be square…
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...:::...square productions still needs your help. they’ve just returned from their european tour, which ups their total hours of footage to over 200. (imagine!) many of you, i’m certain, know of this ambitiously comprehensive movie called speaking in code, that is being made that follows the people, ideas, businesses, lives…that is behind the music that we all love. this is a movie about process. so often we only hear the product. this movie gives us the opportunity to find a little more depth than just in the reception of these sounds. it gives the music context. you can read more about their adventures here and you can contribute here. do it.
in other thoughts: i’ve been designing a wall…and the ideas that keep rotating into the discussion are: 1) is a wall an edge or an environment? 2) what is the relationship of object and void, of line and mass? 3) how do you create an edge from a nothing…a wall-less wall? 4) how do you create space with a void…using the emptiness as a construct, as a form? 5) how do you blur the edge, the moment between the wall and the floor…how do you create ambiguity, dissolve the horizon.
and on dissolving horizons (and continuing the discussion on minimalism outside of music) who better to look to than james turrell? excerpt from a 1996 interview:
Esa Laaksonen: I would like to discuss your views on light which is the main issue within your work, and the sensitivities of the human body to light and colour, and also your thoughts about perception. I understand that you have spent a long time in solitude, in prison and in darkness - therefore, it seems to me that the power of force in your work lies within the experiences that you had in asylum. Is that correct?
James Turrell: It was certainly formative in a sense that these experiences formed the will to work with light. In terms of being an artist I can't say that I took that experience well, because it was forced upon me - nor did I systematically explore what it is to have that aloneness, that solitary quality, without being forced into it. Now, with will and with free choice, I enjoy it.
The question about light. First of all, I would like to say that there never is no light - the same way you can go into an anechoic chamber that takes away all sound and you find that there never really is silence because you hear yourself. With light it is much the same - we have that contact to the light within, a contact that we often forget about until we have a lucid dream. Asking ourselves where the light in the lucid dream comes from gets us near to these thoughts about the power of light. This power has, first of all, power in its physical presence. I like to bring light to the place that is much like that in the dream - where you feel it to be some thing itself, not something with which you illuminate other things, but a celebration of the thingness of light, the material presence, the revelation of light itself. This is something that allows light live more than the forming of it. A lot of the learning to work with light, since it doesn't form by working with the hands as clay does, is this working with light through thought. There is an architecture of thought, the structuring of logic, of thinking, of the space of thought, and that is the province of architecture as much as building these buildings that we work in and use in a very pragmatic sense. Music structures this aswell, as do certain things in art.
At this moment, I'm working very primitively with light, because I don't have many instruments with which to work it, but I work it in the way that I can, and that is mainly to bring to the conscious awake-state, the light that inhabits these spaces that we know in the dream. So it's not a surprise for anyone to see the light like this, but it is a mild surprise to see it here because it seems to have this other quality, slightly other-worldly in that we know it from another place but we do know about it. In architecture we discuss the space between form and it being positive and being filled. But rarely do we create this space. It's more rhetorical. So that when you see it, it is not a surprise.
...summertime rolls…add the mp3 file extensions to the files where they are lost...or a zip file 060721-modyfier with all today's tracks:::…
mikkel metal – rain : 2006 on kompakt
daft punk – technologic (digitalism’s highway to paris remix) : jun 2006 on fabric (london)
ulrich schnauss – passing by : jun 2006 on domino usa
alland byallo – capped synapse (phonique remix) : jan 2006 on loco united
para one – f.u.d.g.e. : jun 2006 on institubes
jambi – who dropped the ball (someone else remix) : may 2006 on district of corruption
mistake & someone else - no catfish whoop whoop : jun 2006 on foundsound records
blue foundation – as i moved on (run jeremy band feat trentemoller & buda) : jun 2006 on okyo recordings
jay tripwire - master beater 2 (chris carrier remix) : apr 2006 on utensil recordings
swayzak - mike up your mind : may 2006 on k7! records
.
.
.
.
