“stills from any film give a very incomplete picture of what the actual viewing experience, and this is particularly true of brakhage films. the perceived imagery in brakhage’s work depends very much on movement and montage, to the extent that some things a viewer is convinced are contained in a single image are in fact only the product of movements within a shot, or/and of juxtapositions from shot to shot. still, i’ve attempted to select strips and individual frames that suggest the aesthetic of each film.” – fred camper

20/08/2012 § Leave a comment

fred camper’s collage of stan brakhage filmstrips from the film mothlight (1963)

 

one of brakhage’s best-known films, mothlight was created without the use of a camera by simply pressing moth wings, leaves, and other organic objects between two strips of mylar tape and then rephotographing it by running it through an optical printer. 1963, 16mm, 4 minutes.

– via wac

 

strong impressions

a young hare

 

 

notes:

[title]     the title comes from fred camper’s webpage full of stan brakhage film stills.

[image]     i originally came across the above image on the walker art center’s website announcing an evening of stan brakhage films.  though this morning i can attribute this beautiful image to the efforts of fred camper.  please visit his site for more information.

[more brakhage inspired work]     this morning’s post covered the work of cameron gainer, whose work has been influenced by stan brakhage.

“struggle can appear as a tension between representation and abstraction, and this can even said to describe the text of light, in which patterns of refracted light seen through a crystal ash-tray become metaphors for landscapes……the light we do see almost always seems to be set against darkness……..these momentary flickers that materialize tenuously out of emptiness.” – fred camper

20/08/2012 § 2 Comments

cameron gainer, luna del mar test photos (2009)

 

it must have been halfway between chicago and austin when i put down my book and started to stare out the window at approaching flashes of light.  most of the other passengers were resting so the airplane’s main cabin was sparsely lit.  each strike of lightening came in through the window crystal clear.  the dark rural night sky rendered the ominous thunderhead entirely black and formless; the cells full form only appeared momentarily through lightening flashes.

i am really glad i had the time to see cameron gainer’s piece luna del mar at the walker before leaving town (thanks for the recommendation matt!).  olympic synchronized swimmer luna del mar’s sillohouette occasionally develops in the foreground of a mass of bio-luminous water found in mosquito bay, puerto rico.  at times it feels a bit like looking at a sonogram.  the entire film is set to a piece of music by alex waterman.  if you have the chance to see it, don’t miss out.

 

dead of night

a young hare

 

 

notes:

[title update]     just came across this quote by fred camper (found at the art of memory), while searching information on stan brakhage.  it seems way more appropriate.  

[original title]     the original title “communication between bacteria (quorum sensing) plays a role in the regulation of luminesence in many bacterial species.  using small extracellularly secreted molecules, they are able to adapt their behavior to turn on genes for light production only when they are at high cell densities” comes from a wikipedia entry on bioluminescence.

[image]     cameron gainer’s test photo was found on alex waterman’s website.

[more imperceptible made perceptible]     ayh’s previous mention of jorge otero-pailos efforts seem appropriate.

“letting go of conceptual approaches, a series of abstract monochromatic images, shows the effect of a photochemical reaction of sunlight with hydrocarbons and nitrogen oxides that has been released into the atmosphere mostly by automotive emissions and industrial plants. a paradoxical image as we find beauty in polluted skyscapes.”

07/08/2012 § Leave a comment

jason mena, letting go of conceptual approaches (2003)

 

i wish i could see jason mena’s letting go of conceptual approaches in person.  haunting concept.

 

paradoxical images

a young hare

 

 

notes:

[title + images]     not sure exactly where i first came across these images, but i found the title and some others from the series on triangulation blog.

[more invisible made visible]     this reminds me of an old ayh post on mario reis’ works which consist of dipping a canvas into a stream and allowing the minerals and flowing water to paint a picture.

“appropriate links provide instant pathways to locations within and outside the project that are likely to increase readers’ understanding of the topic at hand. when writing or editing an article, it is important to consider not only what to put in the article, but what links to include to help the reader find related information, as well as which other pages should carry links to the article. care should be taken to avoid both underlinking and overlinking, as described below.”

