|farewell, livejournal world...
||[Apr. 16th, 2007|01:54 pm]
just a note to say that I'm shifting blogs... I've moved to the bush and the satellite internet we have access to is achingly slow, so I'm moving to a blog format which is more straightforward than this one. and which allows tagging on the front page (i like tags). SO the new blog is here and I hope to post regularly, now that I cannot just go down the street and spill my brain into a friends ears over a short black....|
|pixelation + bitmap roundup 01
||[Oct. 23rd, 2006|04:01 am]
now admittedly more than half of this stuff is not strictly pixelation but I'm trying to collate influences and contributing factors to our perception of what constitutes an image within a grid or array of small parts over this past forever:
starting off with the mosaic, altho not a form strictly gridded by any means -
as well as the worlds apon worlds of cross-stitch
including a image to cross-stitch template generator
and onto beadwork
then on thru pointilism, again not strictly pixelation as the technique relies on the eye clouding together primary coloured dots into secondary colours, from my basic research, rather than each point representing an independant colour value - tho each dot would obviously dictate the overall form of the image -
the above is an example of not-really-pointilism
and also a pointilism patch for processing
then onto pinboard technique - an animation technique reserved for the slightly insane but none the less beautiful - brought to prominence by animators Alexander Alexeïeff & Claire Parker (Russian and American respectively), which is the very amazing technique of pushing pins in (negative space) or pulling them out (positive space) to a certain point on a pinboard matrix. and doing that alot for a very long time. looking forward to seeing the examples of their work in the ACMI lending collection next week (have to book ahead to view 16mm) - good related article on pinscreen here and lo-res google video of one of their works here
and from there I'm jumping to the concept of the bitmap image, and, well, off you go down that merry path of raster-based imagery and software and technology, from the first computer images (or did ascii pictures come first?) thru to mobile phones and basically all electronically-generated or displayed imagery in-between, film notwithstanding (until it's digitized). My understanding on all this is still slightly mushy but the point is getting to the very interesting offshoots on the concept of the pixel to pop up in the last decade, and how that relates to our perception of the image, and the moving image especially, both in a figurative and abstract form.
Jim Campbell's LED video works - one of my first experiences with this type of thing
Aram Bartholl's work - so simple, so so good - pieces for now - using tealight candles as light sources and convection for abstact pixelation, and simple techniques to quantify TV down to a "pleasing information density" as he calls it:
Bitwall 4 - Christian Moeller
- a series of stills converted into bitmap images via plastic chips produced by taking scans of the origional image (inmate portraits) and producing chips which were then re-constructed on a large vertical grid - depends on light and point of view (ie sufficiently far away from the image) for the pictures to render - which reminds me of Fabrizio Corneli's work and his use of shadow to create installed imagery like Augenblicke, even tho not pixelation.
Crayon Head - Ian Wright
Ian also does a great deal of pin (i guess you could say pinboard) pixelation art, great stuff -
- lots of abstracted pixel investigations - particularly Ping Genus Loci and Induction House
Open Burble by Haque Design
- installation using baloons with LED lights within - not actually aiming for pixelation as such, but more as an interactive installation which is a paticipatory event. seems to be just waiting for the LED's to be programmable by those participants...
Greyworld's The Source -
Built as the main hall installation for the London Stock Exchange, this kinetic (ish) sculture trades (ha) off datasets such as the value of the pound etc to manipulate and dictate its movement, behaviour and colour. it also helpfully spells out words and symbols. Quite an interesting project in many ways, not the least of which in the fact that an interactive abstracted installation got up in the first place in this context.
Eavesdripping - Sascha Pohflepp
- now onto the tasty stuff - - drips as pixels and the new boundaries of 'physical displays' which rely on a host of techniques to produce either still or moving images. I like eavesdripping as a project because, altho the bitmap (dripmap) it is creating is essentially a still image (a line, a word), by the nature of its bits/drips it becomes more than a static display, and futher more it is getting into very interesting territory regarding elemental and organic substances being used within the interface...
Electroland is doing some interesting work using windows, neon a also resilient LED in-floor systems to create a bunch of interactive projects based on pphysical displays, but their website's flash based so no pics
The OG and in many ways still unsurpassed (and open source) interactive physical display.... Blinkenlights
- an unexciting east-german office block in AlexanderPlatz, Berlin, a large number of floor lamps and extension leads and the sort of gumption that only a lack of arts funding can provide, in 2001 the Chaos Computer Club began what has been an ongoing project in a variety of forms - including some pretty impressive stuff in Paris - I've particularly liked the very stong usability of the animation creation systems and applets this crew have used, and the fact that it has consistently been opened up to contributors. And the fact that it is so darn ground-up. This was the first project of this type I ever encountered (Berlin 2002), and I still rate it up there in pure groundswell and effectiveness as a community (both located and virtual) tool and experience.
Bitfall by Spherical Robots
- a programmable waterfall - akin to Eavesdripping (well not really but it's a physical display using water) but viewed on the vertical, the falling droplets compose the image (rather than the droplets hitting a surface, in eavesdripping). Pretty snazzy, to me part of the appeal is the destruction of the image, the instantaneous deconstruction into a puddle from such an intensely acknowledged image... interesting... similar implications as eavesdripping around the still image composed of moving elemental form...
- pyrotechnic physical display - impress yr friends...not sure how effective this invention is, altho there's some interesting elemental aspects, for me...
Interactive Waterfall by Charles Forman
- nice use of low-res type physical display using LED's to create a simple interactive installation for a childrens hospital. I Like this work in that it is responsive in a vaguely figurative way, rather than an abstracted interactive way, given that it's in a kids hospital - and therefore an environment with alot of implications towards the physical... elegant ly chilled yet highly responsive - i like. also behind water I should add.
Space invaders by Guillaume Reymond -
- animation of a complete game of space invaders using people as pixels in a lecture hall - video here
that's the main ones I've got so far - I should be seperating the still from the moving I realise, but they feel quite entwined for me - praps cause the still works still require perception and relocation in order to view the works properly and from all their angles, and also the majority of the moving image ones are still in the slow realm of a chugging series of stills, so they are operating across picture-making and also moving image and animation. I think there are some very interesting questions around perception of image and the relationships inherent to physical displays which function in this way, and also how our visual literacy at this point in history impacts apon these things...
if anyone has other examples of bit map or pixelish encounters to suggest, muchly appreciated...
|5 years ago today...
||[Oct. 19th, 2006|01:02 am]
SIEVX SURVIVOR ACCOUNTS
[This is a transcript of a videotape that was made of the survivors of the SIEVX disaster at Bogor in the week following the shipwreck. It was translated by Keysar Trad of the Lebanese Muslim Association, Sydney. This document was provided to this site by Tony Kevin who presented it to the CMI Inquiry as an attachment to his first submission. Except for a small section removed from the end, this is an exact copy of the document. Names in square brackets have been added by sievx.com]
Transcripts of video taped statements from the survivors of the boat that capsized with 418 asylum seekers on board in October 2001
I boarded the boat with 15 other family members, 9 drowned and 6 remained. We clung on to a plank of timber for 20 hours drifting in the water. Something I witnessed left a very strange impression, a baby with umbilical cord still attached to the mother was amongst those who drowned.
