Felix/Methods - Revision history

Felix: /* ME •• Text on Method */

2019-04-10T14:06:22Z

ME •• Text on Method

← Older revision		Revision as of 16:06, 10 April 2019
Line 2:		Line 2:

	[[User:felix\|< back to my page]]		[[User:felix\|< back to my page]]

	~~=ME •• Text on Method=~~
	~~==First mess (ongoing)==~~

	~~Introduction~~

	My work explores methods of how human perception of the world is shaped by the systematics of design in several overlapping areas like mass culture, consumerism, architecture, advertising, and importantly, internet media resulting in an abstraction of the perception from the actual world. This is achieved by collecting fragments of these in means of found footage, including photographic work to appropriate and shape found fragments and re-contextualise them in photographic work that communicates an aspect of the general field of interest. Theoretical as well as contemporary readings are utilised to be able to sharpen the method of appropriating and contextualising the subjects within the work as well as the work itself to consequently make the outcome comprehensive.

	~~Exemplary works~~

	~~New New Home / Wohnen photobook~~

	Exemplarily, I observe semi-private spaces and architectural constructs that inhere a passive appearance of human-beings visible through the corollary of their actions like the placement of objects or architectural elements that communicate something about the human needs and wishes. By framing I create a photograph of visual sobriety with a subtle reference to a human naivety. This is leading to a quirky humorist image that is representing the contemporary. The form of presentation is aiming to add to this by abstracting series of images or single images through their positioning or scaling.

	~~Eye research film~~

	~~Ongoing practice~~

	I am collecting imprinted images that mediate a specific reception of the world to their recipients. I do this by taking photographs of them (in case of physical imprints) or digitally capturing them (in case of digital imprints). These images, I understand as symptoms of the artificially and commercially creation of the contemporary media surround that feeds back to the formation of the society. I am in search of reoccurring processes and feedback mechanisms that feed back to the systematic. This is to be able to understand current and future developments in media as well as their effects on the development of the artificial construct of society and finally to explore works countering the systematic (that are from the art world mostly). The collection shall in the future be appropriated in new pieces of work or curated to be part of an alternative media surround that exposes the systematic as well as presenting a curation of existing works of existing countering works.
	I am using theoretical readings of Baudrillard and Flusser as well as contemporary texts on media history of Turner as a basis for understanding the observations and communicating the explorations as being part of the ground-lying systems of Simulation, Apparatus and media surround. (Check insert for critical thinking/making/Kramer?)


	~~Earlier works~~

	~~Beyond~~

	Thinking Beyond is a digital software incorporated in a spatial, audio-visual installation depicting a sacral environment. Therefore it is made from an altar, a tryptichon from backlit prints displaying renderings of a moebius strip and six plates with commandments. It is interactive and provides the recipient with a tool to liberate himself from being a physical extension of an algorithmic controlled virtual society he is connected through his iPhone’s internet connection and make him a human being of free will. The emotionalising movie-soundtrack „Chariots of Fire“ is playing during the interaction of the recipient.

	The intended „liberation“, as it is staged by the created fictive institution, is executed through a software, accessible through the altar, that is used as an iPhone dock. It uses generic Apple software to restrict the smartphones ability to use any kind of third party apps, as well as to connect to the internet. The 2x2 meter large altar is built of grey MDF and has a monumental appeal. The tryptichon displays the fictive Beyond-Society’s symbol, a moebius strip, stylised as minimalist productimages, referring to the design language of tech companies, especially such as Apple. The sacral appeal is continued on the audible level through playing the music by Vangelis that strengthens the emotional binding to the created institution.

	With the sacral appeal and strong references to the commonly known aesthetics to Apple Inc.’s design language, that are exaggerated through its further minimisation, connected to the dystopic but though realistic idea of the recipient being an unfree personality but controlled through his smartphones software, the science-fictional installation becomes reality and through that criticises the current praxis of data-capitalism and people farming, arises awareness and provides, in a satiric manner, a method to overcome this practices. This is intended to process the personal observations and experiences of the author/artist/creator.

	~~City Center~~

	City Center is a photographic work of 36 images displayed on a flat-lying 1x4 meter backlit display. The 6x6 photographs picture an about 40 year old shopping center, that’s architecture has hardly changed over the years. The mall is mostly empty and abandoned with some shops still in use and still maintained. The images are arranged in a straight 3x12 layout with identical distance in-between.

	The photographs are made with the available light, which is daylight, falling through the glass-roof or from the sides, and fluorescent lamps from the center’s lightning. The camera is a 6x6 medium format camera that is used as well on a tripod as in the hand and captures on color negative film. The film is scanned and without editing digital printed on backlight textile. The print in its backlit frame is placed on the floor in a central position in the exhibition space, providing space to walk around.

