Jan 2019 - June 2019
2.2.1 - Transitional Spaces
Hauntology (a portmanteau of haunting and ontology) is a concept coined by philosopher Jacques Derrida in his 1993 book Spectres of Marx. The term refers to the situation of temporal, historical, and ontological disjunction in which the apparent presence of being is replaced by a deferred non-origin, represented by "the figure of the ghost as that which is neither present, nor absent, neither dead nor alive."
floral/ patterned upholstery
columns/ classical elements
This was also a time when technology was clunky and obvious - the point was not for it to blend seamlessly into a space.
Black and beige plastic, computer chairs and harsh displays invaded spaces in stark contrast to the more integrated approach of the 2010’s .
Experimentation: Thermal receipt printer
8 bit graphics & lo-res images are iconic of the turn of the 21st century. Receipts are a perfect medium to represent the concept of Hauntology: disposable, ethereal, imprints, and representational. They exist as records and markers of time, and make excellent ‘ghosts’.
Archetypes of Nostalgia
Millennials have been hailed as the most nostalgic generation, or the generation suffering from “early onset nostalgia”. Why? some attribute it to the fact that this generation came of age in a time when technology was just entering into the mainstream. The late 90’s/ early 2000’s were a time when excitement about the future was reaching a peak due to innovations in personal technology. We both remember a time before personal technology and are natives of technology.
The prevalence of Retro Futurism can be seen in the way we continue to bring back 90’s and 00’s aesthetics in art, design, fashion, and music. I’ve been searching for elements of this time period that evoke a feeling of nostalgia, and that act as markers of a point in time when the era changed.
Sep 2018 - Dec 2018
2.1 - TRANSIENT AND TRANSFORMATIVE SPACES: Sonic Scenography
These works should be read through the lens of “passing time”. These experiments are an exploration into the ways that time (as a medium, as a concept, or as a context) transform a space. The spectator should experience a shift in perception, experiencing time in ways other than linear. This is a part of the concept of “Layered Space” outlined below.
This piece is partly new experimentation, partly a continuation of the “Waiting Room” (see 1.1 below). This is a space where the human voice undergoes a transformation and becomes an imprint (or ghost) of itself. This tool, made in Max MSP, transforms the voice into its basic underlying frequency, which is then translated into a sound that matches its range. The cello is an ideal vehicle for representing the human voice because of its similarities in range and timbre.
These improvisations are the basis of future experimentation in sound, music, and language, and how they convey meaning differently.
Each one of these recordings start as a single musical phrase, either taken from an existing piece of music or imagined. The music slowly builds on the initial phrase, creating loops that develop the piece, however simple at first, into a sound scape that inspires an emotion or calls up an association.
Collaboration with Iris Zendman
The purpose of this experiment was to conduct research into how we perceive meaning. With the help of a loop pedal, the cello music slowly evolves, causing the spectator to read a static space as evolving simultaneously. The sculpture and lighting remained constant throughout the experiment, except for slight, natural movements of the hanging pieces, but each viewer had the illusion of changing lights or more dramatic movement. In addition, they felt the mood of the space shift, so that their initial feeling of curiosity became became unsettled.
THE TIME IS OUT OF JOINT
Here, a passage from Shakespeare’s Hamlet, in which the prince speaks to the ghost of his father, is read aloud, and then run through a tool that simplifies the cadence of the voice to just its frequencies. In this way, the voice becomes an imprint of itself; devoid of meaning but retaining its character.
Rest, rest, perturbèd spirit!
With all my love I do commend me to you,
And what so poor a man as Hamlet is
May do, to express his love and friending to you,
God willing, shall not lack. Let us go in together,
And still your fingers on your lips, I pray.
The time is out of joint. O cursèd spite,
That ever I was born to set it right!
Nay, come, let’s go together.
2.0 - LAYERED SPACE
Key words & inspirations
Gesamtkunstwerk/ Art Nouveau/ Arts & Crafts/ Retrofuturism/ Post-Humanism/ Futurism/ Hauntology/ Ontology/ Symbolism/ Archive/ Library/ Technology/ Mythology/ Hamlet/ Breakdown of the Bicameral Mind/ Fountainhead/ 10,000 Leagues Under the Sea/ The Time Machine/ etc…
I want to create spaces that can be read simultaneously as both real and virtual.
The setting itself is rarely important: whatever purpose the work might serve has to have a connection to the space. This is essential to creating a ‘layered space’.
Futurism, Retrofuturism, Hauntology, Post-Humanism, Ontology: these concepts all relate to my definition of Modern Mythology- they all represent how archetypes and symbolism have a place in modern society.
How can I create a space that invites the spectator to engage mentally?
Which ‘tools’ will bring me closest to this kind of interaction?
Limited physical interaction = expanded mental interaction
Translated through Gesamtkunstwerk (total artwork)
Stream of consciousness ‘writing in space’
-Working in a trans-disciplinary way
-Approaching technology as a concept rather than as a means of production (exploring implications of technology, or its side effects)
Creating a layered space: the space should be a reflection/ representation of research.
A “spatial library” will be created, allowing the audience to delve as much or as little possible into the levels of meaning.
The space should act as a library, encouraging investigation…
Space should reflect our innate ability to read patterns and symbols.
The space will put the concept of Jung’s “collective unconscious into practice”: experience of the space will rely on cues.
-Creating spatial works that are translations of research
-Archiving and organizing abstract concepts to create a spatial/metaphorical library
-Finding an intersection between technology and mythology
-Theories/Concepts: Futurism, Retrofuturism, Hauntology, Post-Humanism, Ontology
Jan 2018 - June 2018
In this space, the starting point was the idea of a grid as the most fundamental element.* There are countless natural grids to be seen in the Gelderland factory. The purpose of this installation was not to impose objects on an empty room, but to pull the grids inward from windows that frame the outer rooms of the factory. This particular setting is transitional by nature, existing as a multi-purpose room; a much later addition to the original building. This is the space ‘through the grid’; the perfect lines that frame the windows are stretched and distorted. The basic elements of any waiting room are pulled from the windows, underlining the in-between space that is defined in the concept of Hauntology.**
*Why The Grid?
