Triangulation Show

in Sheffer Gallery Sydney 16.-30.07.2012  http://www.sheffergallery.com/
 

Flexible Frameworks

In my art practice I investigate the flexibility of man-made frameworks such as definitions, structures, models, ascriptions and the respective methods of employment of these frameworks. Structures, hierarchies and the practice of standardisation influence our perception and cognition, they construct a world in between through which we are able to draft, frame and communicate our ideas. This space or perspective in between is the third space (Bhabha) where new meanings and situated references and relations are construed. The method of triangulation breaks out of the dichotomy and binary thinking by introducing a third point of view, which can be allegorized as the relation, link, embodied reference and new meaning in itself. Triangulation aims for a holistic, balanced, objective approach. My research is an exploration in this moment of cognition, when we adapt and negotiate respective
meanings and insights. Our tools for this step of comparison between known information and new information are standards, units, metric systems, scales and classifications. These tools, instruments and ‘inscription devices’ construct our reality (Latour). The growing interest in visualisations like diagrams, databases and scientific imaging is an indicator for the pervasive urge for a holistic view of our world.

For the the exhibition about Triangulation in the Sheffer Gallery in Sydney I propose the installation of a full-size coordination-system with the axis of abscissas. The axis consist of rubberbands, which are grounded orthogonally with hooks in the gallery space. The audience will be the third point of reference within this system inside the gallery. It will be possible to play with the installation such as rubber band jumping, making sounds by picking the
strings and therefore experiencing the playfulness and elasticity of our frameworks. With triangulation (the process of comparison) we render unknown values of a situation and make this information accessible, negotiable, and communicable.
The experience in the exhibition is completed through a set of collages and images representing graphical frameworks within our environment on a micro and macroscale. We can read orthogonal axis into the legs of an insect and ascribe new meanings to shapes of building, to lines and movements, which we observe in our sphere. Formulas in physics and maths represent balances of power and relations of a dynamically changing, vital phenomenon with at least 3 variables. This work is aiming to visualize and realize the agency and operational competence of things and structures within our perceived world in which we are always in the role of the analyser and synthesiser, therefore in the process of interpretation, translation and making sense.

What sees the camera?

this is the point of view of the camera and the respective video: https://vimeo.com/45381913

Uncertain Camera

This camera is caught in its own elasticity between two possible points of focus. It is uncertain and can’t decide on which point to focus.
Video of the struggling camera: https://vimeo.com/45380821

MutaMorphosis

Supporting images and text of submission to MutaMorphosis
http://mutamorphosis.org/2012/

Online Survey on HOW ELASTIC ARE YOU? http://www.surveymonkey.com/s/H2CWWXH

Tools For Elastic Thought

The topic of uncertainty as described in the theme of MutaMorphosis 2012 is connected with qualities of fuzziness, blurriness, and vagueness. I refer to this range of options, values or states in my research by the term of elasticity and flexibility and argue that current situation of hybridity demands a heterogeneous, complementary approach and blend of methods, hence an elastification of perception and cognition.

My enquiry investigates how the concept of flexibility enables a fluid way of thinking about events and experiences entangled in dynamic relations yet constrained by human made definitions, structures, models, ascriptions and methods. Ultimately a creative enquiry in the form of a series of performative experiments embedded in a framework that reinterprets the theoretical discourse, thought models and knowledge production, I trace these discursive exchanges and developments among different areas (physics, semiotics, geometry, philosophy) to demonstrate how structures, hierarchies and standardisation influence our thinking and how the increasing complexity allows and even asks for the integration of dynamic and unstable qualities in current theories and practices. The research is therefore an exploration on the flexibility of human made constructions such as standards, units, metric systems, scales and classifications and the manipulation of the respective tools and devices to set, determine and map these informations. These tools, instruments and inscription devices construct our reality (Latour, 1979). My enquiry is an artistic approach to the mobilisation and flexibilisation of information, concepts and practice. Theoretically led and inspired by the writings of Bergson, Deleuze and Guattari, Latour and Sloterdjik, I am employing the method of diffraction (Barad, Haraway), détournement and dérive (Situationist International, Debord), ANT (Latour) and relational aesthetics (Bourriaud) to translate my findings into experiences, installations and visualisations.

In the development of Tools for Elastic Thought I’m following a Duchampian approach by transforming and manipulating simple objects (ready-mades such as measurement devices and respective diagrams) into contemplative artefacts, allowing and emphasizing the flexible potential and agency of these objects, making their elasticity tangible. Taking the concept of inscription devices from Latour further and employing Barads idea of agential realism, she states:”… apparatuses are material (re)configurings or discursive practices that produce material phenomena in their differential becoming.“ (Barad 2007). This discursive practice and differential becoming can be related to de Certeaus strategies and tactics (1984). Buchanan describes the difference between strategic and tactical practice as: „Strategy is a technique of place, and tactics is a technique of space“ (2000) explicating that strategy is trying to control, reduce and narrow down the variability of a situation or context by confining a ‘protected zone’ of reference while tactics offer options and operate within a space of spontaneity and unpredictability. In this sense, Latour speaks about a “space” which is offered by the thought model of networks and by metaphors of spheres in the writings of Sloterdjik (2009).

