CCpg6l-1hybtmAxR7hZ1zUonpucFFLWhYWLNXQegBbdPuscEmPJzJpdfG_e/s1600/beth+harmon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6iayZopxbSLFw0AVt8YrXP1HK0KQJYLY3H4YbVc3a8K0DjE6Z8gcCWC-sfrTSVpcyEY_Y0LCpTrbbREWB0CCpg6l-1hybtmAxR7hZ1zUonpucFFLWhYWLNXQegBbdPuscEmPJzJpdfG_e/s1600/beth+harmon.jpg" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Sean Edwards <i>Portrait (for a screenplay) of Beth Harmon</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Exhibition image for 2009 show at Limoncello, London</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif; font-size: small;">Richard Bevan <i>Chess Club</i> 2012</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj4MHi5m4k2RwLBEr72Xpwc8iws0jESoZU5YcY1IMSiGqHUqsi90jb-hnhE0UmbE4DaMw-4JPzGAAbPsXqOPUXp_eLdvh-cXLWPTYpWu7yyl0NPB_V_3g7g8AmdCdtnu-SMi9pW-e8RUAF/s1600/installation.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj4MHi5m4k2RwLBEr72Xpwc8iws0jESoZU5YcY1IMSiGqHUqsi90jb-hnhE0UmbE4DaMw-4JPzGAAbPsXqOPUXp_eLdvh-cXLWPTYpWu7yyl0NPB_V_3g7g8AmdCdtnu-SMi9pW-e8RUAF/s1600/installation.jpg" height="400" width="263" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif; font-size: small;">Installation view, Limoncello, 2009</span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;">In this ongoing project artist Sean Edwards invites artists, curators, writers, musicians and actors<span style="font-style: italic;"> </span>to read Walter Tevis' 1983 novel <i>The Queen's Gambit</i> and to produce a work in response to it. The novel follows the life Beth Harmon, an orphaned child who is discovered to be a chess prodigy, from the age of 8 through to adulthood. The novel was praised for the accuracy of its portrayals of the professional chess circuit and the internal workings of the mind of a chess player. Harmon has a lucid and almost visual sense of the powers the pieces exude over the board as she moves them into place. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Chess, and in particular children playing the game, are a recurring image in Edwards' work. He sees this project as a way to expand the life of this fascinating character beyond the 243 pages of the novel. The resulting works are studies - sketches towards a final work that may never be realised.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif; font-size: small;">SaraMackillop <i>String Piece</i> 2009</span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;">The screenplay of this novel has had a troubled past; <a href="http://en.wikipedia.org/wiki/The_Queen's_Gambit_(novel)#Film.2C_TV_or_theatrical_adaptations">numerous failed attempts</a> have been made to turn the novel into a film but never has it come to fruition. Most recently Heath Ledger had been working on it as his directorial debut at the time of his death in 2008.</span></div>
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-30265237694485672552013-08-18T12:26:00.003+01:002013-08-18T12:26:49.336+01:00Pierre Huyghe & Philippe Parreno - No Ghost Just a Shall<div class="separator" style="clear: both; text-align: center;">
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Pierre Huyghe & Philippe Parreno - <i>No Ghost Just a Shell</i><i>, 2000</i></div>
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In 1999 two French artists Pierre Huyghe and Philippe Parreno bought a digital avatar from a Japanese agency that develops Manga characters. For $428 the artists acquired Annlee (or Ann Lee), designed as a character with specific qualities, in an essence she was a blank slate waiting to be exercised by a narrative. As the prices of the avatars vary depending on the complexity of their characteristic traits, to own the copyright for Annlee was cheap, and she was therefore 'nondescript'.<br />
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<i>No Ghost Just a Shell</i>, became a project where they began to 'fill-in' the character traits of their avatar imposing various narratives for her to exist. Inviting other artists such as Liam Gillick, Dominique Gonzalez-Foerster and Rirkrit Tiravanija to produce animated videos using Annlee, she acquired multiple identities and multiple voices. However, after many manifestations of the avatar Huyghe and Parreno called an end to the project by transferring the characters' copyright to the 'Annlee Association'. As a legal body owned by the avatar itself the document meant that Annlee (and her image) could not be exploited ever again (unless she herself warranted it). This act granted the character simultaneous freedom and death.<br />
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<i>"Annlee’s ambiguous status as a girl without qualities invites the viewer to project his/her own fantasies on her, yet she resists those projections by virtue of her utter lack of any captivating traits. No matter what they do to Annlee, she will never be real. Still, her vacuous image haunts you. You think of colonialism… of the co-option and exploitation of women and their images for commercial purposes… of the ephemeral, manufactured nature of fame… of the synthetic personae created for real women by the entertainment industry and what it does to their lives (Garbo, Marilyn, J.Lo…) You know her memory will live on in the discourse inspired by her for years to come. And you wonder if Annlee will become a cult figure whose legally protected image and persona will be pirated by who knows whom and for what purposes, now that she’s gone?"</i> - Marcia Tanner, 2003 <br />
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<br />Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-24200526521092540062013-08-14T16:10:00.001+01:002013-08-14T16:30:27.975+01:00Félix Guattari - Machinic Heterogenesis<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUdsPd3iUCu8bVlWRMP05QYfSDI39fpVFnpzW1u868FJPK1CEXt7Bb2v3BEZ4DywV06FYCQmgE7OglZj_eMOc7MW7lmRyyv8wTIOEh6SVMQ88VQmTFXnXT_chLkxmBkyRE7Vn4vwdNuAOd/s1600/chaosmosis.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black; font-family: Trebuchet MS, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUdsPd3iUCu8bVlWRMP05QYfSDI39fpVFnpzW1u868FJPK1CEXt7Bb2v3BEZ4DywV06FYCQmgE7OglZj_eMOc7MW7lmRyyv8wTIOEh6SVMQ88VQmTFXnXT_chLkxmBkyRE7Vn4vwdNuAOd/s1600/chaosmosis.JPG" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Félix Guattari <i>Machinic Heterogenesis</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">from <i>Chaosmosis</i> 1992</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">In <i style="text-align: center;">Machinic Heterogenesis </i><span style="text-align: center;">Félix Guattari takes the reader through an expansive and extending consideration of the 'Machinic' </span><span style="background-color: white;">seeking to "....envisage machinism in its totality, in it's technological, social, semiotic and axiological avatars." T</span><span style="text-align: center;">he text leads us through simple technological systems such as a lock and key through to complex intersections of numerous 'machinic assemblages', such as Concorde. </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="text-align: center;">Guattari broadens out and leads us to think about </span><span style="text-align: center;">social structures as machines - '<span style="background-color: white; text-align: left;">urban State machines', 'royal machines', 'commercial and banking machines' and so forth</span> - before leading us into a consideration of the possible application of the machinic to ethical and ontological investigations. He concludes with an examination of the machinic in relation to omnipresent homogenised capitalist exchange value. </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="text-align: center;">T</span><span style="background-color: white;">aken from Guattari's final book, </span><i>Chaosmosis</i><span style="background-color: white;">, t</span><span style="text-align: center;">he text also touches on examples of 'machines' found in his earlier writing - desiring machines, abstract machines and writing machines. </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Full text <a href="http://books.google.co.uk/books?id=M2zoqaZe2SUC&pg=PA33&lpg=PA33&dq=guattari+machinic+heterogenesis&source=bl&ots=Eozr9MIqIh&sig=Em6j2kdlUExOTwcZwV5aQ0DMWr4&hl=en&sa=X&ei=DMP_Ud-cNMGa0AWRkIDgBQ&ved=0CFUQ6AEwBA#v=onepage&q&f=false">here</a>.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Sample from the first Page:</span></div>