There was 150 children on board, only 4 survived, the man broke down and could not continue his account.
Person 2 [Fawzi Qasim]
I boarded the boat with my wife and four children and also my brother, brother's wife and two children. My wife and one of my children survived, my brother and family all drowned also.
My brother screamed out to be rescued but I could not help him, he was too far from the children. One of my other children kept crying for water until the morning when he died of thirst. I kept two of my children on my shoulder all night, it was raining heavily, I did not know where my wife was. One of the children died in the morning from thirst, other child survived.
Person 3 [Faris Kadhem]
Mr. Sadik Kazim - Lost his wife and seven year old daughter (Zahra) as the boat started rocking from one side to another, people fell on top of each other, I held my wife and daughter when they fell in the water, they then fell out of my arms and I could not find them until they all drowned and their bodies floated. I did not drown because I held on to a piece of timber approx. 20 cm by 70 cm.
Person 4 [Najah Muhsin]
female - lost brother (20 years of age), sister (20 years of age) and son (1.5 years old), my son was with my sister, as the boat began sinking I grabbed on to my son, he kept going under the water, I would lift him up over and over then I saw the milk coming out of his nose and he died.
Person 5 [Rokaya Satar]
female - Lost husband and two daughters (5 and 2 years of age respectively). As the engine stopped, my husband went to help fix it, boat started to rock, one of my daughters started calling out for her father, he came back, hugged his daughter and returned to try and fix the engine. I was holding on to my daughters when the ship sank, another lady trying to get to safety accidentally stepped on my daughter in the water, so I pulled her back up, this happened more than once to each of the daughters, after being stepped on a few times, I lost the elder of the two girls and only had the younger one, I began searching for my husband whilst still holding on to the baby, this is when a lady accidentally placed her hand and foot on the baby and the baby went under water. Her story is continued later.
Young lady, 13 years of age, name: Zaynab - Lost mother, father and brother, she only saw her brother in the water before he drowned. If Australia grants me a visa, I will not go unless all the survivors are allowed to come with me.
Person 7 [Issam Mohamad Ismail (aka Essam Al Haddad)]
Issam, male and his family, maternal uncle's wife and her three daughters (this is Ali Mahdi Sobie's wife and children, Ali is a TPV holder in Australia). Issam's wife is amongst the survivors. I saw my friend Abu Fatima drown along with his wife, two sons and two daughters. I felt choking as women and children clung on to me, I was able to swim because I was wearing a life jacket, the break up of the boat separated my family, my son Ammar also drowned. My younger son was rescued by a man by the name of Alaa' who also survived. As the sun was setting, I heard a voice that I recognised, it was that of my wife, another passenger who was a good swimmer rescued my wife and then died himself. My wife and I clung on to a piece of timber and we each were wearing a life jacket, we were both rescued. We prayed: "God, if this pleases you, we will not complain, you are the most Compassionate." The strong rain continued, as we got tired, I was suggesting to my wife that there is nothing to live for after losing our children, my wife said: "No, we have to survive." (The wife is a direct descendent of prophet Muhammad, peace and blessings upon him.) She said to me, my great great grandfather Hussain said we must hang on, God will keep us alive so that we can tell our story, the world must know. The next day, approximately 11 AM, still clinging to the piece of timber, being pushed around by the waves we were rescued by the fishing boats, then I saw the other people crying, we were a large family (with uncle's wife and children) now there are only three survivors.
Male. I was one of a group of ninety, only 10 of us survived my family had 15 members when the boat capsized, the children were wearing life jackets, unfortunately, all the children were trapped inside the boat, they could not come out only a small number were able to get out, many died from thirst, the cold, the waves and the heavy rain, some were drinking sea water which was heavily polluted with fuel from the boat as it broke up. I was holding my brother's daughter, she kept crying all night because of thirst until she died. Also my nephew Hussein kept weeping for water all night, he was given urine to drink by his father to get him to stop crying.
Male, I was part of a large group only 5 remained, when the ship capsized, the 150 children kept floating up looking for air to breathe inside their cabin, more water went in and they were drowned, I managed to swim out following a ray of light that beamed through.
Mr. Eesa, lost(?) with wife and two daughters, eldest was 4 years of age.
Male. There was a passenger by the name of Jaber Alhsnai, an elderly man (80 years of age) coming with his son, his son had four sons and one daughter, the son was lost between trying to rescue his father or his family, he could not reach his wife and children, then I saw his body and his father's body floating in the water. This man was wearing a lifejacket, he saw 2 women screaming for help and he went towards them, there was a man with him named Ra'ad, as he saw others dying, he asked for forgiveness, he said good by and died right there and then. He tried to rescue the two women but could not, one died as he was trying to rescue her, but managed to rescue the second woman, she was the wife of Ra'ad who had just died. Ra'ad was not aware before dying that his wife was one of the two ladies screaming for help.
Ala Alayrawany - spoke about families he knows that drowned. There was the family of Salam Cheway, Bassem Al Ruwaidy and Bahr Alrabbawy all of them from the city of Najaf. Only 5 survived, I and four others, Aqid, Muhammad, Abu Sajjad and Musa, our group was composed of 95, only 5 from the entire group survived and we did in a miraculous way.
Person 13 [Bahram Khan]
Afghan who spoke Pushto, cold not translate, his name was Bahran, had a family of 8 (his four brothers and their families), only he survived.
There were 418 passengers on the boat, only 45 survived, 4 are children, 4 of the children survived, 146 children drowned. There were 150 women, 8 (including the young girl) survived, there were 113 men in total, 33 survived. The boat sank at 3:10 PM on Friday the 19th of October 2001.
When the boat started to sink, there were 100 survivors, by the next day when the rescue boats came, there were only 45 alive to be rescued.
We call upon all human rights organizations, all Muslims, all noble people from all faiths, we call on all humanitarian countries to solve our dilemma. Remaining in Indonesia will be a constant reminder of the tragedy, it will be a constant reminder of our dead children, families and friends, we cannot live here, we lost our loved ones, we want to settle, we do not want to be a burden on any community, we want to work, we want to get on with our lives, we want to help the other survivors get on with their lives, we want a better future for the survivors, we are from Iraq, Iraq is like a prison, we escaped to Iran, we were oppressed in Iran, they would not even admit our children into schools in Iran. In May and June 2001, the real estate agents in Iran were officially ordered not to rent property to foreigners and employers were also told not to employ foreigners. This was an official order applicable against Iraqis and Afghans. We are forced to seek asylum, we want to see our children go to school just like other children, we appeal in the names of the 45 survivors for a quick solution, we thank the Mufty Sh. Hilali and the others who helped us, we will never forget what they did for us.
