Bill Viola – Nantes Triptych
VIDEO ART AS A TOOL FOR THE LIMINAL PROCESS
There are many who resist a certain kind of philosophy. They find it hard to enjoy, abstract, and apparently of no practical value. It seems to them vague and obscure nonsense. There have been people in the various epochs of human history, just as there have always been those who find the revelations of speculative thinking to be of utmost importance. (Anderson1969-11)
In introducing a ‘discourse on thinking’ as suggested on Heidegger’s address here three translations are noted: releasement, in a dwelling, and that-which-regions. (Anderson 1969)
This work offers up the opportunity to grapple with an idea using video art as a tool to extrapolate, and make a vessel via the visual platform/medium, a new paradigm shift in ‘thinking’, conceptually here in ‘thought’ processes of how we engage in consciousness states of ‘on’ and ‘off’.
We are programmed by default in western thought to select, deselect and digest largely by certain conductors. Via the common neural networks! To vary our already programmed system of belief and operative thought, this can be considered in my dialogue, and be influenced by the work itself. In this way, I suggest it may provoke new sensory perception turned into a meditation with the experience of it and about a work therapeutically to promote newer thought, and ways of seeing things, and enhance those new found qualities in what it means to be human.
The video art work could be representative of this when received in perceptive gates/states of ‘on’.
In socio-political ramifications the on course of meddling with the human minds/bodies in space (the world) and as seen by the warring machines of the past, to produce empirical [dis]orderedness, creating ‘ordered’ existences through governments/ dictatorships unbalancing the ‘on’ flow of natural flux- employed in forced destructions of minds and bodies, and then on wards by using methods to control allied forces to deafen/weaken the individuals conscience collapsing the very seeds resulting in death by atomic bombs etc, and then onwards to ponder the use of enabling white noise to send subliminal messages broadcast via radio/ television to masses to ‘contain’ a controlled particular style of existence.
Often wars, and a kind of mind control, the movement of man’s history, and its inventories, and those ‘authoritarian’ bodies enforced ‘belief systems’ that a kind order would prevail.
So too could this invent on the other side an opposite! Spiritually speaking! With the use of video art! This is the cycle of things already in motion of a ‘now’ experience; this video art may represent an attempt to experiment and reverse thoughts!
Enabling the ‘thought processes’!
Subliminally applied this too can induce of kind of ‘grey’ conductor (what we can’t know – that in-bet-weeness), this could then re invent and gather momentum towards a ‘new world order’ also by the act of the process itself. The point of engagement! This is in the need for healing and making repairs to common thought.
Subliminal messages are thrust towards us endlessly via journalistic propaganda, and advertising, and through common things like cinema, Hollywood in particular, and the branding of pre teen and teenagers (potential adults that will consume almost everything in their general western life span) and so on. What I would like to develop in this notion is that even inside these spaces a kind of video art is presenting itself without acknowledgment to its ‘own’ process. It is there inside already weaving itself into our lives as we live in the ‘now’.
And ‘now’ is the time to share this ideal through discussion, and develop a metaphorical template so to speak – with the use of video art subliminally, and with that, I wish to open is a debate with communication, and finally, provide a platform for new discourse not yet conceived.
In the times of information overload can we not moreover find the ‘edge,’ that ‘limen’ as we continue the path to the abomination that striving for ‘what’. ‘What’ I propose here maybe science-fictional in its content, and in speculative thinking just conceptual, but the idea is to open the ‘mind’ and further its knowledge so a ‘progressive’ form of thought can relieve the symptoms of dysfunction and fractured-ness-ness we live in, and then so be adhered to on the western thought process of this. It will dislocate to relocate, and be using newer energy sources of consciousness to enhance the resolution/s out of control in the now, and unnecessary thought processes of the past that live inside thinking of existence at present.
My word usage should upon close examination reflect the coupling of thoughts at any given time, therefore creating new networks. It is happening right now. In this moment, it will happen in the viewing as well. To deflect this as a mind control I would suggest it as generating and supporting a new humanness opening, and leaving open the possibility of openness in our ‘beings’. As we become tools for the survival of origin.