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-78279225872311303732013-07-12T11:00:00.003+01:002013-07-12T11:30:07.566+01:00Ben Grosser - Interactive Robotic Painting Machine<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5DB6CXeLHAxYZ4Uv57_9xxBicMhKmhxIATqH2Hh5BKkwc6jf83Le_G-DfWxRXipW_mh2GBcmval7C7cEpM9gf7d7kdL6TNoNe-QuDmOvHStHBmbhL64Z591zyg8IxrCTw4BrtuHfsPM8/s1600/blue800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5DB6CXeLHAxYZ4Uv57_9xxBicMhKmhxIATqH2Hh5BKkwc6jf83Le_G-DfWxRXipW_mh2GBcmval7C7cEpM9gf7d7kdL6TNoNe-QuDmOvHStHBmbhL64Z591zyg8IxrCTw4BrtuHfsPM8/s640/blue800.jpg" width="422" /></a></div>
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Ben Grosser, <i>Interactive Robotic Painting Machine</i>, 2011</div>
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oil on canvas</div>
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As a fully automated autonomous device, Grosser's <i>Interactive Robotic Painting Machine</i> creates pictures in response to its sonic environment. Attached to a microphone, the machine 'listens' to its surroundings and considers what it hears as an input to the painting process. When there is no other sound the machine will make work in response to its own noises, 'listening' to itself. </div>
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The robot was made as a response to the mediating effects technology has on our lives. As technological systems grow in complexity and intelligence, Grosser was interested in asking about how that intelligence changes what passes through it and therefor how that intelligence evolves to make something for its own needs. </div>
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Many of the paintings made by the machine are made with the audio input of Grosser critiquing the robot as it paints. Commenting on how he understands and views the marks as they are being made. </div>
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<a href="http://vimeo.com/23998286">Interactive Robotic Painting Machine (2011)</a> from <a href="http://vimeo.com/grosser">benjamin grosser</a> on <a href="https://vimeo.com/">Vimeo</a>.Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-63736449261566096242013-06-18T16:42:00.000+01:002013-06-22T11:18:06.888+01:00Juneau Projects - The Čapexagon Series<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Trebuchet MS, sans-serif;">Juneau Projects - <span style="background-color: #eeeeee; line-height: 20px; text-align: left;"><i>Čapexagon 03 (Lickey Hills)</i></span></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; line-height: 18px; text-align: justify;">Formed in 2001, Phil Duckworth and Ben Sadler's work as Juneau Projects spans painting, sculpture, installation, music and sound. Through their work they seek to explore the relationships between the technological, social and natural worlds. Their work ties together a curious mixture of backward-looking folk and craft tradition with a forward-looking engagement with technology. We frequently find the apocalyptic lurking nearby.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><em>The Čapexagon Series</em> saw the artists trying to paint landscapes <i>en plein air</i> using robotic arms. The arms are controlled by a laptop, limiting the time they can spend painting to the battery life of their computers.</span></div>
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<cite><span style="font-style: normal;"><span style="font-family: Trebuchet MS, sans-serif;">The set up also allows them to negotiate the dynamics of working together to produce paintings as a duo: </span></span></cite></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><cite><span style="font-style: normal;">"The system was initially conceived by us in an attempt to consider some of the aspects that are involved in producing paintings as a duo. There is a constant act of translation that takes place between us when we are painting and, with the</span> </cite><i>Čapexagon</i><cite> <span style="font-style: normal;">works, this process is physically manifested in the robotic arm.</span></cite></span></div>
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<cite><span style="font-style: normal;"><span style="font-family: Trebuchet MS, sans-serif;">The marks produced by the robotic arm are also in opposition to the perceived ideas of robots being utilised to produce precise mechanical results. The arm is awkward and imprecise, rendering our interpretations of landscapes as near-abstract images. "</span></span></cite></div>
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-23256870786591787982013-06-03T22:02:00.000+01:002013-06-03T22:02:08.236+01:00Ull Hohn - Paintings<br />
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Oil on canvas, 1993</div>
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Predominately making work from the early 80's, Ull Hohn was a German artist living and working in New York. As a student at the Dusseldorf Academy he studied under Gerhard Richter who was a professor there at the time. </div>
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Hohn's position as a painter can be understood as a reaction to approach of his notorious tutor. Often choosing to paint kitsch landscapes; Hohn connects motifs and formal tropes used by Richter in his paintings with formula's used by the TV painting instructor Bob Ross. Hohn warps the distinction between high brow and low-brow art by constructing by perversely generic and romantic compositions by following specific painting techniques. Hohn's paintings become unsettlingly close to genuine hobbyist landscapes however attempt to maintain a critical position in relation to contemporary art. </div>
<i><br />"Hohn displays no interest in either overcoming the influence of the teacher or trafficking in the prestige of his formation. Rather, he exacerbates the overbearing pedagogical influence by rerouting it onto a substitute (an amateurization of Richter which brings him down to a level below even what is encompassed by the term 'deskilling)."</i> <span class="Apple-style-span" style="font-family: Helvetica; font-size: xx-small;"> </span>Sanchez, Michael. ’How‐To Paunt Project’<br />
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<i>Tan Enamel</i>,</div>
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modeling paste and paint on canvas, 1993</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3bDqqPQyqlNL4GTicMJq9cwhFeJ2tis4SNZsP8MPuU2JQHynPUEzRKhy7LtVkY1qUU9rW6zetKgmSByMw2EVOgB9ruSGG8cpJJ7oV2uqKVijFnwed9eMqCbSTdIEjK-PTUecca1zGtU/s1600/UH0211.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3bDqqPQyqlNL4GTicMJq9cwhFeJ2tis4SNZsP8MPuU2JQHynPUEzRKhy7LtVkY1qUU9rW6zetKgmSByMw2EVOgB9ruSGG8cpJJ7oV2uqKVijFnwed9eMqCbSTdIEjK-PTUecca1zGtU/s640/UH0211.jpg" width="576" /></a></div>
