sunvysne

Photo

Thu, 01 Mar 2012 17:41:14 +0100

‘my roof falls on top of me but now i can see the...

Wed, 29 Feb 2012 11:01:24 +0100

‘my roof falls on top of me but now i can see the sky’

Vasario 16

Thu, 16 Feb 2012 22:07:44 +0100

Vasario 16

Kabul

Tue, 14 Feb 2012 01:22:36 +0100

Kabul

Istanbul

Mon, 13 Feb 2012 00:32:56 +0100

Istanbul

Photo

Thu, 09 Feb 2012 13:12:38 +0100

Photo

Mon, 06 Feb 2012 11:49:44 +0100

Photo

Wed, 02 Feb 2011 17:56:00 +0100

Mariana:

Wed, 02 Feb 2011 17:55:00 +0100

Can you imagine yourself as a tapestry, or as a sphere that doesn’t need to spin to show infinite views?

Figures don’t lie, but liars can figure.

Our hologram is a collection of objects, witnesses of impossible facts, such as the meteorite that extinguished the dinosaurs, a man who ate himself, an analog listening device, a palm tree on the snow.

An absolute or perfectly realized holography would abolish the distinction between representation and reality, between the subjective thinking or knowing of things and their objective being. Holography presents a mental image of its subject.
Seeing around is part of seeing it.
Every point on the object is registered at once on every point of the plate, and the imaginary quality of the three dimensional space is represented as a personal focal point existing OUTSIDE of the observer.

I imagine the puzzle as a tapestry, or a puzzle contained on a sphere, or the objects rendered separately, about to come together.

Photo

Wed, 02 Feb 2011 12:45:19 +0100

Mariana: I think the idea of hologram is an ancient one, and...

Wed, 02 Feb 2011 12:45:00 +0100

Mariana:

I think the idea of hologram is an ancient one, and it’s most famous materialization is the one referred as 3d photography.
Even this attempt is a failed one, as in principle holography is about an impossible representation of time and space.
I was reading yesterday about a conversation that Einstein and the Philosopher Henri Bergson had once, to discuss scientific time against philosophical time.
The whole discussion evolved around a tenth of a second, which is the minimum reaction-perception time for human beings. For Einstein, philosophical time doesn’t exist, and it is just a moment in between perception time and ‘real’ or scientific time.
Bergson thought that it was important to defend philosophical time, as the scientific discourse specially after Einstein’s theory of relativity seemed to replace philosophy.
I think that this moment in between, this tenth of a second is the space of our holographic imagination, almost its limit.

John:

Wed, 02 Feb 2011 12:44:00 +0100

I wonder: do animals respond to holograms? (Some pets supposedly “watch” TV.) And what about people with one eye that can’t see depth?
Do they see depth in a hologram?

The train that wasn't there

Wed, 02 Feb 2011 12:41:00 +0100

“It is an epistemological fallacy to think that we can stand outside of what we observe, or observe without distortion, what is alien to our perspective.” (Mary Crane, Surface, Depth, and the Spatial Imaginary: A Cognitive Reading of The Political Unconscious)

One eye zooms-in, another one - zooms-out

Wed, 02 Feb 2011 12:40:45 +0100

One eye zooms-in, another one - zooms-out

Gintaras:

Wed, 02 Feb 2011 12:39:19 +0100

In my mind I have this image of space transforming like when being looked through some glass object (a looking glass?). So one doesn’t see the thing itself but just the effect (breaking the homogenous space into multiple moments and surfaces) it produces.

I don’t know of how it can spring from something, but there’s surely a way to make it as a part of narrative.

Another interesting thing to see would be a 2D image represented in hologram. I wonder how would it look. Like a drawing that one perhaps is walking around and seeing it stretch or shrink.

Rosie:

Wed, 02 Feb 2011 12:38:49 +0100

I’ve been looking a lot at Nan Goldin’s photographs when I was in Rome, in a book in the hotel, i felt like every image was from my life in the past present or future, or in my dreams. Then I was reading about Jean-Luc Nancy, apparently he had a heart transplant 10 years ago, and when his body was rejecting the foreign body inside it, he found he finally could write the essay about immigration in France that Derrida had asked him to write years before - he understood the problem of immigration, through his body. These two things, nan goldin and nancy’s heart’s immigration, seemed connected, knowledge through the body.
In rome we went to Ostia, to the beach where Pasolini was murdered and his body was left. I hadn’t understood that Rome was so close to the sea, and i though pasolini had been killed after sex in a field not on a beach, so different, and now Rome is also different for me with the presence of the sea and that pine forest.

Pierre:

Wed, 02 Feb 2011 12:37:00 +0100

I should say I love this old man looking at the back of the painting, the front of the sexy young woman, he can’t deal with erotism…
also i’m amber obsess.
I’m not sure I understand the all mechanics, well not a cadavre exquis of course, way too linear whatever the ingredient are: space, time or narratives.
still a situation is made out of circumstances different in nature.
an exhibition free from time and space, something that have to do with envisioning a movement of mind, something that usually is express through a diagram, a graph.
an exhibition that can only occurred on that format would be what? free from linearity, time and space as a dream or a thought can be.
it’s a coexistence of different actions that at different moments of their process have some interactions, a dumb example in the field we know…. imagine 7 artists installing “things” during a day, for a group show the day after, their works are not yet done, so they are building them within the place of the exhibition at the same time. we can imagine the confusion, the porosity the accident that can happens…some just go to eat, others get confused and start working on another artist work, it remind me of the restaurant scene in Playtime.
It has to be about editing as a film can do with space and time (montage parallel) still the film medium is himself linear, where the hologram can escape that. so it’s an editing without been linear.
time and space in this object are virtual, still process are display and movement are occuring. it is not an animated graph that show a thought of mind on a flat screen but an object that is an exhibition view from different position in thought.

Tania:

Wed, 02 Feb 2011 12:35:00 +0100

i wonder if that media becomes more mystic than scientific because of the digital 3D tech now, which does the same thing but with the possibility of increasing the illusion in the experience due to color, shades, etc.

holographs will always have the sort of feeling that they are something from the past, even when i saw it in 1998-99 for the first time it was an experience that fought between a “new” tech with an “old” feeling. for me it always belonged to the kind of cabinet of curiosities-type experience.

also i always wondered how much it had developed. that is something that i always thought when i was in front of one no matter how many years apart they didn’t seem too different nor more ‘advanced’ than the previous one, as if it is a technique that has given all it can from the beginning.

the fact that it is hollow space with hollow presence for me is the part that mentally makes it like a wannnabe memory like feeling.
the fact that so far is never in a natural skin color but kind of one weird (they always use weird colors like intense green or intense pink!!) will always make it old feeling.
the fact that mostly is behind glass or with a special way to look at it never just passing by or encountering it makes it a curiosity feeling.

There is one wormhole that goes through all the images and that’s what frames it.

Wed, 02 Feb 2011 12:34:07 +0100

There is one wormhole that goes through all the images and that’s what frames it.

A view from the perspective of a not-yet-painted painting

Wed, 02 Feb 2011 12:34:00 +0100

Sniego senio vidus is muses zvilgsnio. Bobas is Twin Peaks