Person 15 [Sadiq Raza]
man with child - lost wife, paternal cousin, he and his baby daughter survived, said: I cannot speak about what I witnessed, please let me be excused, his daughter cries out for her mother, there were a number of us holding onto a plank of timber, as time went on in the water, one would say, I cannot hold on, please forgive me, please pass my greetings to so and so. and they would lose their grip and get washed away, this happened to one after the other.
Hassan Jassem from Basra, lost wife and three children, Fatima 5 yrs, Batoul 1yr and 8 months and a boy 20 days old. I did not get to enjoy looking at the 20 day old enough, my wife and daughters were looking at me and crying as the ship capsized. I am unwell, I cannot go into the hospital in Indonesia. Every time I go, I remember how when I was in hospital before, my wife who had heart problems used to come to visit me and look after me in the hospital.
Person 17 [Ahmed Hussein]
tearful man - wherever you look you see the dead children like birds floating on the water, those who survived 22 hours in the water saw the dead bodies of women and children with cuts from nails on the boat and with scars from where the fish were biting at them in the water and saw blood.
At the end, a boat came to rescue us, the ones who died have found comfort, as for us; our lives have been destroyed.
The people on the top deck of the boat, as it was rocking before capsizing saw 2 large ships, they thought that they would be rescued, none of them came to the rescue, when night came, the two ships turned flood lights and projectors on the people, one felt as if the light was so close that it was next to him (when the night came), we were very close to Australian waters.
On the second day, the Indonesian, fishing boats came, I asked them how they knew that we were here, they said that they had seen our luggage and this is why they came looking for survivors. They also told us that they never go this far to fish because of the sharks and whales in this area.
We asked them about the ships that we saw the day before, they told us that they were Australian border protection ships (navy ships) (cries of support of this statement were heard from other survivors on the video). These Australian navy ships, has the Australian government given orders not to rescue us? Not even the children? What had we done to be oppressed in Iraq, we went elsewhere, we could not live, we came here and we are unwelcome. What can we do, one year and one month waiting for a reply from the United Nations, I waited with my family of 15.
I went to the United Nations, they told me to find a way to get to Australia, anywhere I went in Indonesia, I get told to find a boat to Australia, the UN guards, the UN officials, everyone talks of finding a way to Australia.
We call on any Person, Christian or Muslim with any humanity, any compassion to look into our plight and help us. If the United Nations did not see our condition, they would not keep us in such accommodation after our rescue. We still hope to come to Australia, we prefer Australia but will go anywhere, we just want out of Indonesia.
Person 18 [Abdul Ridha Lafta Egzar (aka Abu Muslim)]
Abu Muslim - a man by the name of Abu Yasin began calling out to me, Abu Muslim, my wife, my children, Muhammad and Houda they drowned, they died.
I would say, they died, we are next, I saw a child, I thought he was asleep on the water, but I found him to be dead, I also saw Mohammad, the son of Dr. Kamal (AL Battat), the boat broke up, Mohammad called out to me: Abu Muslim, Abu Muslim help me, several people were calling out to me, I was confused as to who to go to, I said how can I help you? He did not have a lifejacket, none of those who called out had one.
Since the incident, we have been living the tragedy daily. I saw a couple crying, each asking the other for forgiveness, the wife saying that this cannot be true, it must be a nightmare. There were those crying for water, others asking for forgiveness before they die, to date, we cannot sleep because of the tragedy, the tragedy is beyond our ability. There were waves between 3 and 4 metres high, a mixture of fuel and saltwater, anyone who takes in this water and is able to vomit is okay, however, the one who could not vomit dies by suffocation immediately. It was a battle against the sea and the rain. Whilst most people stopped talking by morning, many did not lose hope in God and continued to pray to God for salvation.
We saw many different tragedies, the floating dead bodies, those crying for their brothers, fathers, wives, children, etc. It was unimaginable, I cannot continue, excuse me.
Question: What can you do? What happened?
[Person 16 again ]
A different Person who spoke before answered: True, I lost three children and my wife, but the 150 children are like my own too. Those who perished with their families have found reprieve, but as for us, we are mere empty shells, our souls went with them.
When water started to overtake the boat, my family and I were in a room inside when we saw the water. Many were sea sick, when my daughter saw others seasick she did not take much notice but would continue to play as if things were normal. This time however, she felt that there was a real danger, so she went to her mother, she was very afraid and horrified. Her mother was crying and reading Qur`an, she placed the Qur`an on her daughter's head to pray for her.
I saw my entire family crying, to this day, I remember the scene, my wife holding the 20 day old child and crying, not knowing what to do, and the children crying.
Before the incident, I would come home and kiss my sleeping children for ten minutes, always looking at them, my wife thought that I was mad, she would always ask why? I would say that I do not know, I have an ominous feeling, I do not know. My son was born recently, when people called me Abu Ali, I felt that this son would not live for long, I felt strange when they called me father of Ali (Abu Ali).
There were two engines, one was not working, I was trying to repair it, it was an old engine but we repaired it as new, I never imagined that the boat would sink. As I would work on repairing the boat, I was looking at my family, as the boat began to capsize, they were all looking at me, trying to repair the boat. I am still affected by these final moments. (weeping). My wife fell whilst holding the 20 day old baby.
When the boat capsized, I lost my sanity, I was weeping over my misfortune, that I did not die with them, I began searching for them, every time I saw a child, I could not differentiate between it and my children, my wife and children stayed under the boat, they never came out. I was not wearing a lifejacket, I was hitting at my head and lamenting my loss and praying for my own death, I was dragged under water three times, I do not know what kept pushing me up to stay alive.
Anywhere I placed my arm, a drowned child or woman would emerge and lift my arm and the surviving women would cry more.
As for me, remaining in Indonesia causes us depression, every time we see the scene, it reminds me and the others of these tragedies. We wanted to live with the Australian people, we appeal to the Australian people to take up our cases, there is no difference between us even though we have a different faith, we are still human beings, we appeal to the new government to find a solution for us. (All his family remained under water, non floated to the surface).
[Bahram Khan again]
Next Person spoke in Afghani.
Haydar, we were a group of 28 doctors from Khuzistan we lived in Iran for 11 years, only 5 remained. There were some children and some women amongst the group. There was a call for the strong able-bodied men to take out the water, they were taking up buckets of water from the boat, the water went into the engines, there was also heavy rain and the boat was sinking. As the water began to rise inside the boat, people started to go en-mass to where there was no water, so the boat would tilt and water would follow them, they kept running for dry deck until the boat started to break apart and capsized.
The bottom level of the boat had women and children, the middle level had families and the top level had men only.
No one survived from the bottom level, as the boat capsized people were trapped with little air, I was inside with the children, there remained a small area where air was trapped, I had a lifejacket and was able to swim to safety, but the others, the children and the women had no chance.
The captain's room was all in the water.