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<i>Untitled,</i></div>
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Oil on canvas, 1993</div>
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<br />Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-34955233220693001222013-05-27T15:54:00.000+01:002013-05-27T20:59:48.914+01:00Liu Ding - Samples From The Transition - Products<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigApArIR7SfKN4ilvGScqN83rEavN3F5tt7Q1wFmxozuirQxb4n3mCOyD-bzUCimamt7mcwg3orHiVIMnkd4wew_ylH9WESQByKtaLw26-lrVLYfCHIx4qoAnHr6dZbKrgl6X1Ady8tCHC/s1600/far+west+Ding2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigApArIR7SfKN4ilvGScqN83rEavN3F5tt7Q1wFmxozuirQxb4n3mCOyD-bzUCimamt7mcwg3orHiVIMnkd4wew_ylH9WESQByKtaLw26-lrVLYfCHIx4qoAnHr6dZbKrgl6X1Ady8tCHC/s1600/far+west+Ding2.jpg" width="640" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Liu Ding <i>Samples From The Transition - Products</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">2006</span><br />
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<i style="font-family: 'Trebuchet MS', sans-serif;">Samples From The Transition</i><span style="font-family: 'Trebuchet MS', sans-serif;"> is an ongoing inter-related series of installation works by Liu Ding, a Chinese artist whose work examines the commodity status of the art object.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfxgT9SpHxFfBzFUPnCtDdjckzTY1GjW5T7eTQPUTtdfVCrXxdwtJQgHtpcHKSSPDZti4Wpjr9KgjkLlzFLieWGCrLb3PgXapCLZihsxocmLoFmpTfvTirkoGlxohLk8qSXfw-xrilIJlW/s1600/Far+west+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfxgT9SpHxFfBzFUPnCtDdjckzTY1GjW5T7eTQPUTtdfVCrXxdwtJQgHtpcHKSSPDZti4Wpjr9KgjkLlzFLieWGCrLb3PgXapCLZihsxocmLoFmpTfvTirkoGlxohLk8qSXfw-xrilIJlW/s1600/Far+west+1.jpg" width="400" /></a><span style="line-height: 16px; text-align: justify;"></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">Originally commissioned for the Second Guangzhou Triennial, </span><i style="font-family: 'Trebuchet MS', sans-serif;">Products </i><span style="font-family: 'Trebuchet MS', sans-serif;">saw thirteen professional artists from the nearby city of Dafancun relocate their business to the Triennial.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The artists work in an art industry that deploys production line-style techniques to create landscape paintings in oil on canvas at a rate of thousands per day. </span><span style="font-family: 'Trebuchet MS', sans-serif;">The painters move from canvas to canvas as they each add their signature contribution - one paints only a tree, one a stork, one a mountain and so on -</span><span style="font-family: 'Trebuchet MS', sans-serif;"> to produce a series of identical landscape paintings.</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">Ding interrupted the process, stripping it down to its elements, skipping steps or cutting the process short of completion. The painters were paid their standard daily rate for their work, the resulting works remained on show for the rest of the Triennial and have since been exhibited as an installation alongside an imitated gaudy interior. </span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">The works throw onto light China's engagement with global capitalism and in particular thevarious art markets it wishes to take part in. There is a questioning of value judgments at play, not merely a critique of the international contemporary art market but an examination of an alternative system where the price is determined by how hard the scene is to paint, and the quality of the work is assessed by quality control personnel on the painter's ability to imitate a model.</span></div>
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<a href="http://www.gansterer.org/" target="_blank">Nikolaus Gansterer</a> - <i>Bureau of Found Appropriations,</i> 2008</div>
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<span class="Apple-style-span" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 18px;">"'The Bureau of Found Appropriations (Département des Sourires) ' is a work which is part of a long-term study on strategies of appropriation and forms of production (and reproduction) in Asia. My main attention is directed towards differences, misinterpretation and errors committed in the process of translating and copying cultural commodities. How can an image be read, used, interpreted, understood without knowing its cultural context?"</span><br />
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<span class="Apple-style-span" style="font-family: Helvetica, Arial, sans-serif;"><span class="Apple-style-span" style="font-size: 12px; line-height: 18px;">Living in China for three months in 2008 </span></span><span class="Apple-style-span" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 18px;">Gansterer explored the Dafen district in the Southern provinces. Here, approximately 10,000 painters live and work. Specializing in specific styles of painting from the old masters to contemporary aesthetics the artists work to produce more than five million copied paintings annually. </span><br />
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<span class="Apple-style-span" style="font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 18px;">"The reason why this use of imitations strikes western societies as a serious cultural difference has to do with a strong historical correlation between painting and calligraphy: in China a good copy is often considered as a reward and honour to the technical and compositional skills of the initial inventor and master. Memorization is taught as the manually repeated imitation of an original; hence gaining knowledge is based on a culture of transcription. Therefore the terms of originality and authorship are culturally coded in a different way. By regarding these gaps with their potential shifts of meaning as a source of inspiration I started compiling a growing collection of images reflecting on cultural practices, identities and authenticities."</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Making of Mona Lisa, China, 2008</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbELEPuessGOjLEQ2ZxgAKK8DZwplFq627n0i-MS6QOom55XEyPvCZArC7_Y24kbR3EjKagHpa3bhhyphenhyphenCUg2mxpEF_A_UKtIuOx3SOje2Twl-SlKg1XUa1jGmrvgcE7jgE4Kf7Qm3vIQY/s1600/making-of-mona-lisa_nikolaus-gansterer-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbELEPuessGOjLEQ2ZxgAKK8DZwplFq627n0i-MS6QOom55XEyPvCZArC7_Y24kbR3EjKagHpa3bhhyphenhyphenCUg2mxpEF_A_UKtIuOx3SOje2Twl-SlKg1XUa1jGmrvgcE7jgE4Kf7Qm3vIQY/s640/making-of-mona-lisa_nikolaus-gansterer-01.jpg" width="640" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-74791468383614052302013-03-25T18:28:00.001+00:002013-03-25T18:35:26.717+00:00Anne Collier<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRSWO9fX7mvbddad3D37iJIACoeQ10JyPu92gMXQY1dkeMBPokNbivwUo9kgOK1ndAfqWL-QiN_7rzn_3ae-cE15klo5pbofOIZq88N05shyc-NYWPAE_PIrJd8rW9m9V87ZemyVVAdlao/s1600/collier2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black; font-family: Trebuchet MS, sans-serif;"><img border="0" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRSWO9fX7mvbddad3D37iJIACoeQ10JyPu92gMXQY1dkeMBPokNbivwUo9kgOK1ndAfqWL-QiN_7rzn_3ae-cE15klo5pbofOIZq88N05shyc-NYWPAE_PIrJd8rW9m9V87ZemyVVAdlao/s640/collier2.jpg" width="640" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Anne Collier <span style="background-color: white; line-height: 19px;"><i>Developing Tray #2</i> 2009</span></span></div>