...:::...square productions still needs your help. they’ve just returned from their european tour, which ups their total hours of footage to over 200. (imagine!) many of you, i’m certain, know of this ambitiously comprehensive movie called speaking in code, that is being made that follows the people, ideas, businesses, lives…that is behind the music that we all love. this is a movie about process. so often we only hear the product. this movie gives us the opportunity to find a little more depth than just in the reception of these sounds. it gives the music context. you can read more about their adventures here and you can contribute here. do it.
in other thoughts: i’ve been designing a wall…and the ideas that keep rotating into the discussion are: 1) is a wall an edge or an environment? 2) what is the relationship of object and void, of line and mass? 3) how do you create an edge from a nothing…a wall-less wall? 4) how do you create space with a void…using the emptiness as a construct, as a form? 5) how do you blur the edge, the moment between the wall and the floor…how do you create ambiguity, dissolve the horizon.
and on dissolving horizons (and continuing the discussion on minimalism outside of music) who better to look to than james turrell? excerpt from a 1996 interview:
Esa Laaksonen: I would like to discuss your views on light which is the main issue within your work, and the sensitivities of the human body to light and colour, and also your thoughts about perception. I understand that you have spent a long time in solitude, in prison and in darkness - therefore, it seems to me that the power of force in your work lies within the experiences that you had in asylum. Is that correct?
James Turrell: It was certainly formative in a sense that these experiences formed the will to work with light. In terms of being an artist I can't say that I took that experience well, because it was forced upon me - nor did I systematically explore what it is to have that aloneness, that solitary quality, without being forced into it. Now, with will and with free choice, I enjoy it.
The question about light. First of all, I would like to say that there never is no light - the same way you can go into an anechoic chamber that takes away all sound and you find that there never really is silence because you hear yourself. With light it is much the same - we have that contact to the light within, a contact that we often forget about until we have a lucid dream. Asking ourselves where the light in the lucid dream comes from gets us near to these thoughts about the power of light. This power has, first of all, power in its physical presence. I like to bring light to the place that is much like that in the dream - where you feel it to be some thing itself, not something with which you illuminate other things, but a celebration of the thingness of light, the material presence, the revelation of light itself. This is something that allows light live more than the forming of it. A lot of the learning to work with light, since it doesn't form by working with the hands as clay does, is this working with light through thought. There is an architecture of thought, the structuring of logic, of thinking, of the space of thought, and that is the province of architecture as much as building these buildings that we work in and use in a very pragmatic sense. Music structures this aswell, as do certain things in art.
At this moment, I'm working very primitively with light, because I don't have many instruments with which to work it, but I work it in the way that I can, and that is mainly to bring to the conscious awake-state, the light that inhabits these spaces that we know in the dream. So it's not a surprise for anyone to see the light like this, but it is a mild surprise to see it here because it seems to have this other quality, slightly other-worldly in that we know it from another place but we do know about it. In architecture we discuss the space between form and it being positive and being filled. But rarely do we create this space. It's more rhetorical. So that when you see it, it is not a surprise.
...summertime rolls…add the mp3 file extensions to the files where they are lost...or a zip file 060721-modyfier with all today's tracks:::…
mikkel metal – rain : 2006 on kompakt
daft punk – technologic (digitalism’s highway to paris remix) : jun 2006 on fabric (london)
ulrich schnauss – passing by : jun 2006 on domino usa
alland byallo – capped synapse (phonique remix) : jan 2006 on loco united
para one – f.u.d.g.e. : jun 2006 on institubes
jambi – who dropped the ball (someone else remix) : may 2006 on district of corruption
mistake & someone else - no catfish whoop whoop : jun 2006 on foundsound records
blue foundation – as i moved on (run jeremy band feat trentemoller & buda) : jun 2006 on okyo recordings
jay tripwire - master beater 2 (chris carrier remix) : apr 2006 on utensil recordings
swayzak - mike up your mind : may 2006 on k7! records
posted by modyfier at 9:50 AM
3 Comments:
I'm probably pinching all your picxtures one by one, it's the way you've conceptualised how they just dissolve into ...
and yet almost like they could settle back on the page, and recreate the whole picture - a picture which was never there but in your mind and transferred not onto paper but into the viewers mind.
It is dynamic. I know I'm only looking at pixels on a screen of carbon on paper ... yet almost like a drawing made from sand or volcanic ash, and disturb or agitated, which can thru the magic of video be played or rewound. But not on video, rather in my mind. And yet is more than video or even 3D film it is almost holographic
And I'm dancing, I'm dancing with the image, I'm dancing with you the mind which created the image, even though you and tyour mind are somewhere else altogether ...
I'm dancing with a memory of you, yet really I'm only dancing with a picture you created.
PS - thanks for the james turrell link. Coincidence, synchronicity, or just kindness from you, you having discovered the direction of my 'tastes' in visual arts?
hey nice save, loving the duality.
(zip/individual files :D)
greedy gums -
duality can be heavy handed. in the end, i'm looking for simplicity with file exchange...it will do for now. thanks for the comment.
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