Advancing on, and afterward as ‘superhuman’ but also in and of the world!
(Did your mind conjure up a ‘superman’?) And soon to become de-fractured, factual, practical and tangible!
Post humanly speaking!
This truly does exemplify to the protection and on-goings of our species but in new and reformed vessel without seeds of dysfunction, doing away with and de-selecting without prior knowledge’s imposed. This could be beyond physical and be spiritual.
As metaphors to experiment with this I will try to locate video art work as a must in the chance of successful reprogramming to forward our use as humans and attempt to temper our past ways of viewing and conquer the devices previously applied to generate finally the virtue of love and is always inside human existence.
This kind of work may bring into fruition a networking not already made yet.
This is the point of my work: to explore that chance and to reestablish the concept of ‘being us’ using simple methods and humble observation thereafter.
In that void!
Beyond the institutionalized prospects currently running through us now as common thought! Thought without thoughts with thoughts etc! It chases that concept. Our ‘trace’ element will direct us away surely and not to it – but from it, and this is all ‘speculation’ process in our ‘discourse on thinking’ (Anderson, 1969 11). And only then providing a ‘possible’ way in the probability of chance and problematic by the action alone when in the face of adversity in things like post-modernist (random and fragmentary), deconstructionists (sociologists, historian and philosophers) in modes of thought, and the cultural critics (sexism, racism, colonialism, militarism and of capitalism) in this kind of science (Casti, 2000)
At least of a possible attempt and should be thought about. It needs to be tried! That is what an experiment is.
My ‘creative video art project’ will be presenting a way that we notice or look at spaces in between. In how we have been trained to view things and challenge the senses thereafter creating, I hope, a meditation.
Founded in 1976 at the inception of media arts movement, the Video Data Bank is the leading resource in the United States for videotapes by, and about Contemporary artists.
The VDB collections feature innovative video work made by the artists from the aesthetic, political or personal point of view. The collections include seminal works that, seen as the whole, describe the development of video as an art form originating in the late 1960’s and continuing to the present. The videos in ‘our’ collection they say are ‘collections’ that employ innovative uses of form, and technology mixed with original visual style to address Contemporary Art and Cultural Themes.
Through a national, and an international distribution service, the VDB network makes video art and documentaries made by ‘artists’, and also taped interviews with ‘visual artists’, and critics alike, and therefore available to a wide range of audiences. (HREF-1)
This site has further introduced to me ‘snit bits’ of artists works, that are an influence on my video art understanding- Bill Viola, Gary Hill, Peter Bode, Saddie Benning, Kristen Lucas, Jem Cohen and Lynn Hershem and are just some of the those whose work range from the synthesised imagery, general games theories, bugs, viruses, corner of the eye, sense of anxiety, structuring of video signal and operational metaphors of perception.
This aids creating visual mappings and the technological machinery inklings that underlie in making video projections for me.
What can be said about video art? From its inception some fourty years on, video art has its trace challenged to define historically, evolving from obscurity and the ubiquitous, historically it remains elusive. What it is, or what is it not? It is a confluence of histories involving- art, social and technologies. To justify this you would need to retrace the history of 20th century art –post war movements such as pop art, post minimalism, conceptualism, and post modernism and the evolution of the global art scene; the history of film emphasising independent and expanded cinema in the late sixties, and evolution in video technologies transportable video devices, cable and delivery systems, personal computers and the internet; development of journalism of in particular of the ‘new’ subjection out of the sixties and seventies; and the evolution of philosophical thought , French theoretical writings, post Freudian scholarship and the impact of Structuralism and so on. The idea of video art as an art history category does not exist! In this way it offers post political thought and finds use in this medium as a tool to demonstrate beyond art world critique and capable of producing art albeit boundaries dissolved. (Ross, 2005- 3-5)
Like this paper suggests its trace is too like a ‘ghost in the machine’.
Elusively speaking.
What can be assured that in the contemporary sphere of ‘the now’ it will be problematic to fix and contentiously will remain elusive!
As to the flight of this paper tries to convey a suggestion of the ephemeral and fractured life of the “now’ and finds ‘liminal’ spaces to meditate upon, and find quality in that ‘blur’.