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<span style="text-align: justify;"><span style="font-family: Trebuchet MS, sans-serif;">"I’m interested in depicting different manifestations of photographic imagery: how photography is employed in relation to everyday objects such as magazines, record sleeves, posters, etc., and how these mass-circulated things can absorb – and illuminate - our own narratives."</span></span></blockquote>
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<a href="http://www.nottinghamcontemporary.org/sites/default/files/Alex%20Farquharson%20Interview%20with%20Anne%20Collier.pdf" style="text-align: justify;"><span style="color: black; font-family: Trebuchet MS, sans-serif;">Anne Collier in conversation with Alex Farquharson</span></a></blockquote>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6WOXRtImj40ieFCdl7m4Qe5WNaUkyhGI7H6uXGcq8fIRhso0ohDx4nF_QVccQiqKn2NGK_Uii-Ozz_RM8B2d1gWTXbTkexJHg2MZQmlcxWwSlwCHg40YtIpkFE5t8Y97R0E92Mh7XR4Z/s1600/collier3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: black; font-family: Trebuchet MS, sans-serif;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6WOXRtImj40ieFCdl7m4Qe5WNaUkyhGI7H6uXGcq8fIRhso0ohDx4nF_QVccQiqKn2NGK_Uii-Ozz_RM8B2d1gWTXbTkexJHg2MZQmlcxWwSlwCHg40YtIpkFE5t8Y97R0E92Mh7XR4Z/s320/collier3.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><i>Double Marilyn</i> 2007</span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"> Anne Collier presents us with re-photographed photographs that she finds in everyday places. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">Removed and photographed in cool conceptual detachment, the images she selects are nonetheless seductive, sentimental and romantic, found in and on objects we often associate with intimate personal contexts such as in books, on record covers, in magazines and on posters. The items chosen often have a sense of physicality, they are battered, dog-eared or creased - this haptic quality creates an awareness of these things as objects. This awareness of support in the original image sits at odds with the clinic execution of the work itself where everything is done to remove any sense of a personal hand. The act of mediation is minimal, neutral studio backgrounds and slick frames strive to say as little as possible, and these images remain distinct from the images the re-present - an index of an encounter with an image.</span><br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQpZkcd01O-NYBCDB-B_sVoRn0sjOktDRYKC6kl0ZdO7y038eCMCEMA5_pnZqxVUINhZottWdAiq1tfEYzBndnJZxCPHxeEKtSP-pkcfbyHMnbO81YWClZ0QZreXDGsc8IFDsAQ9nnFpK/s1600/collier.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: black; font-family: Trebuchet MS, sans-serif;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDQpZkcd01O-NYBCDB-B_sVoRn0sjOktDRYKC6kl0ZdO7y038eCMCEMA5_pnZqxVUINhZottWdAiq1tfEYzBndnJZxCPHxeEKtSP-pkcfbyHMnbO81YWClZ0QZreXDGsc8IFDsAQ9nnFpK/s320/collier.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><i>Clouds</i> 2012</span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;">The vacillation between object- an image-hood becomes a meditation on the act of looking itself. Motifs that recur and repeat focus around acts of looking and seeing - eyes, cameras and lenses are examples, and mostly they belong to female figures and protagonists. </span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">The highly personal nature of the images comes through when we see the works as a body, and we begin to feel as a substrate beneath the cold conceptual aesthetic of the works, a sense of the photographer herself. We are invited to reflect upon the way photographic images circulate within our lives, and the ways in which we encounter and relate to photographic commodities.</span><br />
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<tr><td style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzV0vcW51MVorIzcHJfTnPakNA45Bw2z8mEVWZH1K5vna922lId9Itl2vKoxPlwvEnpykRikaoXqHZLWXLxx-su4PPZNpkP8e3Bl87WoyQEovPoHmUzJTGQbDjWpYpZ99WWWnJeuo3dY7q/s400/collier4.png" style="margin-left: auto; margin-right: auto;" width="400" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white;"><span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><i>Woman With a Camera</i> 2006</span></span></td></tr>
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Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-14931221306555458252013-03-17T15:48:00.001+00:002013-03-17T15:49:44.286+00:00Ryan Gander - I took my hands off your eyes too soon<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5dyX_i0nXqQIR952aDbWotgtmtZP8k3CfKl75ZQDHy1puO2yvl3DdDC9JRcCM86lGLU-fNj7YMFuHIoECFdkA68dNPkge8y7iWt1e33KGmk18_7NUtFibbxphOjwOTmSI-bnSGWj7Wss/s1600/Open+File+-+RyanGander.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5dyX_i0nXqQIR952aDbWotgtmtZP8k3CfKl75ZQDHy1puO2yvl3DdDC9JRcCM86lGLU-fNj7YMFuHIoECFdkA68dNPkge8y7iWt1e33KGmk18_7NUtFibbxphOjwOTmSI-bnSGWj7Wss/s640/Open+File+-+RyanGander.png" width="640" /></a></div>
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Ryan Gander - <i>I took my hands off your eyes too soon</i>, 2007</div>
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<i>'Kiev MC Arsat PCS 4.5/55 mm Shift Lens, Focal Length: 55mm, Aperture scale: 4.5 to 22, Focusing Scale: 0.3 m (0.98 ft) to infinity, Minimum Focusing distance: 1.2 feet (0.5 Meters), Field of view" 69 degrees (with shift) 84 degrees (with shift), Number of Elements: Nine elements in seven groups, Filter size: 72 mm, Weight: 2 lbs, Serial Number 0051, Douglas M. Parker Studio, Glendale, California, January 27, 2007.'</i></div>
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<i>'I took my hands off your eyes too soon' </i>by Ryan Gander places two similar images of a Kiev MC Arsat lens side by side. One of the photographs (the 'original') was taken by the American conceptual artist Christopher Williams as an inquiry into the act of looking and indexical nature of photography. After purchasing the artwork Gander re-photographed it and placed his image in an identical frame and displayed it alongside the the original. Appropriating the image in this way asks us to look again at the lens, and perhaps reconsider ideas of authenticity and reproduction. As the work questions ideas of awareness of looking, Gander also puts himself in the position of being the creator of both artworks and therefore adopts the legacy of Williams conceptual work. </div>
Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-39692230561084068872013-03-05T14:23:00.002+00:002013-03-05T14:23:32.413+00:00Michel Foucault - The Four Similitudes<div style="text-align: center;">
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<span style="font-family: Trebuchet MS, sans-serif;">Michel Foucault, The Four Similitudes</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Excerpt from <i>The Order of Things</i> </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Chapter 2: <i>The Prose of The World</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Foucault's essay examines the role that resemblances of different kinds played in the foundations of enlightenment science.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Full text here: <a href="http://www9.georgetown.edu/faculty/irvinem/theory/foucault-order_of_things-text.html">http://www9.georgetown.edu/faculty/irvinem/theory/foucault-order_of_things-text.html</a> </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Chapter 2, Part 1: <i>The Four Similitudes</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Up to the end of the sixteenth century,
resemblance played a constructive role in the knowledge of Western culture. It