Fish were biting at our bodies, I had to be hospitalised due to fish bites.
This horrible scene, between the broken boat, the fish biting at us and the dead bodies, there was a section of the boat with people standing on it and seeing their children dying, one would say: Haydar, look, my son Mohammad is dead, I would say, we will follow them soon. I saw the father looking up and calling to God: My God, you took my son, a sacrifice for you, if you would also like more, I submit to you, he died after this. I do not know how far their voices in prayer reached. If suicide was permitted, I am certain many would have let go.
I appeal to every Person with humanity, I appeal to the Australian people.
Back to Person 
We heard so much about Australia, that Australians are not racist, that they are humanitarian, so we wanted to come, because we suffered from racism in Iran, children up to 15 years of age could not read or write because they were not permitted into schools.
I have relatives in Australia, they used to tell me that Australians are great tolerant people, Australians are not racist and they have freedom, for this reason, we wanted to come to Australia in particular, we were deprived of freedom in our own countries.
Back to the lady, [Rokaya Satar]
When they came to us and showed us the boat, we were told that this boat was not the one to get us to Australia, it was only a transit boat that would get us to the boat that would bring us to Australia, they put us in a very small place on the boat, with children on top of each other, we remained there till 6:AM and then the boat moved out and kept moving till 3:10 PM when it began to sink. The engine stopped working, some went to fix the engine whilst others were taking water out and a third group trying to move left and right to keep the boat balanced in the water.
The water came from the left and then the right and the boat capsized. When it did, the women and the children started to come out, I grabbed my daughters, aged five and two, my husband was fixing the engine inside, my daughter was crying wanting her father, her father came out to see them before the boat capsized and then went back to fix the engine. As I was holding my daughters trying to keep them from drowning, a woman came and stepped on my elder daughter as she was scurrying for safety, I pulled my daughter up, the women kept tripping on my daughter repeatedly until my daughter sank and I could not pull her up anymore. I only had my younger daughter now, I started to look for my husband, I could not find my elder daughter anywhere. A woman, looking for her two daughters came, she did not know what she was doing, she pushed me and my daughter under water. I was able to keep holding my daughter, she pushed us a second time but we were still able to go up, on the third occasion, my daughter was lost. I then saw a man by the name of Yasser Elhelou, he lost his entire family, I called out to him, he could not help me. I saw another man wearing a lifejacket, I asked him to help me find my daughter, as he turned, I found that it was my husband. I told him that my daughters were taken under, he said: may be someone has rescued them, he was able to grab a floating plank of timber for me, we went on the plank for a while, I said that I am in despair for my daughters, he said may be someone has rescued them. Then I saw my small daughter Alya` floating, eyes open, dead, her father embraced her and started calling her name, he kissed her and hugged her, I said: God has taken her, he said come see her, I said: I cannot look at her, he left her, then a little later, we saw the body of my elder daughter with the body of the woman who was responsible for her going under water, the other women's two daughters, twelve and eleven were also floating by her, both dead, my daughter was on top of her head. My husband said: This is my daughter Kawthar, her father tried to revive her, he called out to her, her father then started to choke in pain and sorrow. He looked quite strong until he saw his daughters and he started choking. He said: I have lost my family, I have brought you to this, I do not deserve to live, he said: I cannot stay, I do not want to see you die in front of me. As he was talking, he was looking very tired, he was crying, his grip became loose because of his exhaustion, a wave then came and washed him away from the timber.
His friend saw him drifting past, he asked him: Why did you leave your wife? He said: my wife died, I don't deserve to live, he was floating with lifejacket, looking to the sky, saying: this is because of me, I brought my family to their death. He asked me to forgive him, he said: I brought you to Australia, you did not want to come here, I was left alone, the other survivors were taken elsewhere by the waves, I felt alone until the middle of the night, I heard cries from others from time to time, but I could not see them. Later I saw two people. Ra'ad and Abu Mohammad, the latter was my husband's friend, I yelled out to them: take me with you, I am alone, they pulled my plank towards their's where there was another woman holding on, the other woman became tired and sank under the water twice and died. I kept holding on, I asked the man: Are you Abu Mohammad, my husband's friend? He said: Are you Umm Kawthar? He said: I thought that you all died because you were inside, I said: Abu Kawthar and the girls died. Abu Mohammad said: We will also die like them in five minutes. Ra'ad said I am feeling sleepy, I have to sleep, I cannot stay with you. Abu Mohammad said: Do not leave me alone with the lady, I cannot help her on my own, Ra'ad then drifted off, we remained until the boats came and rescued us.
Person 21 [Najah Muhsin again]
Mrs. Elzoueni, I was travelling with my four brothers, one of them was the 21 year-old Haydar, and my sisters, a twenty year old and an eighteen year old and my son Karrar, eighteen month old. Only my eighteen year old sister Zena survived. When we were brought to the boat, we were told that we would be transported to the main ship, we found this to be untrue. We felt like meat on meat (like sardines), my brother was sick, they put him on the top deck, we were all unwell, the boat moved. I saw a ten months old girl before the accident, she fell from her father's arms into the ocean, people were packed on top of each other, a small ship with people seasick and women and children afraid and crying. Then a crack appeared in the boat and water started to gush inside and the men could not keep up with the water trying to thrown it outside with buckets. There were about one hundred lifejackets only, people were crying. My brothers came and gave a lifejacket to my sister, we started praying to God: O God, You who saved Noah, save us! I was inside, my sister was carrying my son, then I took my son from her, then we were in the water and the waves kept washing me and my son dragging him under and over until the milk started coming out of his face (nose or mouth). The boat broke up within seconds, the waves washed the family members apart. I saw a woman giving birth in the ocean, I saw my brother being washed away by the waves, I called out to him but saw him weeping/crying.
When night came, I saw a group of 22 young men with a thirteen-year-old girl and a lady who lost her three daughters, lost her son and lost her mother-in-law. My brother did not want to come to Australia, he only wanted to get us to safety and return.
Thirst, hunger and saltwater, people had not eaten since Wednesday so that they do not throw up, I clung onto a plank with another lady, all the water around us was contaminated with fuel, the little girl died from exhaustion and the cold, she did not have a lifejacket, from our group of 25, there were only seven left. Time passed quickly, like a miracle, dawn came at what felt like 1:00AM, I prayed to God to take my life, I could no longer cope with the pain, we were then rescued by an Indonesian boat.
||[Oct. 5th, 2006|05:58 pm]
|experimental basketry - Hisako Sekijima - best article found so far hereHisako Sekijima, Bound Space, 1997; knotted apricot; 18.5 by 14 by 3 inches.Hisako Sekijima, From the Earth, 1990;
stitched zelkova; 10 by 12 by 15, 7.5 by 15 by 17, 5 by 16 by 16, and 5 by 7 by 7 inches.Hisako Sekijima, Interacted Holes, 2001;
plaited walnut; 8 by 9.5 by 9.5 inches. Photo by the artist.447hs FITTINGS V cherry and maple, 8" x 10" x 9” 1999 Sekijima with some of her work in 1994.