In that moment, in its movement so to speak!
So I am trying to demonstrate ‘that space’, is that moment in between. My work is conceptual/experimental and made in the random moments with perhaps the essence of a controlled space (the mind), and in that discovering the slippage of time, and coherent filming quality adhered to.
At play, if you will- on a number of amplitudes/levels!
This aids creating visual mappings and the technological machinery inklings that underlie in making video projections for me.
In naming my project ‘ghost in the machine’ this is used as an equation to summarize the ‘thought process’ of that… With words/ideas, and in the line of a subject matter outside mathematical intellect!
And induced from theories and science-fictions on that subject!
This is the equation in words.
Ghost– The human element (or its trace) + Machine– (or anything that equates to this) = the ‘spaces’, or ‘gaps’ in between.
My work is an experiment- Dictionary definition-
A test under controlled conditions that is made to demonstrate a known truth, examines the validity of a hypothesis or determines the efficacy of something previously untried.
The process of conducting such test- experimentation.
# An innovative act or procedure: “Democracy is only an experiment in government” (William Ralph Inge).
# The result of experimentation: “We are not [nature’s] only experiment” (R. Buckminster Fuller).[1]
How do we view things?
By observation!
What is it that happens in the surveillance of subjects/objects that we observe? We are affected/infected/defected! Why do we need to be watched, or watch for that matter? The notion of ‘watching’ transmits signals to identify ourselves as a passenger to existences. In this theatre of engagement it is like a grappling with our soul connection, and has our mortality been dethroned, as we become spectator and performer all at once, are we not now so transparent that our essence is lost!
Philosophically speaking!
Living in the now reflects a source of continual presence. Past always inside the present!
The ‘aesthetic’ of how we feel/view this kind of art, only an afterthought, of thoughts -speculatively considering!
Excuse my venting of words/questions I am in a romance with the ‘word’ so in this project I will combine my feelings, in the ‘words’ I express. And later in the video work as visual/audio perception! It will connect the understandings with misunderstandings. Showing ‘the gap’! Streaming it if you will!
A contemporary artist has a duty to justify their work to their audience, or paying subjects. To a society at large via exhibition in the museum or gallery space, or billboards and so on!
Ha ha ha.
From the government coffers- who cough up the cash to make that happen. ‘Video Art’ still is situated at the edge, economically. Even in its use in an experimental music video and new cinema artistically. So marginally speaking- not all can be presented with it, to judge and engage with it in totality, and a murky remnant of its ubiquitousness permeates endlessly!
What we need is to ‘focus’ on is the healing qualities as a therapy perhaps a new evolution in artistic ideologies.
I am a product of that ‘now’. My understandings and development of ‘my’ world will be seen from a lively disposition and in the artificial nuance of ‘me’ that has been made from being a preteen and teenager in the 70’and 80’s. And a type of branding will prevail in my understanding of the world.
The point of taking off!
The ‘glitch’!
What I will create can be made of many things. Moving onwards and never resting in totality in this one space entirely>>>
Fictions and ‘real time’ events unfold.
I live in many zones- in suburbia- public and private. And I visit heterotopias’ via the shopping mall, the beach, the home (domesticity), architecture, construction sites, driving on the freeways/roads passing graveyards, churches, urban life etc >>> and so on…
I have viewed many Hollywood movies in my time. Becoming merged as at one with the fantastical ideal made there, a living, breathing, walking, talking, existing background extra.
I am made up of so many ideals it is hard to find true location, and it is in a dislocation. I can transmit this picture. And in seeds of this dislocation/dysfunction that the irony is mad, this can be made in a display of images and sounds that I can collect in the ‘real-time’ and in those kinds of places, of a heterotopia I have described previously!
This could be considered rhizomatic, as I make foundations then set off in new paths, and my theoretical support will then be put together in the style of bricolage.
Bricolage- My theoretical approach is that of a bricoleur, as I am in a convergence of discovering new meanings, selecting and deselecting, choosing different qualities of an idea.
Something made or put together using whatever materials happen to be available: “Even the decor is a bricolage, a mix of this and that”[3]
As I meander between scenes/places/spaces. Maybe like in montage in a filming way.