was resemblance that largely guided exegesis and the interpretation of texts;
it was resemblance that organized the play of symbols, made possible knowledge
of things visible and invisible, and controlled the art of representing them.
The universe was folded in upon itself: the earth echoing the sky, faces seeing
themselves reflected in the stars, and plants holding within their stems the
secrets that were of use to man. Painting imitated space. And representation -
whether in the service of pleasure or of knowledge - was posited as a form of
repetition: the theatre of life or the mirror of nature, that was the claim
made by all language, its manner of declaring its existence and of formulating
its right of speech.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">We must pause here for a while, at this moment in
time when resemblance was about to relinquish its relation with knowledge and
disappear, in part at least, from the sphere of cognition. How, at the end of
the sixteenth century, and even in the early seventeenth century, was similitude
conceived? How did it organize the figures of knowledge? And if the things that
resembled one another were indeed infinite in number, can one, at least,
establish the forms according to which they might resemble one another?<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The semantic web of resemblance in the sixteenth
century is extremely rich: Amicitia, Aequalitas (contractus, consensus,
matrimonium, societas, pax, et similia), Consonantia, Concertus, Continuum,
Pantos, Proportio, Similitudo, Conjunctio, Copula[1]. And there are a great
many other notions that intersect, overlap, reinforce, or limit one another on
the surface of thought. It is enough for the moment to indicate the principal
figures that determine the knowledge of resemblance with their articulations.
There are four of these that are, beyond doubt, essential.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">First of all, convenientia. This word really
denotes the adjacency of places more strongly than it does similitude. Those
things are 'convenient' which come sufficiently close to one another to be in
juxtaposition; their edges touch, their fringes intermingle, the extremity of
the one also denotes the beginning of the other. In this way, movement,
influences, passions, and properties too, are communicated. So that in this
hinge between two things a resemblance appears. A resemblance that becomes
double as soon as one attempts to unravel it: a resemblance of the place, the
site upon which nature has placed the two things, and thus a similitude of
properties; for in this natural container, the world, adjacency is not an
exterior relation between things, but the sign of a relationship, obscure
though it may be. And then, from this contact, by exchange, there arise new
resemblances; a common regimen becomes necessary; upon the similitude that was
the hidden reason for their propinquity is superimposed a resemblance that is
the visible effect of that proximity. Body and soul, for example, are doubly
'convenient': the soul had to be made dense, heavy, and terrestrial for God to
place it in the very heart of matter. But through this propinquity, the soul
receives the movements of the body and assimilates itself to that body, while
'the body is altered and corrupted by the passions of the soul'[2]. In the vast
syntax of the world, the different beings adjust themselves to one another;
the plant communicates with the animal, the earth with the sea, man with
everything around him. Resemblance imposes adjacencies that in their turn
guarantee further resemblances. Place and similitude become entangled: we see
mosses growing on the outsides of shells, plants in the antlers of stags, a
sort of grass on the faces of men; and the strange zoophyte, by mingling
together the properties that make it similar to the plants as well as to the
animals, also juxtaposes them[3]. All so many signs of 'convenience'.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Convenientia is a resemblance connected with space
in the form of a graduated scale of proximity. It is of the same order as
conjunction and adjustment. This is why it pertains less to the things
themselves than to the world in which they exist. The world is simply the
universal 'convenience' of things; there are the same number of fishes in the
water as there are animals, or objects produced by nature or man, on the land
(are there not fishes called Episcopus, others called Catena, and others called
Priapus?); the same number of beings in the water and on the
surface of the earth as there are in the sky, the inhabitants of the former
corresponding with those of the latter; and lastly, there are the same number
of beings in the whole of creation as may be found eminently contained in God
himself, 'the Sower of Existence, of Power, of Knowledge
and of Love'[4]. Thus, by this linking of resemblance with space, this
'convenience' that brings like things together and makes adjacent things
similar, the world is linked together like a chain. At each point of contact
there begins and ends a link that resembles the one before it and the one after
it; and from circle to circle, these similitudes continue, holding the extremes
apart (God and matter), yet bringing them together in such a way that the will
of the Almighty may penetrate into the most unawakened comers. It is this
immense, taut, and vibrating chain, this rope of 'convenience', that Porta
evokes in a passage from his Magie naturelle:</span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;">As with respect to its vegetation the plant stands
convenient to the brute beast, so through feeling does the brutish animal to
man, who is conformable to the rest of the stars by his intelligence; these
links proceed so strictly that they appear as a rope stretched from the first
cause as far as the lowest and smallest of things, by a reciprocal and continuous
connection; in such wise that the superior virtue, spreading its beams, reaches
so far that if we touch one extremity of that cord it will make tremble and
move all the rest [5].<o:p></o:p></span></div>
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<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The second form of similitude is aemulatio: a sort
of'convenience' that has been freed from the law of place and is able to
function, without motion, from a distance. Rather as though the spatial
collusion of convenientia had been broken, so that the links of the chain, no
longer connected, reproduced their circles at a distance from one another in
accordance with a resemblance that needs no contact. There is something in
emulation of the reflection and the mirror: it is the means whereby things
scattered through the universe can answer one another. The human face, from afar,
emulates the sky, and just as man's intellect is an imperfect reflection of
God's wisdom, so his two eyes, with their limited brightness, are a reflection
of the vast illumination spread across the sky by sun and moon; the mouth is
Venus, since it gives passage to kisses and words of love; the nose provides an
image in miniature of Jove's sceptre and Mercury's staff[6]. The relation of
emulation enables things to imitate one another from one end of the universe to
the other without connection or proximity: by duplicating itself in a mirror
the world abolishes the distance proper to it; in this way it overcomes the
place alloted to each thing. But which of these reflections coursing through
space are the original images? Which is the reality and which the projection?