All photos, unless otherwise credited, are by Tom Grotta, courtesy of browngrotta arts, Wilton, Connecticut.ANDJane Balsgaard
- whom I'm not sure but i think MIGHT be the artist whom I found a monogram of in Brunswick St bookstore many years ago and have been looking for ever since (not sure tho - not enough images to say - same style however):Papersculpture, 60 x 200 x 40 cm. Paper and villow. Studio in Ole Olsens AlleArt of Bamboo, Java 2002Foto: copyright Torben Dragsby
1990, piassaua, håndstøbt papir, Galleri Asbæk
Lovaas & Wagle Order Paint, wood, nylon stockings 13 1/4 x 13 1/4", 1999 © 2000 browngrotta arts Photo: Tom Grotta
Foto: copyright Torben Dragsby
2000, pilekviste, kozopapir,
3 x 8 x 5 m.,
Foto: copyright Torben Dragsby
2000, pinde og håndstøbt papir,
460 x 70 x 90 cm.,
image from frontpage of her site17jb TWISTED WATERANIMAL Jane Balsgaard willow and paper, 17.75" x 59" x 11.75”, 2002
|Ars Moriendi (the art of dying)
||[Oct. 5th, 2006|03:14 pm]
Sam Taylor-Wood: Still Life, 2001 - two stills from 35mm, 3:44 mins
Sam Taylor Wood's "Still Life" - a Old Master's stylee bowl of fruit, lit in caravaggio style - which decompses to a black glue over 3:44 minutes... small bit of video in interview heresnip from article on underground.com:"In “Still-Life” the fruit heaped in a woven container looks luscious as a still life by Caravaggio or Zurbaran, but as our eyes roam over the peach-bloom, the light alters subtly, and a pear stalk droops downwards. Everything, suddenly, is on the move. Although the film sequence only lasts three minutes and forty-four seconds, the changes it charts are as fast as they are catastrophic. The peaches sprout a pale grey mould, the cherries are assailed by a bilious green growth, and soon everything seems about to be smothered in a frost-like blight. Once piled high and swollen with ripeness, the fruit now sinks lower and lower, until an annihilating black substance creeps across everything. In this short yet devastating film, Taylor-Wood takes the European still-life tradition, with its ominous hints of transience, and pushes it into a state of absolute decomposition. At once seductive and desolating, Taylor-Wood’s memento mori begins with vitalizing sensuality and ends in rotting negation."and from thinking about art blog:
"Guilty pleasures! Taylor-Wood's photography leaves a lot to be desired for some people. I've liked her work, but it has never knocked my socks off. This piece was a video, just about four minutes long, of a bowl of fruit. It was timelapsed in such a way that over the course of the four minutes, the bowl of fruit moves from fresh to rotten (very rotten!). The changes are almost imperceptible but as you watch the video, mold grows and and the fruit falls apart. The clear crowd favorite, I found this piece to be hilarious. The bowl of fruit is the typical still life subject matter. Lit like an Old Master painting, Taylor-Wood first pokes fun at the notion of the still life by photographing the scene. But she doesn't stop there. She makes a video of the still life. Whereas Old Masters would only paint perfectly ripe fruit (idealizing it, perhaps?), this artist finds beauty in decay. I saw this as a possible statement that still lifes are tired as a genre and it's time for them to go away. A stretch perhaps, but I've grown tired of stale still life paintings. Still Life was a fun piece and always had dozens of people intently watching it unfold."
|muybridge and the chrono-squad
||[Sep. 4th, 2006|01:14 pm]
Currently reading "River of Shadows - Eadweard Muybridge and the technological wild west"
which is quite mindblowing, even if it weren't entirely relevant to my research. Rebecca Solnit has quicly usurped everyone else as my favourite author of all time. big call, happily made. Her most recent book A field guide to getting lost
(ouch - so good) and wanderlust - a history of walking
have both recently altered my fundamental view on nature, landscape, self, mapping... this book charts the beginning of cinema at a time when technology was going haywire and everything was changing so fast that new diseases primarily to do with technological overload were being diagnosed by victorian doctors. Solnit is a historian with a very individual touch and she is fearless in how she draws threads together - beautiful stuff - brave books, the lot of them.
Agnes Denes, "Wheatfield - A Confrontation", Battery Park Landfill, NY, 1982
looked at and found this week: Not A Cornfield
project, a transformation of a 32 acre industrial brownfield in the historic center of Los Angeles into a cornfield for one agricultural cycle. Reminiscent of the very wonderful work of Agnes Denes
and her monumental and seminal land art stuff (see above). Cristian Marc Schmidt's adaptive landscapes
are a really nice take on visualising data sets (average temp. of chicago over 20 years) in very simple forms. And hurrah for this comprehensive algorithmic botany
site which includes a full online version of the algorithmic beauty of plants
and a very delicious web document, complete with animations; Visual models of morphogenisis
the first mass produced rooftop groundcover
by Toyota Roofgarden (the O.G. site is in japanese only currently) - a golf-green system with inadvertant passive insulation consequences, Richard Sweeny
, a ridiculously young UK paper artist who is making me swoon. And lastly Lara Greene's ape
, which should be just a collectively operated puppet but just isnt.
|bees on screen and scribbles on wall
||[Aug. 27th, 2006|04:13 pm]
algorithmic life has been where its at for this little brain -
boredom research labs - UK artists Viki Isley + Paul Smith some pretty interesting stuff from the automata side of things - of particular note because they seem to be going from strength to strength and also the attention to how the works are percieved as objects and installed - the aesthetic is not really my cup of tea but the underlying stuff very much is. Apparently they presented at DAC in Melbourne last year. Only drawback is their site is a bit tricky to navigate - which is ironic.
ornamental bug garden
Graffiti Research Labs - particularly their interactive architecture experiments - the music notwithstanding. Closest reference to VINE that i've seen yet, in some aspects. The Lab is an Eyebeam OpenLab initiative and is particularly cool due to its open-source attitude - all code is released. Also the LED throwies and the how-to video on drips - really nice DIY approach throughout the site. The overall attention to projection + magnetics and light really does it for me, tho I assume this approach was taken partly as a 'damage control' approach to graffitti research... maybe?
- an artwork by Guillaume Reymond - video / performance / animation. using something like the pixilation
technique to emulate.. pixelation. video here
- nice one by Nate True - use of strobes to accentuate the pattern of a water drop - really nice DIY version of this idea - good video too.
and a really really nice blog, dataisnature
- considering calling it all off and just being a groupie to this instead.
other links been using
- a good game of life java applet
that I've been using for the barnacle experiments, altho it only deals (i think) in first-generation algorhythms - and my brain cannot handle more than this to actually animate.
|working with the materials at hand
||[Aug. 1st, 2006|02:51 pm]
| Melissa Borrell Jewelery topography necklace
Miwa Koizumi Electric Vine
Images from Spring
, a gallery/store in New York.