Speculative approaches, stress tests and experiments in regards to probabilities allow for space and room to manoeuvre, to interpretate and to manipulate. These interstices within patterns and structures are needed as latitude and leeway for bending and twisting processes of thought and practice to answer current complex questions of reality.

Methodologically the exploration is undertaken through practice-based research consisting of a series of experiments in the area of critical design to understand and extend the cultural, social and ethical implications of structuring, inscribing technologies and respective formats. With critical design I am referring to the approach from Dunne and Raby who use speculative design „to make us think. But also raising awareness, exposing assumptions, provoking action, sparking debate” (Dunne and Raby, 1999). Furthermore I employ cultural probes, an experimental research method to study new, uncertain environments developed by Gaver, Dunne & Pacenti, 1999. Cultural probes are mobilised here to explore concepts of elasticity and to test how these concepts relate to perceptual and cognitive patterns of time and space. The prototypes of Tools for Elastic Thought should be tested in DIYbio Expo 2012 and link and feedback to the streams of Adressing the Future, Philosophical Toys Today and possibly Time and Technology. In terms of temporality, continuity and elasticity, Bergsons notion of duration and his metaphor of an elastic band being stretched will be the vehicle and mediator between the streams of uncertainty.

 

Melbourne Transdisciplinary Imaging Conference 22.-23.06.12

This video was running in the background during my presentation on the Transdisciplinary Imaging Conference in Melbourne. T. Konrad created the distortions of QueenMary departing the harbour in NYC. The video is a visual link to the idea of distorted aspect ratio of video images and possible meanings of this elastification of visual perception. This is the abstract of my talk/paper:

Inferences through interferences

In physics, interferences are created by the diffraction method. Diffractions describe the bending of waves (e.g. Light-, water-, electromagnetic-, x-ray-, radio waves), which pass through small objects such as slits. Haraway (1997) and Barad (2007) employ this approach metaphorically in their thinking as a kind of critical consciousness. Reading and writing diffractively creates differences, offers new perspectives and various points of entry for interpretation and sense making. Interference on a material level i.e. technically as well as conceptually is a key tactic for the encoding and decoding of imagery and representations. Bending or the flexibilisation of visual (and ultimately conceptual) information occurs in this process on several levels: Firstly through the technical production of imagery (e.g. Shot, rendered, manufactured). Secondly by the technical transmission and mediation of information. The usage of filters and algorithms constitutes an additional level of transformation in this process and lastly the practice of reading, decoding and making sense, negotiating and evaluating the information by situating it in related contexts. Technology allows for layers of diffraction, which can be exploited for interpretation, therefore for the production of meaning at a greater extend and for the discovery of underlying patterns, which are not obvious at the first glance. In this sense, elastic interference is a tactic that leads to new inferences through differences and possible references to radically disparate things. In my practice, I am applying this tactic as a new representational practice to remediated, expanded, networked imagery. My investigations in the flexibility of systems pertains both content and form of imagery. The notion of diffraction shifts fixed congruencies and opens up a constructive trajectory, which demands divergent practices and encounters to translate the ideas into action.

List of references (not complete): Barad K (2007). Meeting the universe halfway: quantum physics and the entanglement of matter and meaning. Duke University Press, Durham Haraway D (1988). Situated Knowledges : The Science Question in Feminism and the Privilege of Partial Perspective. In Feminist Studies, Vol. 14, No. 3 (Autumn, 1988), pp. 575-599 Haraway D (1997). Modest_witness@second_millenium.FemaleMan[©]_meets_OncoMouse TM: feminism and technoscience. Routledge, London Lenk H (2003). Grasping Reality. An Interpretation-Realistic Epistemology. World Scientific Publishing, Singapore

EggCam

Manipulated Camera series

High Medium Low

Grape Faces

Elastic Exercise Grids

http://wip.fmotzkus.com/bb/projects/subjectiveGraphPaper/
online prototype from Ferdinand. Pressed mousebutton deforms the grid.

Inspiration

http://www.k2.t.u-tokyo.ac.jp/members/alvaro/Khronos/
Super Gravity – Zero Gravity, SkinSites, http://www.posttheater.com/

Kampenwand – Inspiration for Stretched Door Sound

Inspiration for Stretched Door Sound found during hiking in the Bavarian Alps at the Kampenwand near Chiemsee. https://vimeo.com/43598488

Elastic Rubberfont