It is often not possible to say, for emulation is a sort of natural twinship
existing in things; it arises from a fold in being, the two
sides of which stand immediately opposite to one another. Paracelsus compares
this fundamental duplication of the world to the image of two twins 'who
resemble one another completely, without its being possible for anyone to say
which of them brought its similitude to the other* [7].</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">However, emulation does not leave the two
reflected figures it has confronted in a merely inert state of opposition. One
may be weaker, and therefore receptive to the stronger influence of the other,
which is thus reflected in his passive mirror. Are not the stars, for example,
dominant over the plants of the earth, of which they are the unchanged model,
the unalterable form, and over which they have been secretly empowered to pour
the whole dynasty of their influences? The dark earth is the mirror of the
star-sown sky, but the two rivals are neither of equal value nor of equal
dignity in that tournament. The bright colours of the flowers reproduce,
without violence, the pure form of the sky. As Crollius says:<o:p></o:p></span></div>
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<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The stars are the matrix of all the plants and
every star in the sky is only the spiritual prefiguration of a plant, such that
it represents that plant, and just as each herb or plant is a terrestrial star
looking up at the sky, so also each star is a celestial plant in spiritual
form, which differs from the terrestrial plants in matter alone . . . , the
celestial plants and herbs are turned towards the earth and look directly down
upon the plants they have procreated, imbuing them with some particular
virtue[8].<o:p></o:p></span></div>
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<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">But the lists may remain open, and the untroubled
mirror reflect only the image of'two wrathful soldiers'. Similitude then
becomes the combat of one form against another - or rather of one and the same
form separated from itself by the weight of matter or distance in space. Man
as Paracelsus describes him is, like the firmament, 'constellated with stars',
but he is not bound to it like 'the thief to his galley-oar, the murderer to
the wheel, the fish to the fisherman, the quarry to the huntsman'. It pertains
to the firmament of man to be 'free and powerful', to 'bow to no order', and
'not to be ruled by any other created beings'. His inner sky may remain
autonomous and depend only upon itself, but on condition that by means of his
wisdom, which is also knowledge, he comes to resemble the order of the world,
takes it back into himself and thus recreates in his inner firmament the sway
of that other firmament in which he sees the glitter of the visible stars. If
he does this, then the wisdom of the mirror will in turn be reflected back to
envelop the world in which it has been placed; its great ring will spin out into
the depths of the heavens, and beyond; man will discover that he contains
'the stars within himself ..., and that he is thus the bearer of the firmament
with all its influences'[9].</span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Emulation is posited in the first place in the
form of a mere reflection, furtive and distant; it traverses the spaces of the
universe in silence. But the distance it crosses is not annulled by the subtle
metaphor of emulation; it remains open to the eye. And in this duel, the two
confronting figures seize upon one another. Like envelops like, which in turn
surrounds the other, perhaps to be enveloped once more in a duplication which
can continue ad infinitum. The links of emulation, unlike the elements of
convenientia, do not form a chain but rather a series of concentric circles
reflecting and rivalling one another.<o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The third form of similitude is analogy. An old
concept already familiar to Greek science and medieval thought, but one whose
use has probably become different now. In this analogy, convenientia and
aemulatio arc superimposed. Like the latter, it makes possible the marvellous
confrontation of resemblances across space; but it also speaks, like the
former, of adjacencies, of bonds and joints. Its power is immense, for the
similitudes of which it treats are not the visible, substantial ones between
things themselves; they need only be the more subtle resemblances of
relations. Disencumbered thus, it can extend, from a single given point, to an
endless number of relationships. For example, the relation of the stars to the
sky in which they shine may also be found: between plants and the earth,
between living beings and the globe they inhabit, between minerals such as
diamonds and the rocks in which they are buried, between sense organs and the
face they animate, between skin moles and the body of which they are the secret
marks. An analogy may also be turned around upon itself without thereby
rendering itself open to dispute. The old analogy of plant to animal (the
vegetable is an animal living head down, its mouth - or roots - buried in the
earth), is neither criticized nor disposed of by Cesalpino; on the contrary, he
gives it added force, he multiplies it by itself when he makes the discovery
that a plant is an upright animal, whose nutritive principles rise from the
base up to the summit, channelled along a stem that stretches upwards like a
body and is topped by a head -spreading flowers and leaves: a relation that
inverts but does not contradict the initial analogy, since it places 'the root
in the lower part of the plant and the stem in the upper part, for the venous
network in animals also begins in the lower part of the belly, and the
principal vein rises up to the heart and head'[10].<o:p></o:p></span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><div style="text-align: justify;">
<br /></div>
</span><div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">This reversibility and this polyvalency endow
analogy with a universal field of application. Through it, all the figures in
the whole universe can be drawn together. There does exist, however, in this
space, furrowed in every direction, one particularly privileged point: it is
saturated with analogies (all analogies can find one of their necessary terms
there), and as they pass through it, their relations may be inverted without
losing any of their force. This point is man: he stands in proportion to the
heavens, just as he does to animals and plants, and as he does also to the
earth, to metals, to stalactites or storms. Upright between the surfaces of the
universe, he stands in relation to the firmament (his face is to his body what
the face of heaven is to the ether; his pulse beats in his veins as the stars
circle the sky according to their own fixed paths; the seven orifices in his
head are to his face what the seven planets are to the sky); but he is also the
fulcrum upon which all these relations turn, so that we find them again, their
similarity unimpaired, in the analogy of the human animal to the earth it
inhabits: his flesh is a glebe, his bones are rocks, his veins great rivers,
his bladder is the sea, and his seven principal organs arc the metals hidden in
the shafts ofmines[11]. Man's body is always the possible half of a universal
atlas. It is well known how Pierre Belon drew, and drew in the greatest detail,
the first comparative illustration of the human skeleton and that of birds: in
it, we see the pinion called the appendix which is in
proportion to the wing and in the same place as the thumb on the hand; the
