April critiques: Preparation, installation, statements and reflections.

This post was written from April 8th to April 21st.

Preparation:

Space: Form gallery - Dark space (in negotiation)

Install consists of 2 projects; 2 digital stills with audio.

Technology has been reserved with Yoon.

• Test different moving image render w/ different perspectives in space to test which wall and perspective works best - side, end etc.

• Test sound level - left and right speaker? to differentiate different sound?

• Test background of renders to try to achieve neutral background.

Selected specific perspective in the space - site specific. Curved wall adds to a forced perspective. Selected perspective below:

Transparent background - black for projection so void like / blends into install space.

Projected 5-10 cm off ground level

Notes:

interested in process - transformation - reconstruction (a broader sense of upcycling),

gameplay, innovation

Medical tools / aids

transference of part to different object - similar function of part but result in objects that have very different functions/applications/ relationships w/ people - in this particular work I'm interested in the part expanding ram - hydraulic/pneumatic ram or cylinder in truck trailers, bed and in the creation of plastic moulded toys (plastic injection moulding)

representations of instructions/process - image, diagram, audio

Statement Iteration #1 :

Critique #1 (Thursday)

Statement:

HydExpRAM: cbDia + EMPV: PPL- AdjustBD, 2021, two digital stills with audio.

Duration: 2m 17secs

This work is framed by an interesting in the relationships between humans, medical objects, tools and aids. Specifically,

how non-medical component parts could be utilised in alternative medical objects and how these objects can facilitate

human or life improvement.

Proposed plastic bed reconstructs the HydExpRAM specifically in-reference to toy construction, and dollhouses where

medical aid forms are highly limited.

The work seeks to explore the facade of accessibility where modes of communication attempt to delineate and help

foster an understanding of mechanical objects and their processes. However, when devoid of basic supplementary

information or combined with other complex representations such as audio and schematics, their delineation becomes

disorientating, making the explanations appear more esoteric than accessible.

The dissolution of different modes of explanative language, the slippages in the communication of these modes then

gives way to the transposing of the object into a representation which could offer alternative to the object's

construction, function or form.

Peer notes from critique: (blue my additions/recollections/un-noted points/further explanation)

• Process to be gone through

• Connections - wiring

• Scientific instruction manual

• Language - inacessible

• Recognise human voice but don't understand - disassociation

• A code - mystery

• An established thing

• Describes the properties of the bed

• curvature of the wall, " happy accident" - elasticity of the bed

• Anime - quality of not being - Ann Lee - purchased object

• Enclosed in a digital world

• Is the failure of the misunderstanding of the work the fault or the viewers or the purpose of the work ?

• Juxtaposition between digital space and analogue - relationship of signal to noise

• Not a code to one another

• Inaccessible unless the viewer has foreknowledge

• Generation of inquiry

• Relationship between video and tech - projections on the floor

• Digital versus analogue - digital compounds , printed - nostalgic (in reference to circuit diagram)

• Digital file - facade of being "non-material" but they fill hard drives, and servers / drives in big companies - google drives / could etc.

• Digital gives momentum

• indescribable trifles which speak to scientific things

• Medical - bed - hospital bed - plasticity - avoid the bodily

• 4 elements compete against each other - can't translate - abbreviations of title could be clues

• Not fixed on one thing - allows the speculative-ness to come through

• Lack of physical material in the room. The text makes connections between digital and human world.

• Heat from the rooms, evaporated material - sense of immateriality - but also not the case bc the digital still takes up "virtual" space - on hard drives and in bases

• Worlds in our imagination - but real and inaccessible

• Percieve something that is light and sound predominantely.

• If bed element was moving image, the conversation would be about the simulated digital space, computer games. And, less focused on the tension between material and physical - inside a timic thing

Moving forward to Critique #2.....thinking about changes/tweaks

• Does the bed need the extra accessories - pillows and sheet to be identified as a bed?

• Still of the bed in a different position - with mechanisms on show, alternation between states. How many iterations in a duration?

• Refine sound - slight gap in audio before repeat.

• Relook at statement - adjust 2 stills to 3 and change duration.

• listen/watch time and then cold reading - with statement half way through.

Critique #2 (Saturday)

Installation shots:

(Any rainbow stripes a can be attributed to the DLP rainbow affect which occurs when taking photos of some projections. This affect isn't present during in-person viewing.)

Statement Iteration #2:

HydExpRAM: CbDia + EMPV: PPL- AdjustBD, 2021, two frame moving image and digital still with audio.