I love that vine made out of obvious yet sympathetic materials something fierce...
|variations of an onshore
||[Jul. 25th, 2006|01:38 pm]
| rocks off minamurra headland, south coast NSW, in evening swell and big onshore wind. July 2006.
|TTS Route 30 photos... ahem.. finally -
||[Jul. 24th, 2006|06:27 pm]
|mobile slide projection, back of Federation Square, Melbourne - March 2005
Nick just put up some photos (taken by Paul Amour) of TTS: Route 30 - the performance work that PVI toured around Australia last year and which we collaborated on, creating the tactical projections in Melbourne... a wild two weeks it was.
|MOB screening in Melbourne this Thursday
||[Jul. 24th, 2006|05:54 pm]
yep, MOB in its single-channel form is getting a wee first airing, thanks to Abina from Video Art Bank in Chicago:
SHOW ME YOURS at Horse Bazaar
Where: Horse Bazaar, 397 Little Lonsdale Street, Melbourne
When: 7pm, Thursday July 27th, 2006
A special presentation of contemporary Australian single screen works. The works span quirky performance, digital magic,
seldom-seen ceremonies, a photo-montage love letter, abstracted animation, and
Artists featured include: Sofi Basseghi, Sophie Boord, Cicada, Ian Haig, Marcus Keating, Michelle Mills, Brandon Tay, Nassiem
Valamanesh & Selena Tan, and Yandell Watson, + others.
This screening was organised by Abina Manning of the Video Data Bank (Chicago)
and Sofi Basseghi of RMIT (Melbourne).
and Abina is doing otherstuff in MIFF as well - read on:
HOW TO FIX THE WORLD at the Melbourne International Film Festival
WHERE: ACMI, Federation Square, Melbourne.
WHEN: 1pm, Saturday July 29th (to be repeated at 1pm, Sunday August 13th).
How to Fix the World is a selection of international video works which share a
common regard for the political and social spirit of these troubled times.
Featuring contemporary video works from five award-winning artists: Throwing
Stones (John Smith), Soothsayer (Bobby Abate), How to Fix the World (Jacqueline
Goss), Untitled Video on Lynne Stewart and Her Conviction, The Law and Poetry
(Paul Chan: currently featured on the cover of Art Forum magazine) and Papillon
d’amour (Nicolas Provost).
The screening will be presented by Abina Manning of the Video Data Bank. Established in 1976, the Video Data Bank is one of the worlds
largest distributors of video by and about artists.
More details on the screening can be found here
In addition, Abina will be presenting Performers, Freaks and Feedback: A Brief
History of the Video Data Bank, at both RMIT in Room 9.2.19 (Wednesday July
26th at 1:30pm) and at the University of Melbourne, Room 150, First Floor,
Elizabeth Murdoch Building (Friday July 28th at 5:15pm).
Abina is in Melbourne as a guest of the International aritst/academic in residence
(AIR) program at the School of Art of RMIT. Many thanks to Peter Westwood,
Director of the program, and to Keely Macarow of the Media Arts Department at
RMIT. Also thanks to Meredity Martin for organizing the University of
|free(ish) wifi hotspots in Melbourne
||[Jul. 14th, 2006|12:56 pm]
I'd been toying with the idea of an iburst or something suitably mobile... but given the pelethora of free spots I've now found - dont think I shall bother...|
McKillop Lane - you need to buy a coffee
cnr Little Bourke and Russell - apparently a bit rough but hey -
360 Elizabeth St - need to buy something
next door to FoodINC - need to buy something
Australia on Collins food court
patchy but proper free - bring yr thermos :)
Melbourne Central food court
more proper free - apparently one of the better locations - powerpoints and all... will check this out today
cnr Collins and Swanston - as long as you look rich and 'meant to be there' (apparently) - will check this out on a good hair day.
397 Little Lonsdale - you need to buy something, but nice place to lounge..
Basement 228 Flinders Lane - need to buy a drink - apparently smoke free.
Brunswick St, Fitzroy - dont know the score
fitzroy - this is a hunch from a half-remembered convo...
and then there's gloria jeans coffee outlets. Unfortunately, on top of being an agressive franchise, they are wholly owned by Australia's own HillSong church - who incidentally have been recently given 80% of the tender's for centrelinks new 'welfare to work' scheme, which outsources jobfinders to private companies (sorry, charities) to be rather pushily found a nice job with zero bargaining power... thank the lord.
Also Hudson's coffee has free wifi too. I suppose a prospective upside of the hudsons / gloria jeans wifi could be just using it blatantly without buying anything - given (I'm assuming here) the staff care-factor within the stores, you might be able to comfortably just sit there? I cannot imagine the indignant loyalty of the staff being excessive...
Shall see how I go and report back. Any others out there that spring to mind?
|REPLANTED at PICA 6/7 - 6/8
||[Jul. 8th, 2006|08:11 pm]
Replanted - small songs unearthed while weeding
a little suite of video works that I have curated for PICA, and is showing NOW in their new screen space until the 6th August. The description goes:
"Re-planted explores the possible worlds beneath our feet, in our backyards and all the way to the bus-stop. Five artists from across the globe re-plant their immediate environments with songs for the everyday".
It is a really quirky little collection of works from all over the globe... I love them. And if you don't happen to live in Perth (like me), fear not. You can see the artist's works (or at least info about the artists and stills) in the links to the lineup of works below:
Lycette Bros (Aus) - Automata
1st Avenue Machine (USA) - Sixes Last
Jakub Dvorsky (CZ) - Plantage
Fredo Viola (USA) - The Sad Song
Marek Brandt (GER) - Songs for Animals
||[Jul. 8th, 2006|06:37 pm]
June in Kiama is: lyrebird mating season, lillypilly ripening season, big swell season. the mandarins are sadly not up to victorian standards...
went to Sydney for 2 days to take in the biennale, have a couple of meetings and see lovely Tim Gruchy before he becomes an export with his lovely wife Rhana to NZ until further notice.... heard from Tim wild stories about Len Lye and a new museum dedicated to his copious work - also rumours about the grand and numerous private sculpture parks that seem to dot New Zealand... and here was I thinking that he might find it a bit quiet... Rhana is taking up the directorship at the Govett-Brewster gallery in New Plymouth... which sounds like they're doing some crazy stuff, and that's before Rhana has hit the deck...
Had a great morning with Lucas - first time I'd been to Petersham since reading his blog avidly - it was like stepping into the set of a movie or periodical that I had subscribed to - had breakfast at the famous 'Big Brekky', interspersed with a bit of a cultural tour of Petersham... bumped into Keg, who has been book-binding furiously and is starting up a sorta book binding/popups/embossing type business thingy called 'all thumbs press' - such a good name... cannot wait to see what she comes up with... maybe Cicada should do the MOB DVDs thru her....