extremity of the pinion which is like the fingers in us ...; the bone given as
legs to the bird corresponding to our heel; just as we have four toes on our
feet, so the birds have four fingers of which the one behind is proportionate
to the big toe in us[12].</span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">So much precision is not, however, comparative
anatomy except to an eye armed with nineteenth-century knowledge. It is merely
that the grid through which we permit the figures of resemblance to enter our
knowledge happens to coincide at this point (and at almost no other) with that
which sixteenth-century learning had laid over things.<o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">In fact, Belon's description has no connection
with anything but the positivity which, in his day, made it possible. It is
neither more rational nor more scientific than an observation such as
Aldrovandi's comparison of man's baser parts to the fouler parts of the world,
to Hell, to the darkness of Hell, to the damned souls who are like the
excrement of the Universe [13]; it belongs to the same analogical cosmography
as the comparison, classic in Crollius's time, between
apoplexy and tempests: the storm begins when the air becomes heavy and
agitated, the apoplectic attack at the moment when our thoughts become heavy
and disturbed; then the clouds pile up, the belly swells, the thunder explodes
and the bladder bursts; the lightning flashes and the eyes glitter with a
terrible brightness, the rain falls, the mouth foams, the thunderbolt is
unleashed and the spirits burst open breaches in the skin; but then the sky
becomes clear again, and in the sick man reason regains ascendancy [14]. The
space occupied by analogies is really a space of radiation. Man is surrounded
by it on every side; but, inversely, he transmits these resemblances back into
the world from which he receives them. He is the great fulcrum of proportions -
the centre upon which relations are concentrated and from which they are once
again reflected.</span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Lastly, the fourth form of resemblance is provided
by the play of sympathies. And here, no path has been determined in advance, no
distance laid down, no links prescribed. Sympathy plays through the depths of
the universe in a <st1:state>free
state</st1:state>. It can
traverse the vastest spaces in an instant: it falls like a thunderbolt from the
distant planet upon the man ruled by that planet; on the other hand, it can be
brought into being by a simple contact - as with those 'mourning roses that
have been used at obsequies' which, simply from their former adjacency with
death, will render all persons who smell them 'sad and moribund' [15]. But such
is its power that sympathy is not content to spring from a single contact and
speed through space; it excites the things of the world to movement and can
draw even the most distant of them together. It is a principle of mobility: it
attracts what is heavy to the heaviness of the earth, what is light up towards
the weightless ether; it drives the root towards the water, and it makes the
great yellow disk of the sunflower turn to follow the curving path of the sun.
Moreover, by drawing things towards one another in an exterior and visible
movement, it also gives rise to a hidden interior movement - a displacement of
qualities that take over from one another in a series of relays: fire, because it
is warm and light, rises up into the air, towards which its flames untiringly
strive; but in doing so it loses its dryness (which made it akin to the earth)
and so acquires humidity (which links it to water and air); it disappears
therefore into light vapour, into blue smoke, into clouds: it has become air.
Sympathy is an instance of the Same so strong and so insistent that it will not
rest content to be merely one of the forms of likeness; it has the dangerous
power of assimilating, of rendering things identical to one another, of
mingling them, of causing their individuality to disappear
- and thus of rendering them foreign to what they were before. Sympathy
transforms. It alters, but in the direction of identity, so that if its power
were not counterbalanced it would reduce the world to a point, to a
homogeneous mass, to the featureless form of the Same: all its parts would hold
together and communicate with one another without a break, with no distance between
them, like those metal chains held suspended by sympathy to the attraction of a
single magnet [16].</span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">This is why sympathy is compensated for by its
twin, antipathy. Antipathy maintains the isolation of things and prevents their
assimilation; it encloses every species within its impenetrable difference and
its propensity to continue being what it is:<o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">It is fairly widely known that the plants have
hatreds between themselves ... it is said that the olive and the vine hate the
cabbage; the cucumber flies from the olive . . . Since they grow by means of
the sun's warmth and the earth's humour, it is inevitable that any thick and
opaque tree should be pernicious to the others, and also the tree that has
several roots[17].<o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">And so to infinity, through all time, the world's
beings will hate one another and preserve their ferocious appetites in
opposition to all sympathy.<o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The rat of India is pernicious to the crocodile,
since Nature has created them enemies; in such wise that when that violent
reptile takes his pleasure in the sun, the rat lays an ambush for it of mortal
subtlety; </span><span style="font-family: 'Trebuchet MS', sans-serif;">perceiving that the crocodile, lying unaware for
delight, is sleeping with its jaws agape, it makes its way through them and
slips down the wide throat into the crocodile's belly, gnawing through the
entrails of which, it emerges at last from the slain beast's bowel.</span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">But the rat's enemies are lying in wait for it in
their turn: for it lives in discord with the spider, and 'battling with the
aspic it oft so dies'. Through this play of antipathy, which disperses them,
yet draws them with equal force into mutual combat, makes them into murderers
and then exposes them to death in their turn, things and animals and all the
forms of the world remain what they are.<o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The identity of things, the fact that they can
resemble others and be drawn to them, though without being swallowed up or
losing their singularity - this is what is assured by the constant
counterbalancing of sympathy and antipathy. It explains how things
grow, develop, intermingle, disappear, die, yet endlessly find themselves
again; in short, how there can be space (which is nevertheless not without
landmarks or repetitions, not without havens of similitude) and time (which
nevertheless allows the same forms, the same species, the same elements to
reappear indefinitely).</span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><o:p></o:p></span><br />
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Though yet of themselves the four bodies (water,
air, fire, earth) be simple and possessed of their distinct qualities, yet
forasmuch as the Creator has ordained that the elementary bodies shall be
composed of mingled elements, therefore arc their harmonies and discordancies
remarkable, as we may know from their qualities. The element of fire is hot and
dry; it has therefore an antipathy to those of water, which is cold and damp.