Not only the in active state but also by the fleeting participation in that event, not just in the making of it -but also in the ‘being’ in it- existing for, and as a ‘virtual’ participant.
This can be seen as I engage with the computer and Internet to reproduce my work. This is empowering as a female subject as I can be wherever, whatever and whomever I want in that space. That may be considered a collective anarchy!
Or nothing at all!
As the visitors to those places are becoming more prolific as the global culture creates in the ‘now’ a post-future, always finding and seeking locations to bench themselves, a site of resting and contemplation!
Could this not link the new common neural network!
Going beyond the time stopped motion and being continually switched on.
Orgasmic/automatic!
What I want to import with out fear is the freedom in knowing it is ‘ok’.
It just ‘is’!
‘Isness’ business.
Scaring, lulling and finally making mock!
Ha ha ha!
What does this freedom sound like, what does it look like! How does it make you feel! Can it ever possibly be created! All of this may be grappled with in experimenting with the experience/experimental project suggested.
Well, I can only resist attempt to represent, and make a platform for it. And lubricate through it.
In slippage!
Lets leave the gates open, to minds and its controls and fall into the reality of mindless form, switching ‘off’ that and opening ‘on’ states of a kind of endlessness.
Dissolving, and cancelled in time.
What elements I will import may be affected by recent understandings; therefore the ‘fixing’ of my work may not be so secure. In where it sits I mean. It will contain feminine qualities, as I try to make sense of the world in which I have been produced to. And in that ‘zone’ an expression/impression will be made. If I paint to canvas it is as an abstract expressionist, and so as a tool, my video art also shares a common trait. Perhaps making a mark!
Or a pointillism that I wish to share!
Is it in the pixelated vision, and the vibration reflected off the ‘machine’.
In the oneness (collective) of that.
Beyond the camera lens maybe finding the spaces/scenes we neglect to focus on, or delete! In that threshold, that ‘liminal’ horizon where anything is possible!
And yet we have been trained to ignore by a default out of the production of ‘process’ itself.
Perhaps the ‘need’ for me to do this is felt in the final product, as the observer/receiver will find a trace of my information. This is perhaps maternal as I am trying to aid the receiver in reaching an utmost ‘potential’.
Like a good M‘other’ should!
A mother discourse…
Albeit- a ‘motherboar[e]d ‘if u will.
This aids in finding humour that marks the opening of such ideologies.
But this kind of talk also offers up a ‘machine of thought’. Of labelling! Disabling!
In that ‘moment’.
Distracting!
Inside our already programmed ‘thought’ process. This is then decoded by the machine of our ‘new’ existence (of what it is to exist in the ‘now’), in the continual present inside, and outside our ‘head’, and later in the ‘silence’ that its whole virtue maybe found.
In meditation, and contemplative practices.
Inside the void, in that no-thing-ness!
Feel yourself analysing in every moment the data in receivership, creating new patterns of meaning!
I would like us to abort our current thinking about anything, and just live in that space between on/off, oscillating and discover new pathways, and in this way post humans could be in a type of enlightenment continually, and find new possibilities of what it means to be ‘human’.
Progressively and speculatively speaking!
As the post human with its encoding reforms ‘us’ as something else.
Inside that after thought – an immersion into ‘those’ moments conclusive in that all the new thought processors are linked to an upgraded defragmentation in a machine of understanding/s thereafter.
Simply a new ‘way’ of thinking/feeling!
A Tao perspective here would open to the concept that ‘endings become beginnings…’ (Dyer-p 74) This is a verse in ‘Living with Constancy’, a translation of ancient verses from Tao Te Ching, a legend transcribed from imperial Chinese archives. Its final resolution is eternal.
Returning to and form the void.
That NO_THING-ness.
This reminds us that some scholars have considered an ultimate discourse on the nature of existence. In ‘this way’ I feel it can be applied to present ways of life to change thoughts, and via inner meditation and dialogue with the self, in becoming infinite at least.
For that reason my true sense is to find a ‘silent knowing’ and ‘acceptance’ of philosophical/spiritual thought.