Saw bits of the Sydney Biennale - got overwhelmed by the Antony Gormley piece Asian Field (surprise) - but not sure about it.... something to do with the mass of humanity that it implied... and the mass of helpers that the setup implied.... stilll, the first moment of experiencing the work was a cleansing wave, as always.... I think I liked his Inside Australia work so much partly because of the effort involved to just get to the site - the pilgrimage factor - 10 hours drive and a pre-dawn start... plus the fact that it was a total sensory environment out there on that salt lake, unlike wharf 2/3 in sydney, with the roof dripping and people tripping the proximity alarm that protected the work....
Took Sofie to the Ginseng Baths (bumped into Lucas and Mickey Quick, recently cleansed), and then went with Clare to the opening night of Liquid Architecture.... unfortunately the combo of an afternoon in a Bath House and a glass of red wine was the end of me, and had to leave during the second set (Clayton and Jim Denley) - a bit sacriligious of me... but saw Amanda Stewart open the program - wow.
Managed to sneak in a quick visit to Published Art... where I finally bought something - to make up for the fact that i DIDN'T buy Bird there all those years ago... two beautiful books:
'Chance and Change' - a book on Herman De Vries - a nature artist + mystic... output reminisceint of Wolfgang Liab, but perhaps coming from a very different place.. vast catalogues of nature - particularly liked his ongoing 'earth museum' - a vast collection of small packets of earth from all over the world, with catalogues rubbings of each, showing the colours in small jagged squares
'Your Engagement Has Consequences' - a book on Olafur Eliasson - OH MY GOD. Somehow I havent come across him? thankfully there are many books of his work already, and he recently did a sunrise work at the Tate Modern, which sounded beautiful. this book is just georgeous... lots of light-based and shadow-based work, with lots of reflection and water thrown in for good measure.... mmmm...
I also wenty on a teacup hunt while in Sydney, and scored several sweet-but-not-naff teacup and saucer sets, from the knot of 2nd Hand Stores at the top of Glebe Point road... including an incomplete set with hand-painted hermit crabs and fish (??) which I thought were sea monkeys at first (read: brine shrimp) - but apon closer inspection were, sadly, crabs... still, they're pretty out there...
got back from Sydney laden with presents and thoughts to think, have spent last two days in rainforest photographing moss and acquiring bush ticks, most of which I have dealt with now. Lyrebirds everywhere, the males doing their medlies of birdsong, from parrots thru to seagulls, all in 30 seconds. who wouldn't mate with someone that could do all that?
the ocean is huge today - massive seas - I can hear the waves from inside the house - the winter swell is here! will sleep well now.
|strandbeesten - the movie...
||[Jun. 22nd, 2006|11:58 am]
hurray for Alexander Schlichter, who emailed me re strandbeest getting a fully-fledged doco - yay. there is a site and a trailer so far - not much on the blog yet. Apparently strandbeesten is headed for Trafalgar Square very soon. This is such a good example of why you should just put your head down and do an incredibly lengthy project that you only get to finally show in middle age... how utterly worth it.
|lo-fi mobile article for Filter Mag
||[Jun. 14th, 2006|02:40 pm]
a little something I've just written for ANAT's next edition of Filter Magazine - which will apparently be launched at ISEA 2006 in San Jose, somewhere I would love to be, and edited by the very wonderous Emile Zile. It's basically a little piece on lo-fi mobile projects in Sydney over the past coule of years, and focuses on ones I know lots about due to involvement. Writing about this sort of thing proved pretty tricky I found, so due to a short timeframe I stuck to what I felt I had something to contribute. Anyway, it's my first article.
:: Close at hand - experiments at the the lo-fi end.
Australia has a rich artistic history in mobile technologies using lo-fi and Do It Yourself principles to produce everything from locative audio units, such as John Jacobs’ Wheelie Bin Sound System through to zero-ecological-footprint mobile entertainment units, such as the LabRats pioneering Wind Powered Cinema Caravan. As the focus on re-purposing existing and new technologies extends into artists pre-empting and prototyping not yet available technologies, it is interesting that some artists at the forefront of working with new technologies still espouse a preference for a lo-fi or simplest-technology-available approach to their work.
At a locative gaming workshop held by ANAT in 2004, Matt Adams from Blast Theory, an acclaimed British collective working with interactive technologies, stressed the importance of the “simplest, most viable solution” to any concept involving technology. In this way, artworks of this nature can essentially become prototypes for possible futures, rather than a finalised and fabricated work, which exists as an end point of its own. This ethos is clear in many Australian artists work that re-purposes technologies, and what is so interesting is that the very nature of Lo-fi and DIY systems lend themselves to a practice of ongoing prototypes, of possible futures, and of transient experiences, which transform known environments.
The millennium was an interesting time to be living in Sydney. Olympics fever was running riot, the city was being spruced, non-photogenic sections of the population were being relocated and Housing prices and rent were skyrocketing. Running parallel, and indeed partly in response, to this strange time were phenomenon’s such as the Broadway Squats, which transformed a string of disused buildings in the city for housing, a free dumpster-derived café, gallery space and numerous other functions. This spike in reclamation and re-use within a community already adept at DIY principles coincided with a newfound affordability of technologies which resulted in multiple projects of a mobile variety which capitalised upon the new, although encompassing simplest-solution technologies.
Boat-people.org made papers across the nation in 2001 with a photo of Sydney Opera House sporting a large projected image protesting against the treatment of asylum seekers. This little mobile project was the result of a nighttime jaunt involving a small generator, a slide projector, a provocative image, some well-placed phone calls to the media and a short chat with Opera House security. Boat-people.org since have gone on to do multiple campaigns and actions in Sydney and Melbourne, using similar simple, mobile projection techniques to project images onto public buildings or temporary structures such as laundry on a line erected in Pitt Street mall or simply onto people clothed in white, according to the resources available.
Another project in a similar vein was Stealthvideo, which ran around various Australian cities between 2001-2004. Conceived as a mobile projection experiment, Stealthvideo was a self-contained mobile audiovisual unit that aimed to explore multiple urban locations in any one night – to reveal and experiment with nighttime city surfaces (and populations) in a transient way. In addition to being a forum for audiovisual performances, Stealthvideo screened a range of documentaries on current issues that the artist’s felt were hugely important but little covered by the mainstream media – such as Jabiluka Uranium Mine, the Irati Wanti movement and deforestation. The project aimed to strike a balance between unexpected documentary and site-specific audiovisual art, all played out in real-time against a backdrop of strange and beautiful architectural shadows and textures – the city unmasked as pure surface.
Stealth video consisted of a compact audiovisual rig housed in a van, powered by a small generator. The generator would be started upon arrival at a chosen site and placed under the van. Video projector handed up onto the van roof into waiting hands of whoever was going to be pointing it at likely walls, self-powered speakers pointing out the back door, and whoever was performing sound and vision would plug in their laptop/mixer and begin. Sometimes an experiment with light, sometimes light and sound, sometimes documentary, sometimes with a touch of shadow puppetry thrown into the projector’s beam. Pointing the video projector around at different surfaces, trying out angles, distances, learning how light works against oblique surfaces. Sometimes with an audience of 100, sometimes of 5. Twenty minutes later, pack down, get in and off to another site.