Hot air is humid, cold earth is dry, which is an antipathy. That they may be brought
into harmony, air has been placed between fire and water, water between earth
and air. Inasmuch as the air is hot, it marches well with fire and its humidity
goes well with that of water. The humidity of water is heated by the heat of
the air and brings relief to the cold dryness of the earth [18].<o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">Because of the movement and the dispersion created
by its laws, the sovereignty of the sympathy-antipathy pair gives rise to all
the forms of resemblance. The first three similitudes are thus all resumed and
explained by it. The whole volume of the world, all the adjacencies of
'convenience', all the echoes of emulation, all the linkages of analogy, are
supported, maintained, and doubled by this space governed by sympathy and
antipathy, which are ceaselessly drawing things together and holding them
apart. By means of this interplay, the world remains identical; resemblances
continue to be what they are, and to resemble one another. The same remains the
same, riveted onto itself.<o:p></o:p></span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">Notes:</span><br />
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[1] P.
Gregoire, Syntaxeon artis mirabilis (Cologne, 1610, p. 28).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[2] G.
Porta, La Physionomie humaine (Fr. trans. 1655, p. i).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[3] U.
Aldrovandi, Monstrorum historia (Bononiae, 1647, p. 663).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[4] T.
Campanella, Realis philosophia (Frankfurt, 1623, p. 98).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[5] G.
Porta, Magie naturelle (Fr. trans. Rouen, 1650, p. 22).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[6]
Aldrovandi, Monstrorum historia, p. 3.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[7]
Paracelsus, Liber Paramirum (trans. Grillot de Givry, <st1:city>Paris</st1:city>, 1913, p. 3).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[8] 0.
Crollius, Traite des signatures (Fr. trans. Lyon, 1624, p. 18).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[9]
Paracelsus, loc. cit.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[10]
Cesalpino, De plantis libri, XVI (1583).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[11]
Crollius, Traite des signatures, p. 88.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[12] P.
Belon, Histoire de la nature des oiscaux (Paris, 1555, p. 37).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[13]
Aldrovandi, Monstrorum historia, p. 4.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[14]
Crollius, Traite des signatures, p. 87.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[15]
Porta, Magic naturelle, p. 72.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[16]
Ibid.<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;">[17] J.
Cardan, De la subtilite (Fr. trans. Paris, 1656, p. 154).<o:p></o:p></span></div>
<span style="font-size: 12pt;"><span style="font-family: Trebuchet MS, sans-serif;">[18] S.G.S. Annotations au Grand Miroir du Monde
de Duchesne, p. 498.</span></span><br />
Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-3975368819187101582013-02-21T11:46:00.001+00:002013-02-21T11:46:19.072+00:00Artie Vierkant - Similar Objects<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5tW05C4lrU3RH6-8ugMs9pF8b7CSX_swHNcCgce9379EW07iKSdePaxOgtzCLvKRTFlVfWEMdt8GNSOiU3RiLrDCRawFgolcZJoxjqwxCLGElLUphQT9Tt_L9U9Mh2vNNPMVyZVLxUlk/s1600/Picture+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5tW05C4lrU3RH6-8ugMs9pF8b7CSX_swHNcCgce9379EW07iKSdePaxOgtzCLvKRTFlVfWEMdt8GNSOiU3RiLrDCRawFgolcZJoxjqwxCLGElLUphQT9Tt_L9U9Mh2vNNPMVyZVLxUlk/s640/Picture+1.png" width="640" /></a></div>
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Artie Vierkant - <i>Similar Objects</i>, 2011</div>
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www.similarobjects.com</div>
<a name='more'></a><br />
<br /><br />Similar Objects by Artie Vierkant is an extensive website of images culled from the internet. The web based work uses Google's 'search by image' function to collate images which are visually similar. The softwares algorithmic detection groups together objects that have similarities due to their pictorial composition. <br /><br />"I think this kind of virtual-physical relationship in particular interests me, the degree of augmentation or representation that succeeds in actually changing how we think about or interact with an object. This way we can concentrate on building layers of infrastructure that effectively create new spaces."<br /><br /><div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/01287581395861972075noreply@blogger.comtag:blogger.com,1999:blog-872236438561460648.post-52874984317946547982013-02-07T12:00:00.000+00:002013-02-09T11:53:50.750+00:00David Raymond Conroy - Hauling/It is not the past but the present that determines the future<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtGCOERzzfeDD1A3KPLwhAbyNHUvH7RISsrNJ-adbPuOgJX9YG_DVsEaiG7uBko_cKfdg-NHVLU_aI8CWous59GHZJ9ZpgMwlkj0IXPrPhNNZZHc0FgN4NmhEHANUPyp4XXGenvl__Dz9M/s1600/Screen+Shot+2013-02-04+at+22.43.58.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtGCOERzzfeDD1A3KPLwhAbyNHUvH7RISsrNJ-adbPuOgJX9YG_DVsEaiG7uBko_cKfdg-NHVLU_aI8CWous59GHZJ9ZpgMwlkj0IXPrPhNNZZHc0FgN4NmhEHANUPyp4XXGenvl__Dz9M/s640/Screen+Shot+2013-02-04+at+22.43.58.png" width="640" /></a></div>
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<div style="text-align: center;">
<i><span style="font-family: Trebuchet MS, sans-serif;">Hauling/It is not the past but the present that determines the future</span></i></div>
<div style="text-align: center;">
<span style="font-family: Trebuchet MS, sans-serif;">2011/12</span></div>
<a name='more'></a><br />
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<span style="font-family: Trebuchet MS, sans-serif;">David Raymond Conroy's<i> Hauling…</i> is video loop presenting a back-and forth unfurling of ho</span><span style="font-family: 'Trebuchet MS', sans-serif;">arded images culled from style blogs. Alongside this a separate audio monologue astutely describes and discusses the conditions of online browsing and the resulting anxiety that these new conditions of looking, connecting and interacting create. </span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;">The work also exists as sculpture, presented on a monitor as part of an assemblage featuring distressed jeans and alcohol-free beer.</span></div>
<div style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><i style="text-align: center;">Hauling/It is not the past but the present that determines the future</i><span style="text-align: center;">, was screened at <a href="http://openfile.org.uk/virtual-space-digital-trace/">Open File, Virtual Space/Digital Trace</a>, Grand Union, December 2011</span></span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;"><a href="http://or-bits.com/05truth/05dc.php">Watch the video at or-bits.com</a>.</span><br />
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<br />Tim Dixonhttp://www.blogger.com/profile/06035596788327527740noreply@blogger.com