10/07/2012 § 1 Comment

photography:  deconcrete (2012)
installation:  francisco lopez, mies pavilion – sonar 2012 (2012)

 

you may have noticed the growing blogroll to your right… okay,  maybe not.  anyways, yesterday’s mention of the blog centre for the aesthetic revolution reminded me that i’ve been meaning to add more links to ayh.  here goes a first push:

 

mammoth – a great blog covering urbanism, infrastructure, landscape and all the hybrids between.  a recent favorite post involved the unintended deep swimming hole in indiana created by the empire state building.

deconcrete – in a similar vein to mammoth, deconcrete focuses on the politics of the built environment involving urbanism, infrastructure, architecture, and more.  i can’t remember when i first came across this blog, but whoever manages to connect jacuzzi bubbles to economic bubbles has to be brilliant.  they’ve also been involved, as well as, documenting some great projects occurring throughout europe – today’s image comes from deconcrete’s lense.

pruned – there’s a theme developing here.  pruned covers issues of landscape architecture and more.  it was dormant for a while, but they seem to be back!  a recent post on the old tradition of flooding piazza navona is a great reminder of what urban space can become and how we need to revive the past.

kuu – breaking this landscape + urbanism trend is a simple blog by the shanghai base architecture firm kuu.  this has become a constant source of simple, but powerful images, thoughts and architecture.  point in case: a post on a young sejima’s manifesto and a beautiful house in singapore.

centre for the aesthetic revolution – previously mentioned above and yesterday.  this great blog covers latin american artists in galleries across europe and latin america.  here are a couple of posts documenting the events/exhibitions at el eco.

 

phew.  that’s it for now.  more to come later in july.

 

instant pathways

a young hare

 

 

notes:

[title]     today’s title comes from wikipedia’s page on the guidelines for linking.  i suppose it makes sense that they would have a page on the etiquette of linking and pitfalls of over/underlinking.  please don’t over link or under link.

[image]     as noted above, today’s image comes from deconcrete’s post on partytopias.

“the time lag may arise because the agent of change is initially technical — like the development of the arch, oil paint, air-conditioning, digital representation — and time to experiment is required for the consequences of each new method of production to suggest aesthetic possibility” – david heymann

08/06/2012 § Leave a comment

photograph:  alfred stieglitz, for the blind man, no. 2 (1917)
art:  marcel duchamp, fountain (1917)

 

that said, it is not an empty history, and, weirdly enough, the concept has a few singular masterpieces.  of these, the most familiar (in academic and cultural discourse it remains un-flushable) and usefully notorious is fountain, by marcel duchamp.  prior to being an artwork, fountain was, of course, a urinal (there were four versions), never flushed, turned on its back, and visibly signed by duchamp, though not using his own name.  low-flow though it may be, fountain was not, of course, conceived with sustainability in mind, but what it shares with the potential for sustainable aesthetics is pretty startling (and for the following breakdown i am indebted to william camfield’s marcel duchamp fountain).

very briefly: fountain was intended as a test of principles, challenging an existing orthodoxy not merely of taste, but of valuation.  here the terms of aesthetic understanding do not arise from form alone, but from the relationship of form to a constitutional act of valuing that is essentially invisible.  most powerfully, with fountain, the potential for an aesthetic arises from a carefully calculated indifference to aesthetics.  is there any other consciously made object out there that is closer, as an analogy, to how a sustainable construction could potentially operate aesthetically?

– excerpt from david heymann’s essay “an un-flushable urinal: thoughts on the aesthetic potential of sustainability” (via design observer)

 

center for the potential of sustainable aesthetics

a young hare

 

 

notes:

[title + image]     both today’s title and the image were borrowed from the david heymann’s design observer article “an un-flushable urinal: thoughts on the aesthetic potential of sustainability”.

[more]     if you’d like to read more on this topic and sustainability in architecture, david’s article is actually part of a series of papers presented at a symposium this past january titled beyondLEED.  several of the white papers are now available on their website, beyondLEED.

