Monthly Archives: February 2018

More shadow books

 

Atomic light (shadow optics) / Akira Mizuta Lippit.

Dreams, x-rays, atomic radiation, and “invisible men” are phenomena that are visual in nature but unseen. Atomic Light (Shadow Optics) reveals these hidden interiors of cultural life, the “avisual” as it has emerged in the writings of Jorge Luis Borges and Jacques Derrida, Tanizaki Jun’ichirô and Sigmund Freud, and H. G. Wells and Ralph Ellison, and in the early cinema and the postwar Japanese films of Kobayashi Masaki, Teshigahara Hiroshi, Kore-eda Hirokazu, and Kurosawa Kiyoshi, all under the shadow cast by the atomic bombings of Hiroshima and Nagasaki. Akira Mizuta Lippit focuses on historical moments in which such modes of avisuality came into being–the arrival of cinema, which brought imagination to life; psychoanalysis, which exposed the psyche; the discovery of x-rays, which disclosed the inside of the body; and the “catastrophic light” of Hiroshima and Nagasaki, which instituted an era of atomic discourses. With a taut, poetic style, Lippit produces speculative readings of secret and shadow archives and visual structures or phenomenologies of the inside, charting the materiality of what both can and cannot be seen in the radioactive light of the twentieth century. Akira Mizuta Lippit is professor of cinema, comparative literature, and Japanese culture at the University of Southern California. He is the author of Electric Animal: Toward a Rhetoric of Wildlife (Minnesota, 2000)

In praise of shadows / Jun’ichirō Tanizaki; translated by Thomas J.Harper and Edward G.Seidensticker

 

An essay on aesthetics by the Japanese novelist, this book explores architecture, jade, food, and even toilets, combining an acute sense of the use of space in buildings. The book also includes descriptions of laquerware under candlelight and women in the darkness of the house of pleasure

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New higher power lighting rig

Conversion of lighting rig to power three Xlamp LEDs as studio lighting, each channel using 2-3A and delivering about 20 Lux to a screen at 3m (without lens).

This is the kind of power I need to illuminate a screen and still be able to shoot video at ISO6400 or pref below.

Cree Xlamp LEDs mounted on v slot as a heat sink, tripod for orientation

Notes on shadows

The contrast between shadow as a subjective element (psychology, projecting into the unknown etc) and shadow as objective source of information (science – astronomy, medicine etc).

Shadow as medium – a non-refractive optics as opposed to lens based optics.

The historical idea of the shadow as a projection of something opaque ( say a body) associated with the soul, versus a new form of shadow derived from the idea of the X-ray, where the interior of the body is now revealed, partially transparent and medicalised.

Atomic optics – permanent shadows in  stone from the atomic blast in Hiroshima.

Interiority versus exteriority, the historical opacity of the body versus the modernist transparency of the body.

opacity – transparency.

Link to photograms – Moholy-Nagy refers to X-rays when he writes about photograms.

Using shadows – blending layers (darken blend).

The shadow as indexical trace – are we hard wired in our response to shadows (say shadows in moonlight while hunting) that we reach out to interpret them (out of necessity to anticipate danger).

Origins:  the shadow can be a naturally occurring form of image -so  is the shadow on a screen or surface natural or actually projected? ambiguity. A lens based image on the other hand must always be projected by another lens based apparatus (cameras and projectors have reciprocal functions).

Consequently..the potential aliveness of the shadow.

William Kentridge comments on the absence of facial expression in the shadow play – the need for gesture to convey emotion.

The shadow is a complex interplay between light source, object  casting the shadow and the surface the shadow is projected onto.

The shadow and drawing…

 

 

 

 

 

 

 

 

Inside:Outside- Materialising the Social

21 July 2012 at 10.30–17.40 at Tate Modern – videos on line. programme and links follow

The ritual encounter with an artwork – be it in a museum, gallery, private or public space – has evolved dramatically over the last century: from the contemplation of an object, to immersive installation, performance or participation.

Nicholas Bourriaud’s term ‘relational aesthetics’ referred specifically to work that took social relations as its basic medium. This kind of work usually took place within the walls of the designated art space, and operated in relation to the behavioural rules of that particular mindset (even if working against them). What, then, does it mean when an artist’s work intervenes in the social and political relationships that exist in the real world of everyday life? How can this be brought into the museum, how can it be displayed and how does it relate to the social rituals engendered by the architecture and rules of the specialist space.

Inside/Outside: Materialising the Social will examine the ways in which these codes and boundaries have been tested in the work of a number of different artists in the past decades, and how they have been theorised by key thinkers and writers.

Participants include Leo Asemota, Jelili Atiku, Claire Bishop, Katy Fitzpatrick, Abigail Hunt, Shannon Jackson, Suzanne Lacy, Lin Chi-Wei, Liu Ding, Mark Miller, Kieren Reed, Alex Schady, Susan Sheddan, Emma Smith and Dorothea von Hantelmann.

 

Inside:Outside- Materialising the Social programme

http://www.tate.org.uk/context-comment/video/insideoutside-materialising-social-part-1-0

http://www.tate.org.uk/context-comment/video/insideoutside-materialising-social-part-2

http://www.tate.org.uk/context-comment/video/insideoutside-materialising-social-part-3

http://www.tate.org.uk/context-comment/video/insideoutside-materialising-social-part-4

http://www.tate.org.uk/context-comment/video/insideoutside-materialising-social-part-5

http://www.tate.org.uk/context-comment/video/insideoutside-materialising-social-part-6

http://www.tate.org.uk/context-comment/video/insideoutside-materialising-social-part-8

http://www.tate.org.uk/context-comment/video/insideoutside-materialising-social-part-9

 

Liminal, 2012. Abigail Hunt, Kieren Reed, Katy Fitzpatrick and Susan Sheddan in conversation

Reed, KPHunt, ASheddan, SFitzpatrick, K(2012) Liminal, 2012. Abigail Hunt, Kieren Reed, Katy Fitzpatrick and Susan Sheddan in conversation. Presented at: Inside/outside: materialising the social, Tate Modern.

AbstractThe ritual encounter with an artwork – be it in a museum, gallery, private or public space – has evolved dramatically over the last century: from the contemplation of an object, to immersive installation, performance or participation. Nicholas Bourriaud’s term ‘relational aesthetics’ referred specifically to work that took social relations as its basic medium. This kind of work usually took place within the walls of the designated art space, and operated in relation to the behavioural rules of that particular mindset (even if working against them). What, then, does it mean when an artist’s work intervenes in the social and political relationships that exist in the real world of everyday life? How can this be brought into the museum, how can it be displayed and how does it relate to the social rituals engendered by the architecture and rules of the specialist space. Inside/Outside: Materialising the Social will examine the ways in which these codes and boundaries have been tested in the work of a number of different artists in the past decades, and how they have been theorised by key thinkers and writers. Participants include Leo Asemota, Jelili Atiku, Claire Bishop, Katy Fitzpatrick, Abigail Hunt, Shannon Jackson, Suzanne Lacy, Lin Chi-Wei, Liu Ding, Mark Miller, Kieren Reed, Alex Schady, Susan Sheddan, Emma Smith and Dorothea von Hantelmann.