This kind of contemplation may be generated when allowing the not knowing in what the viewer perceives when transferred to vision and sound track in the form of video art. Becoming perceptively engaged!
Stillness, and a capturing the now! It needs repetition, to translate down the receptors!
Forging onwards without the deceptors- transferring the moment!
My work often contains ‘myself’. As narrator, conductor or director, in that way I mean by being seen, heard and /or felt from all angles. And since my thoughts are ‘ephemeral’- as the ego leaves me, fleeting parts of my imagination will be seen, felt and heard. As I try to make a cognitive and contemplative structure from the anti-structure, inside the fleetingness.
This philosophical experiment may describe what I mean by in Roger-Pol Droits 101 Experiments in the Philosophy of Everyday Life.
83 Fix the ephemeral
Duration- stopped
Props- a recording system
Effect- contemplative
In the past, the fleeting detail was lost forever. A movement of the hand, a furtive look, the shadow of a smile, an inflection of the voice, a certain light- everything sank without a trace, along with a thousand other such tiny realities- into an ocean from which nothing could be recovered by anyone.
We have invented detail-machines that can capture such instants. Fix the tiniest spot. Preserve sounds and profiles. They made their appearance not so long ago, but we have got used to them so quickly that now we take their power for granted. Or nearly?
The experiment consists in rediscovering the power of these techniques. In fact we do so everyday without thinking about it: by listening to the radio or to discs, watching television or videos, photographing, recording voices, faces, in their very special way, can snatch ephemeral moments from the march of time.
A piano key lightly caressed by Scott Joplin in 1902, a single flutter of Louise Brook’s eyelids in 1934, a jack-boot hitting a paving stone on the Champs- Elysees in 1940, the chaotic arrival of a train in Calcutta yesterday
…We are surrounded by tens of thousands of captures living instants, of movements seized in photos or on film, of every type of music recorded on film, of every type of music recorded on disc. Try and remember this when you next look at a photograph or listen to a CD. And the next time you yourself record a snatch of life, remind yourself that you yourself are a tiny sliver of existence from time. Think of a paradoxical hourglass that sieves the dust of hours into a kind of eternity. Instant after instant, what would have disappeared forever is now available and can be replayed any number of times. The fugitive and the ephemeral are flowing permanently towards the eternal.
Ask yourself how all this will end. The answer doesn’t matter.
(Droit, 2002)
So what is she on about, what is she trying to express you may ask?
Aha
I REPEAT – THE ANSWER DOESN’T MATTER
Fixing the ephemeral– Using this ‘experiment’ I am able to share the idea of capturing the moments in my video that could be fleeting, and/or are non-fixed. By using a recording system such as the video I can capture or fix these living instants and record to view any number of times as described. This can then become contemplative, and in this way I too wish for the receiver to be left considering what it was they might have experienced in my work without finding an answer.
It is a simple process in a complex kind of way. Liminal zones are the places in which I like to observe situations, conditions and happenings. The moment’s in-between, and that are concealed at the edge. These are frequently visited by the post-modern subject, a human of the western world is more than ever been thrust into situations at an ever increasing speed, in the time sense, we may not notice the gaps. How do I make an understanding into my reasons for needing to demonstrate this and into the realm in which it can be found?
Spacio-temporal transitions acquire value by virtue of being unordered, ‘marking-free’ zones beyond spatiotemporally fixed orders. This is where new things can take shape. In the In-Between- In the Already-Left-Behind and the Not-Yet-Arrived- much is possible. (Hofmeister, 2002, p. 114)
Since my linking for now is that of the spaces in between I am able to see our conflicts; and current understandings on these issues. What this does is invent a fear of the future; I guess what I am on about here is that I am keen to bridge the gap with more than mere speculation. We can take a philosophical view on this as the Tao would have it!!
The moment we move from one point to the next, that threshold?
Feeling the moment.
Without ‘fearing’ it.
Our ‘thought movement process’ in gates/states of ‘on’!
Technology is creating our future so it is with this research I am able to explore the ‘Cyborg’ myths that seem to be in glitch at the moment. The glitch video I made for Image Production may be representative of that.