“the most important articles of dance costume were the feather plume, the flicker feather head band, the magpie feather crown, and the feather skirt. with these were used certain auxiliary items, such as paints, ear plugs, nose sticks, bead necklaces, and belts, clouts and skirts. also there were objects carried by the dancers, such as the feather ropes borne by women, and the beads, arrows, feather sticks, and imitation bear claws, carried by the men. the music consisted of songs accompanied by the foot drum, the split stick clapper rattle, and the bone whistle.” [1]

10/01/2012 § Leave a comment

 

 

 

 

from top to bottom:
ceremonial objects
flicker quill headbands
feather dance plumes
feather skirts
feather skirt (rear)

 

found these a long while back.  stumbled upon them yesterday.  the plate with feather dance plumes could almost be a study by cy twombly.  for more on the miwok cultural life visit here.

 

more to follow

a young hare

 

note:

[1]     the posts title was taken from the following website.

“you can never predict what it will be, but over time some kind of pattern emerges, a trend or rhythm. tonight’s background fits, somehow, as she reads. there’s not any real forwardness to it. you don’t sense it’s straining to get anywhere. the thing it makes you see as she reads is something heavy swinging slowly at the end of a long rope.” [1]

06/01/2012 § Leave a comment

a pot will boil, whether or not you watch it.  when people say that a watched one won’t, they mean (1) that things don’t always happen when you want them to, and (2) that you shouldn’t stand around like an idiot, waiting for a thing to happen – in this case, for still water to become, as the chinese say, a rope of pearls.  they mean do something better with your time.  feed the fish, alphabetize the spice rack, tweet.

what if there were a device telling you how much time it would take for the pot to boil? might knowing that the water will come to a boil in say, a hundred and thirty eight seconds actually dispose you to watch it do so?  the feeling here is that it would.  once you know exactly when the pot will boil, there’s no longer any harm in staring at it until it does.  it’s easier to waste time when you know how much time there is left to waste.

such a device does not yet exist, buts equivalents are everywhere.  technology has brought a proliferation of countdowns.  it’s an egg-timer world.  l.e.d. displays on the subway platform tell you how many minutes until the next train pulls in.  pedestrian-crosswalk signals tick off the seconds before the light turns yellow.  automobile navigation systems and airplane-cabin monitors count down to arrival.  click on a vid or download an app, and the time kicks in.  (if apps were eggs, they’d be soft-boiled.)  the times square new year’s eve ball drop, the pullout from iraq, the end of the world, as per the mayans: tick, tick, tick.  your video will resume in :12, :11, :10.  clearview expressway: seven minutes.  we are eleventh in line for takeoff.

an n.f.l. quarterback has to pay attention to a game clock, a play clock, and the so-called clock in his head, which ticks off the seconds between the snap and the likely arrival, on his blind side, of a defensive end.  a q.b.’s life seems tranquil, by comparison.  still, it’s hard to complain.  studies have shown that people – in a hospital waiting room, a restaurant, a traffic jam – would rather know what they-re in for.  the subway updates, for example, save you from the pointless ritual of leaning over the tracks again and again to peer into the tunnel in the hope of a headlight.

and yet those agitated peeks into the dark inevitably bring the sudden quicksilver dance of light up the rails – a touch of delight that you forgo if you know that a brooklyn-bound local train will be arriving in two minutes.  (would jimi hendrix have written “hear my train a-coming'” if he’d known when his was going to come?) as annoying as it is to hear children ask, “when are we gonna be there?,” it is oddly pleasing to answer them with little lies – to bend the time to manipulate the mood.  the curmudgeon might say that the push to optimize every second chops the day into discrete, bounded blocks of time and drains them of possibility.  it makes an assembly line of time and cheats us of opportunities for revelation or surprise.  put another way: would any of us really want to know how many days we have until we die?

in 1927, thomas parnell, a physics professor at the university of queensland, in australia, designed an experiment to show his students how viscous a fluid could be.  he poured hot pitch into a glass funnel, let it cool, and then waited.  [ladies and gentlemen, we’ll be arriving at the rhetorical purpose of this example in a hundred and sixty-two words.]  eight years later, the first drop fell.  after another nine years, the second one fell.  the pitch drop experiment is now the world’s longest-running lab experiment.  there have been a total of eight drops, occurring at an average interval of ten years.  the drop takes about a tenth of a second.  no one has ever actually seen a drop fall.

