Shadow Play
Duration: 00:03:55; Aspect Ratio: 1.778:1; Hue: 48.245; Saturation: 0.023; Lightness: 0.446; Volume: 0.158; Words per Minute: 87.723
https://www.e-flux.com/journal/23/67790/some-experiments-in-art-and-politics/
Bruno Latour on Tomas Saraceno's work 'Galaxies forming along filaments'
Thinking about the materiality of the sculpture... In what kind of imaginary does the metal welded sculpture become representative of technology? Thinking of other forms: holographic, projection, AI interactive environment, etc.? Technology not just as a technical object that humans extract from in the utilitarian sense but also technology extracting from humans (humans reduced to utilitarian logic by technology?), thinking of AI extracting from us.
The shadow as the uncanny valley?
Bernard Stiegler French philosopher
I think the question could be divided intp parts, which could be guided by material, form and then shadow- might be able to open different densities of the argument.
I think wihtin the form of the object, one point within the video the object does not touch the ground but the shadow seems continous. I think this physical form, and fthe shadow which dont meet, might be an extremely potent way of thinking of this interface-apparatus
"I was quite big that I saw my first train. I climbed up and down the station bridge, quite unaware that its function was to permit people to cross from one track to another. I was convinced that the bridge had been provided to lend an exotic touch and to make the station premises a place of pleasant diversity, like some foreign playground. I remained under this delusion for quite a long time, and it was, for me, a very refined amusement indeed to climb up and down the bridge. I thought that it was one of the most elegant services provided by the railways. When later I discovered that the bridge was nothing more than a utilitarian device, I lost all interest in it." - OSAMU DAZAI, NO LONGER HUMAN.
Kevin Wang’s Duchamp(ian) Portrait uniquely hits upon a particular fascination of Duchamp: the fourth dimension. Duchamp envisioned that as a three dimensional object casts a 2D shadow, the 3D objects themselves are merely shadows of 4th dimensional objects invisible to us [Cabanne 82].
Back in 2021
Summarising three-day documentation of an interactive sculpture, this video also investigates the changing identity of the structure that changes the site and hijacks it. Motivated by Marcus Miessen's theory of 'Crossbenching', the idea is to create and place a form that is equally known as it is alien, in a shared arena and observe change in the routine behaviour of the onlooker/ participant. It also questions the notion of collectible art while simultaneously addressing multicultural ambiguity through the amalgamation of performative and fine art. Most importantly, it tries to revive dead material by making efforts to revitalize the possibilities it may possess and create something mindful that carries the weight of integration on its shoulders by exposing new ways of indicating an interest in exploring the specifically spatial aspects of interdisciplinary processes that operate between different media and practices.
The complexities that lie in the representational politics.
Extraction
To find a Language
A sculpture that transforms with its environment an the interactivity
An attempt to move away the utilitarian governing mediation of the technology in darwanian theory
Generally, the distinction between the human and the stick is understood as something really separate from each other. Darwin’s evolution theory puts light on the stages of ‘becoming’ that suggests the process in its autonomy, away from the evolution of the techniques and the technology around. Thinking about the human as a technical being, there could be no distinction between the two. Human way of being can never be separated from technology and its mediation, in any given space and time. Technology is often animated in pop cultural references like a t-shirt print that shows human evolution and at the last stage of that graphic print appears the computer. Or similarly somewhere in between the illustration is the early-man, the hunter and gatherer, who appears in profile with a wooden log piece as a tool in his one hand. This is an indicator of the evident use of tools that were found along with their bodies also sharing a glimpse of the evolving technology that mediated the evolution in the first place.
How with time the relation changes with the object or world.
I am curious to know what sort of response was presented by the public to the erotic gestures. It can change the way they perceive the object.
Creating illusions,
behind the stage is on the stage,
erotic gestures in public
abstraction of technology by detaching it from utility/use
Allegory of the cave (Mayank), dimensional plays for various dimensional beings (Priyesh)
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