In that video there is at play of discovery of the psychedelic kind, with colour at first, and in the interplay of pixels- this in turn transcends into a kaleidoscope of egg meeting sperm, and that is made by pure experimentation with image manipulation/production.
A little girl hums a melody, and the looking down a tube at guitar frets. The beginning of a fairy tale… The water ascends and descends also.
Procreation.
It is not unlike being inside a ‘machine of thought’ as these interactions evolve. In it’s womb! So this is the ‘narration’ in my head. The ‘story’, so to speak as I invent a structure. Although it is within the irony of this it is anti-structure at play. Irrational, you could say, and a crash of images alienating the viewer, and lulling them into making form from western ideals.
A lullaby you could say.
Since my work is made with, and in the form of CD/DVD sampling, I also consider how this is transferred to become data.
Digital signals in the states of on/off that Sadie Plant was referring to, this may aid to further my understanding of conversion, production methods, glitch, gray code, sound synthesis, polarization of light, digital data, interfaces and so on…in a pixel sense!
In discovering ‘clock pulse’, waves and states of on/off that seem to occur in any work using digital/audio.
Thinking about ‘time in the machine’.
The time it takes from an issuing of demand is slowed by propagation delay in the order of three- five nanoseconds per synapses.
It is like turning on a tap to allow the ‘potential’ once it reduces synapses the silicone format of the gate dictates the on/off states of ‘out’.
One–two seconds visually is approximately one billion times slower than the machine takes to make its calculation. Humans can probably react to a given situation in approximately (one-fifth of one second).
Some aspects of fuzzy logic, and neural networks -are not understood by the programmers who created them. Only the machines understand how and why they operate as they do.
Now who really is in control or power?
We are a nanosecond within its existence.
Thinking about this in time relation perspective a machine can calculate in one second x amount of years. Five billion divided by sixty minutes divided by three hundred and sixty hours divided by twenty four days divided by three hundred and sixty five years =
How and why they operate as they do using second intervals?
Time based of course!
To understand my position, my views, the angles at which I come from. These issues that are debated, perhaps even contradicted, and influence my ways of understanding from a ‘lively disposition’ here.
In using ‘liminal’ concepts like notions formed out of societal studies by anthropologist/theorist Victor Turner.
In a state of liminality, suggests Turner, communitas or the “liberation of human capacities of cognition, affect, volition, creativity, etc. form the normative constraints incumbent upon occupying a sequence of social statuses” may occur.
A limen is, of course, literally a “threshold.” A pilgrimage centre, from the standpoint of the believing actor, also represents a threshold, a place and moment “in and out of time,” and such an actor – as the evidence of many pilgrims of many religions attests – hopes to have there direct experience of the sacred, invisible or supernatural order, either in the material aspect of miraculous healing or in the immaterial aspect of inward transformation of spirit or personality. (HREF-2)
In observation of these sites, or transitions in societal changes of the now, I would like to create an atmosphere not unlike that of the video surveillance of shopping malls, and simulate a viewing platform.
In reviewing this I am interested in Compositional film theory by Gilles Delueze, on cinema that recall Bergson’s account of specialised images, and taxonomy of these-
Deluezes review on Bergson’s account of specialized images- the perception –image (living image senses outside the world), the action-image (structure of space surrounding the living image) and the affection-image (that connects the living image’s outer perceptions, inner feelings, and motor responses to other images). And this goes further to the suggestion of ‘impulse-image’, ‘reflection-image’ and ‘relation-image’, three signs in the taxonomy of images -one genetic, and the two other compositional… (Bogue, 2003)
And inside the sites of ‘heterotopia’ suggested by Michel Foucault- this will allow me to develop different ways of viewing-
The space in which we live, which draws us out of ourselves, in which the erosion of our lives. Our time and our history occurs, the space that claws and gnaws at us, is also, in itself, a heterogeneous space. In other words, we do not live in a kind of void, inside of which we could place individuals and things. We do not live inside a void that could be colored with diverse shades of light; we live inside a set of relations that delineates sites, which are irreducible to one another and absolutely not superimposable on one another. Of course one might attempt to describe these different sites by looking for the set of relations by which a given site can be defined. For example, describing the set of relations that define the sites of transportation, streets, trains (a train is an extraordinary bundle of relations because it is something through which one goes, it is also something by means of which one can go from one point to another, and then it is also something that goes by). One could describe, via the cluster of relations that allows them to be defined, the sites of temporary relaxation -cafes, cinemas, beaches.
http://foucault.info/documents/heteroTopia/foucault.heteroTopia.en.html
History, biology, philosophy and science have influenced my understandings. And despite that of the Western knowledge/cultural perspectives that have been largely directed at me in my education, I see things however linear in this aspect but moreover cyclic in a circular, endless sense, so therefore my work repeats and loops.