Grids are often signifiers of the future. They exist inside the computerized world of Tron, as a basis for modular cities in the designs of 1960's architecture group Superstudio,and as a surface for materialization in countless imaginations of teleportation and holograms. The grid is the ideal foundation for any future scene. It lends itself to all things modular and streamlined. It allows us to imagine a future that exists in a state of perfect order. It serves as a metaphor for interconnectivity and in-between spaces.
You are now in the space inside The Grid- the place where space can stretch and bend, and where time is no longer linear.
This silent film is intended to be played, on a loop, in the final installation. The footage is chosen from the whole collection because it is especially fitting with either the concept of Hauntology or with the imagery of the grid.
1.1 - SCENIC FUTURE: Haunted Spaces
**Hauntology, a term coined by Jacques Derrida in Spectres de Marx (1993), refers to a state of being while non-being, the "figure of the ghost as that which is neither present nor absent, neither dead nor alive."
Here, Hauntology is present in scenes of the future. Why do we conceive of future worlds, or of alternate realities that depend on the imagination of the past? By collecting scenes from the future as it was envisioned during the last century, potential realities are visible. Do these worlds exist, out of sight, in a state of limbo?
These clips and images have become the core of my collection: they will work as a layer of meaning given to the collected physical objects; the software to the hardware.
*Click any image*
A conversation with Marloeke Van der Vlugt about technology and its presence in performance and interaction.
“SUPERSTUDIO: THE CONTINUOUS MONUMENT: AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION.” SUPERSTUDIO (blog), Haziran Cuma 2012. http://arch122superstudio.blogspot.com/2012/06/continuous-monument-architectural-model_15.html
Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning, and the New International. Psychology Press, 1994.
Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. John Hunt Publishing, 2014.
the time is out of joint
On the grid
Inspiration from month-long intensive workshops: Surrealism, dream landscape, light, sound, movement
*Stream of consciousness
Techne: embodiment of "craftsmanship, craft, art"
*How to use this idea in modifying a collection
*Approaching a collection in a methodical, scientific way: archive
Techne: The goal is to create a comprehensive archive of forgotten objects during which time I hope to gain an understanding of what technology does for our understanding of society in a given time period.
Part One: collect obsolete technologies:
I will collect anything and everything: E-waste, designed objects relating specifically to a technological period in time...
I will be following a methodology in order to classify these objects. These are essential questions in order to determine the place and importance of each found object:
How does the object show the influence of an imagined future? What form does the object take now? Is it in line with its predicted evolution?
Was it integral to the technological landscape and/ or was it integral to developing the landscape today?
What is the object's potential of being used now, and what would that communicate?
The ongoing process of reorganization and classification could look like this:
Objective Layer: What is the object’s color, shape, size, frequency of use…
Implications: Which category does the object fall into? Communication? Utilitarian? Entertainment?
In the end, I will strive for the construction of an obsolete technological landscape. We will hear the sounds of mechanical parts when we have become used to silence and see flickering screens and pixels where we now expect high resolution.
Sep 2017 - Dec 2018
0.1 - Dream Study No. 2
"Disembodiment in Virtual Spaces"
This installation attempts to create a virtual reality in a physical space.
0.0 - Dream Study No. 1
Sketches & First Experiment
As you fall asleep you find yourself low to the ground: you’re not a person, you can’t see your body or what you are, and you’re in a space filled with rudimentary objects. Even though you don’t have a physical body you have a sense of self, as though the lack of a physical being has made you hyper-aware of every emotion. There’s a path that you need to follow. You don’t know what’s off the edge of the space but you know not to find out. As you get closer you are hit with an uneasy feeling.
You feel like you are on a track... the speed and direction and the distance between you and the object are the only things present.
Different cultures and religions have studied and interpreted dreams for centuries, and as a species, we are prone to trying to make sense of our subconscious. Typically, western cultures see dreams as representations of real life. Freud and Carl Jung both look at the interpretation of dreams as symbolic and explanatory of something larger that is occurring in the real world. In common culture, however, dreaming is seen as an integral part of life; they are experienced but not necessarily analyzed. Because psychoanalysts look at dreams from a scientific perspective; we now recognize that dreams can be important in learning more about the inner-self, and in learning to read our subconscious.
Dreams/Subconscious/Collective Conscious/Creating a universe
Carl Jung’s Red Book contains over two hundred illustrations that attempt to explain the subconscious; he believed that symbols are innate. When looking at the Red Book, it is important to bear in mind that dream analysis was not, in Jung's mind, the most goal of this work. Part journal, part mythology, the Red Book was intended to shows how Jung linked the psychology and science of his time with tradition.
Collage has been a medium of choice in Surrealism since the movement started.
It’s a form of image creation that is almost like stream of consciousness writing, which is why it’s fitting to this concept.
What are dreams that everyone has? Falling, flying running.
How can I portray these symbolically? As feelings? What is the aesthetic or imagery of dreaming?
Dream Space No. 1: Waterlillies
How can I challenge the spectator? How can I play with the freedom of movement or field of vision?
Proportion/ distortion, etc.
Create a place where the story happens instead of only representing the story, and combining many different media.
Make scenes that are recognizable for several fundamental elements (mountain, sky, bird, nothing else)
Use symbolic objects
I would show these scenes in indoor and outdoor spaces, and continue to experiment with perspective and the spectator's POV by moving these experiments into real life and increasing their scale and scope