Duration: 2m 10s

This work is framed by an interesting in the relationships between humans, medical objects, tools and aids. Specifically,

how non-medical component parts could be utilised in alternative medical objects and how these objects can facilitate

human or life improvement.

The Proposed plastic bed reconstructs the HydExpRAM specifically in-reference to toy construction, and dollhouses

where medical aid forms are highly limited.

The work seeks to explore the facade of accessibility where modes of communication attempt to delineate and help

foster an understanding of mechanical objects and their processes. However, when devoid of basic supplementary

information or combined with other complex representations such as audio and schematics, their delineation becomes

disorientating, making the explanations appear more esoteric than accessible.

The dissolution of different modes of explanative language, the slippages in the communication of these modes then

gives way to the transposing of the object into a representation which could offer alternative to the object's

construction, function or form.

Peer notes from critique:

Cold read:

• Interested in how space is used - how work is responsive to space it is located in - perspective, curved wall and socket.

• Curved wall gives forced perspective.

• References a hologram.

• Audio references stock library, instruction manual, conflation Human or AI voice?

• Dry, educational audio - something researched, un-absorbing, monotone.

• Instruction of video leads you to try and link to instruction of stills.

• How do the elements connect?

• Appears esoteric.

• Evokes inquiry - a trying to figure it out.

Post-statement:

• Toy reference (as noted in statement) isn't apparent. Colour, scale and proportion could be changed to better portray "toy-ness." If it is truly an important element. Could the circuit be of a stuffed toy?

• Gaps between understanding and misunderstanding create a space - which allows for speculation - a speculative object.

• The audience has to fill in the gaps, where there is a moment.

• Not an object, rather a situational proposal - and what does that mean?

• Change introduces a slightly odd option.

• Materiality of electricity and data storage.

• What is all this nature?

• Code - code of bed?

• Could the title provide access?

• Tension between how much do you say and how much don't you say?

• Minimalism at play - could there be more layers of stuff, maximalist? - 'Grosse Fatigue' - Camille Henro

• Still images don't have the seductive nature of moving image.

• Change in stills interesting - instruction progress w/o middle section.

• Mimics instruction manual - bed and circut

• Could an object be a good thing? or some type of material presence?

• NFTs

• Psychic projection of an image - an object could remove speculation

• How do you promo us to do the thing you want us to do?

• How does the hologram exist in the real?

• When it moves (stills transition) it makes it appear more real.

• Previous sudden - Kevin Trurror

• Representation of the object - materiality - Could the space feed into the work - not only in presentation - could sound be recorded and feed added into the audio? more complex reading - the sounds of drives

• Still images an interesting way forward

• Ethical concern?

• Fixed position - a stance?

• Neds more cues into the work

• 20,000 hours podcast - how hospital sounds can be foreign / become white noise tho those within the space.

Moving forward - notes post critiques and supervisor discussion:

• The weighting of a statement - what information is necessary to the final work / install and what is merely a piece in the puzzle that doesn't need to be noted.

• In changing work between crits - it is important to re-evaluate the statement. Removing the plasticity of the cover and pillows from the first critique - diminished the toy importance - and so the statement should have reflected that.

• I think the work was trying to a-lot content wise but wasn't supported enough element/artefact/cue wise. - too minimal that it became reductive. and hard to read.

• Incorporating site into installations - site specificity and information supplied by space - noise fed back into work itself. An almost symbiotic relationship between space and work - link to idea of dependancy - co dependancy or integration of tool/object and subject I'm interest in subject matter/content wise.

• How still images avoid the seductive qualities of moving image and could allows for other conversations to be introduced which could have other wise been overshadowed by spectacle?

• The importance of clues within a work that allows the audience/reader to have access or levels of access, or at least a starting point into the work.

• Work not specially about specific objects but rather the ideologies or ideological critique they evoke

• Enclosure of a digital world

• Modes of accessibility (content wise) - private and public - personal and communicated - personal and govt. org.

• Do I want the work to be about a digital simulated space? or immateriality? or both?

• How worlds of imagination - can be real and perceived immaterial and inaccessible - can unreal things be perceived physical and accessible?

• How a statement could be a bridge between virtuality and reality, the digital and the human world - a mediating device / a fiction script.

• How can a work be "morally" grounded but not be personal, sympathetic or empathetic in its reading?

• Continuum of happenings

• Is it generative?

• Digital world.

• Disconnect & rupture is fine -

• Medical, moral, ideological.

• Keep making

• Rabbit holes can introduce new ideas/contexts etc.

• Read contexual and fictional texts

• context - reader

• Looks out of control - conflation

• The uncontrollable - but what is sitting underneath? rational behind choices? the "WHY?"