From the ‘eagles’ perspective (the full picture?), or the in white space (the backdrop for text/language), and the image, a timeline may be more of a way that depicts what it is I am trying to achieve, in sequence at least!
Or like in the story telling. That is linear and does have a beginning, middle and an end!
So I am in contradiction all the time!
We need to feel both at once so we can ‘feel’ the middle.
This is demonstrated when working with video/film, as there is always a time line, and in each of the time lines/zones exist a frame, a container of time if you will. What happens when we receive these sounds and images?
Since the television is part of my reality, this could be seen as ‘white’ noise.
And as perception!
What I am more interested in is the sense of self-realisation that may be made as the receiver links neurons at that given moment!
CONNECTING…
DISCONNECTING…
I am experimenting with those qualities of feeling there. More importantly is the in fixing or demonstrating a moment of the ephemeral state.
So I become a Cyborg, or a tool not only in the thought process but also in the creation of this idea.
I want to be a machine.
Where all things can become blurred, in the conventional sense! In a place that goes beyond those constraints, this may end up as a meditation. If instinct is the description here, I am inquiring into the depths of origin, of how we interpret our natural world.
What is to not be labelled? What does this tell of my methodology, that it follows a path of least resistance, on some levels yes, and in other ways no!
What will result is not so much what I want it is more about the exposure to the actual event moving into boundaries that we are all ‘connected’ in some way, and that is perhaps about the ‘spirit’ of humanness.
Connectedness…
If a result was possible the outcome could be so powerful, that time, and the universe would cease to exist conceptually, and we are then to remain in the perpetual motion created there. An eternal void made the by the process itself!!
Well this is a performance after all!
And I’m the Cyborg!
Argh! Spooky eh!
Self-Portrait- Angelique L. Jenkins
‘Ghost in the Machine’
An afterthought: On Cyborgs
All such utopian dreams must be countered by the fact that ’man’ has always been present with everything in him that should be avoided and all that cannot be surpassed. From this we become aware of what it is worthwhile in man, that there is something worthwhile about him and our existence is worthy of a future- of an always-new chance to develop or potentiality for the Good. And we can attempt to assure that this potentiality continues to exist. (Bowring, 2003)
My work maybe unreadable perhaps because of lucidity, and specificity all at once! In the end a sense of failure could prevail, if this work does come close to representing the process at hand- that concept ‘the ghost in machine’- that human trace ideal!
Perpetual- and what I am on about!
The risk was to attempt it anyway. How does this relay this symptomatic discourse in the ‘on’ course of things?
On the side of the perception at least it is possible, and not of the artist, I hope it delivers.
Problematically speaking a sense of humour felt!
How do we engage with this possibility/probability of the ‘now’ if by then a meditation was not contemplated? Will it not have served its purpose! In concept yes it can.
Moreover the process of ‘thought’, or modes of conduit to that process of ‘thought’ that links it, might well have been triggered ‘experimentally’- so to speak, therefore the ‘on’ process will follow thereafter, but we may speculate this in a future albeit ‘not yet here’
Ha ha ha.
We cannot ‘know’, and all this simply a subversive reflection of that.
Bibliography
Books-
Anderson, M. John & Fruend, E. Hans (1969) Martin Heidegger- Discourse on Thinking, New York: Harper & Row. 11
Baudrillard, Jean (1997) Art and Artefact, Brisbane: Institute of Modern Art
Bowring, Finn (2003) Science, Seeds and Cyborgs Biotechnology and the Appropriation of Life, London: Finn Bowring. 277
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Magazine Article-
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