One of the very interesting by-products of working with projected image and sound in an urban environment, experienced in both the projects outlined above, proved to be the public’s perception of technology, and what it means to suddenly experience a large image or audiovisual piece in the city unexpectedly. In this way, the projects’ impacts were increased by the benefit of using Lo-fi techniques at the onset of the perception of a Digital City, and traded in part off the burgeoning myth of the ‘urban screen’ – which was uncommon in Sydney (outside the context of large-scale public festivities) at that point but which all seemed to be expecting to see and were consequently highly receptive to.
It also appeared that revealing the source of the image and sound to be street level, simple and approachable, in the form of a simple rig on a trolley, or a big red van and a crew of artists, resulted in the transient audiences responding to the project in very unexpected ways. This immediacy, coupled with the mobility and obviously ‘home made’ feel of the project’s set-up upon close inspection helped to position the projects in the publics minds away from being seen as newly embedded elements of city-wide advertising campaigns. It was this balance between the first impressions of urban and mobile projections coupled with the revealed source which gave both these projects their strength from an experiential point of view.
This immediacy and portability, in turn, could be said to feed back into the interesting territory of artist’s using simple technologies to explore complex ideas of perception and attitudes to known environments – allowing both artists and the public to re-imagine the well-trodden paths of our urban spaces.
Links of interest:
John Jacob’s wheely good sound system:
Lab Rats wind-powered cinema:
We are all boat people:
Kirsten Bradley is an artist working within the blurry boundaries of animation, landscape, site-specific sculpture, and time. She is currently researching the junctions between organic and simulated environments at RMIT.
||[Jun. 8th, 2006|03:24 pm]
just a tiny note that the cicada site has retracted back into its shell like a tickled mollusc so.. um.. don't go there just now... it will rise from the ashes in the near future we hope. mumblings about server-switching and corrupt archives. cicada email is down too so its all skype and ichat till further notice.
this may move me closer to a new reality of online publishing consisting mainly of scanned images + scribbles faster than I anticipated.
I am currently on a 4-hour daily deadline for computer useage. sounds like lots till you try. no chatting, no blogs, no browsing.. just the tasks of the day and thats it.. hopefully this will turn me into a lean machine when it comes to work practices, and so far it is kinda working. except when i should be writing an article for filter and i'm writing this instead. so back to the history of australian mobile cinema for me.
|let there be reading and singing till further notice
||[Mar. 29th, 2006|02:10 pm]
so it would seem that the various interesting physical sensations in my right shoulder down to my right wrist are NOT infact caused by colonies of invisible fire-ants and knitting needles but, instead, the secret fear of every computer-bound (or hand-dependant) artist.. rsi. YAY. how mundane.... looks like the last few months of particularly fervent hunching did the trick, and now its exercises, rest and left-handed wacom antics from here on in. what i've got is apparently in the pre-permanent stage of damage, but needs me to stop using my right arm for a while, without over-compensating with my left.. so sortof not doing anything with my hands lots. like the knight in monty python's holy grail, who gets his arms cut off but continues hopping about.
so this is a note to say that, rather than doing left-handed single-finger typing, I'm going to spend the next month (once i somehow finish the video for circa with one hand) doing all the sorts of things that dont need.. um.. hands.. so far i've thought of reading and singing. any other ideas would be appreciated. and once i am cured i will blog regularly on very interesting things.
so if everybody would take a 5 minute break and do some stretches right now, that would be great.
|research: timelapse - histories
||[Mar. 14th, 2006|04:41 pm]
Timelapse - not a genre unto itself (yet), rather a technique, a process.... the history of timelapse begins conjoined with the history of cinema (ie pre-cinema techniques of capturing movement) and diverges from cinema neecessarialy at the point when naturalistic frame-rate techniques were established, thereby producing 'natural movement' within cinema...
"Étienne-Jules Marey (1830 – 1904) was a French scientist and chronophotographer. His work was significant to the development of cardiology, physical instrumentation, aviation, cinematography and the science of labor photography. He is widely considered to be a pioneer of photography and an influential pioneer of the history of cinema." - wikipedia
Marey did studies of motion which comprised multiple phases of motion into the one image via multiple exposures (i think)... chronography being animated photography - and specifically nultiple phases of motion within one image - flickr chrono group here - but its all pshop nowadays...
"Eadweard Muybridge (1830 – 1904) was a British-born photographer, known primarily for his early use of multiple cameras to capture motion." - wikipedia
this was pretty much the dude as far as motion studies went - unlike marey he didnt compile them into the one frame, but kept them seperate - his initial experiment with motion capture is a pretty incredible story:
"In 1872, businessman and former California governor Leland Stanford hired Muybridge to settle a question (not a bet, as is popularly believed): Stanford claimed, contrary to popular belief, that there was a point in a horse's full gallop when all four hooves were off the ground. By 1878, Muybridge had successfully photographed a horse in fast motion using a series of fifty cameras. Each of the cameras were arranged along a track parallel to the horse's, and each of the camera shutters were controlled by trip wires which were triggered by the horse's hooves. This series of photos, taken at what is now Stanford University, is called The Horse in Motion" - wikipedia
so muybridge was really at the forefront of biomechanics - ie the study of mechanics of living organisms - just like the unwitting Theo Jansen -
book about muybridge by Rebecca Solnit (apperently quite good) here
"Georges Méliès (1861 – 1938), was a French filmmaker famous for leading many technical and narrative developments in the earliest cinema. He was very innovative in the use of special effects. He accidentally discovered the stop trick, or substitution, in 1896, and was one of the first filmmakers to use multiple exposures, time-lapse photography, dissolves, and hand-painted color in his films." - wikipedia
have been thinking about the nature of timelapse - ie the packets of time that it represents are beyond reality - ie natural rate of time, so we percieve it as almost a catalogue of time - interesting also that slow-motion is acceptable as reality within cinema (it can be percieved as a hyper-sensitive state) - ie it doesnt detract from our perception of the rate of action... we accept that it is a heightened state of awareness, as happens in a crisis situation (car crash, long fall etc)... also, sped-up motion is sometimes acceptable... however - timelapse is percieved as holding more significant weight within the passing of time, and therefore doesnt really work in the same way.... or is it just the jumpiness of motion?
I have found multiple references to koyanisquatsii being the first feature film to utilise timelapse, altho peter greenway apparently did also in a zero and two noughts...
as to the 'how to' of timelapse, i think this is the best explaination page so far here
- read all the timelapse stuff i have
- look for leads on timelapse in use where the passing of time is just accepted by the viewer and the focus of the animation is not tainted by the viewer being overly-aware of the passing of time (or do they all do that?)
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