john mainstone, the professor who has overseen the experiment since 1961, is eagerly awaiting the ninth drop of pitch, which he expects will occur sometime in 2013.  “unpredictability is one of the great things about nature,” he said the other day.  “it’s the spice of life.  just look at the due dates of babies.  we so rarely get even that right.”  the pitch drop doesn’t accommodate countdowns, he said.  “i’ve been around long enough that i just see time before and time after.  it’s only when the drop has happened that what has gone before makes sense in the flow of time.  that is, i don’t become aware of what was going on just before the drop until after the drop occurs.”

 

happy friday

a young hare

 

 

notes:

[1]     wallace, david foster. infinite jest: a novel. boston: back bay books, 1996: p. 190. print

[image]     the pitch drop experiment circa the fifth drop (via atlas obscura)

[text]     paumgarten, nick. “dept. of predictions” the new yorker jan 2 (2011): p. 20-21. print.

“this is my favorite dirt road. it goes up to buttermilk and is mostly washboard and straight. it’s a modern dirt road, wider than most dirt roads. you can do fifty miles an hour on it. it’s sandy on the sides.”

18/10/2011 § 2 Comments

bill orcutt’s documentation of robert kinmont, my favorite dirt roads (1969)

 

drove in and around truth or consequences, new mexico last weekend.

on the way out to spaceport america we passed by elephant butte dam and through the pastures of ted turner’s bison ranch.  he owns over 300,000 acres of land in the area.  a bit further south and east is white sands missile range, location of the first nuclear bomb detonation.  after driving through large open expanses bracketed by low distant mountains we arrived at spaceport america, the future site of privately run space flight.  buzz aldrin and richard bronson would arrive in a day.

the first destination was the vertical launch pad.  as we approached the gate we noticed a dead antelope laying on the ground.  its mate stood nearby pacing nervously as the driver exited the van and opened the gate.  this was a beautiful and ominous space.

 

 

drive out to nowhere

a young hare

 

“alain paiement was born in montreal in 1960 and received his ma from the upstart of quebec at montreal in 1987. he constructs physiognomies that depict murmur spankings simultaneously – conventional bullet-scapes that are deconstructed and sewn back together again into a seamless quiver.” [1]

08/08/2011 § Leave a comment

alain paiement, local rock (2004)

alain paiement, parages (2004)
alain paiement, constellations (squat) (1996)

alain paiement, country base (2004)

 

scientists have figured out that they can carve holes, known as fistulas, leading into one of the many stomachs of a cow.  somehow, the cows can continue to live with holes exposing their digestive system.  these fistulas allow you to see directly into the cow stomach and even remove pieces of food from the digestive tract in order to study the digestive process.  freaky.

alain paiement’s images are constructed by stitching together a series of a photographs taken from over head.  its as if a giant saw were used to pop off your roof and allow the world to peer in and see whats digesting inside.

 

happy monday

a young hare

 

 

notes:

[1]     alain paiement sites oulipo as a major influence of his work.  so i’ve used this n+7 machine (an exercise in which you substitute every noun with the 7th noun preceding it in the dictionary) to turn his bio into a oulipo experiment.  the n+7 machine will give you all possible permutations from n+1 to n+15.  the title is actually n+9.

“the most used plazas tend to have a higher proportion of people in two’s and three’s than the less successful ones. but the most sociable plazas also will have in absolute numbers the greatest number of individuals. a busy place, for some reason, seems to be the most congenial place if you want to be alone.”

15/07/2011 § 1 Comment

william h whyte, the social life of small urban spaces (1980)

 

insightful and amusing.  today’s title comes from the film the social life of small urban spaces.  this quote reminded me of rem koolhaas’ belief that people seek out congestion and density.

i believe i originally saw this on landscape and urbanism a couple years back.

 

enjoy your people watching.

a young hare

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