	The photographs by showing stillstand and decay are a time document referring to consume-culture and trends. The little life-signs of open shops and traces of human beings make the place appear like a human made zombie to irritate the recipient. The form of the installation, picturing a huge abstraction of an archeologists workplace and the material of the installation, coming from contemporary retail design, further focuses on the meaning of time, simultaneously putting the past, the present and the time in-between on display and through that uncovering societal change in the field of consume culture in public spaces.

	~~Current undertaking~~



	~~Future work~~

	My aim for future work is to sharpen the explorations and mediate the abstract systematic in a spatial image surround that is in form a exhibition presenting a view on the world that explains its level of abstraction and puts existing artworks in context of the exploration.

	~~Why making it?~~

	~~Parts are also explained above, but …~~





	~~References~~

	~~Texts/Books~~

	~~Baudrillard, Jean, Simulation Simulacra~~
	~~Eco, Umberto~~
	~~Flusser, Vilem, Towards a Philosophy of Photogarphy~~
	~~Turner, Fred, The Democratic Surround~~
	~~Turner, Fred, From Counterculture to Cyberculture~~
	~~Curtis, Adam, All surrounded by Machines of Loving Grace, and others~~
	~~Kramer, Florian~~


	~~Artworks/ Exhibitions~~

	~~Lund, Jonas, Operation Earnest Voice~~
	~~Paglen, Trevor, Autonomy Cube~~
	~~Staal, Jonas, Steve Bannon A Propagande Retrospective~~
	~~Systrom, Kevin, Krieger, Mike, Instagram~~
	~~Zuckerberg, Marc, The Facebook~~
	~~Harris, Josh, We live in Public, and others~~

	=RE •• Reader: Starting with Flusser=		=RE •• Reader: Starting with Flusser=

Felix: /* ME •• Text on Method */

2019-04-10T11:58:49Z

ME •• Text on Method

← Older revision		Revision as of 13:58, 10 April 2019
Line 4:		Line 4:

	=ME •• Text on Method=		=ME •• Text on Method=
	~~Felix’ text on method~~		==First mess (ongoing)==

	Introduction		Introduction

Felix at 11:58, 10 April 2019

2019-04-10T11:58:21Z

← Older revision		Revision as of 13:58, 10 April 2019
Line 2:		Line 2:

	[[User:felix\|< back to my page]]		[[User:felix\|< back to my page]]

			=ME •• Text on Method=
			Felix’ text on method

			Introduction

			My work explores methods of how human perception of the world is shaped by the systematics of design in several overlapping areas like mass culture, consumerism, architecture, advertising, and importantly, internet media resulting in an abstraction of the perception from the actual world. This is achieved by collecting fragments of these in means of found footage, including photographic work to appropriate and shape found fragments and re-contextualise them in photographic work that communicates an aspect of the general field of interest. Theoretical as well as contemporary readings are utilised to be able to sharpen the method of appropriating and contextualising the subjects within the work as well as the work itself to consequently make the outcome comprehensive.

			Exemplary works

			New New Home / Wohnen photobook

			Exemplarily, I observe semi-private spaces and architectural constructs that inhere a passive appearance of human-beings visible through the corollary of their actions like the placement of objects or architectural elements that communicate something about the human needs and wishes. By framing I create a photograph of visual sobriety with a subtle reference to a human naivety. This is leading to a quirky humorist image that is representing the contemporary. The form of presentation is aiming to add to this by abstracting series of images or single images through their positioning or scaling.

			Eye research film

			Ongoing practice

			I am collecting imprinted images that mediate a specific reception of the world to their recipients. I do this by taking photographs of them (in case of physical imprints) or digitally capturing them (in case of digital imprints). These images, I understand as symptoms of the artificially and commercially creation of the contemporary media surround that feeds back to the formation of the society. I am in search of reoccurring processes and feedback mechanisms that feed back to the systematic. This is to be able to understand current and future developments in media as well as their effects on the development of the artificial construct of society and finally to explore works countering the systematic (that are from the art world mostly). The collection shall in the future be appropriated in new pieces of work or curated to be part of an alternative media surround that exposes the systematic as well as presenting a curation of existing works of existing countering works.
			I am using theoretical readings of Baudrillard and Flusser as well as contemporary texts on media history of Turner as a basis for understanding the observations and communicating the explorations as being part of the ground-lying systems of Simulation, Apparatus and media surround. (Check insert for critical thinking/making/Kramer?)


			Earlier works

			Beyond

			Thinking Beyond is a digital software incorporated in a spatial, audio-visual installation depicting a sacral environment. Therefore it is made from an altar, a tryptichon from backlit prints displaying renderings of a moebius strip and six plates with commandments. It is interactive and provides the recipient with a tool to liberate himself from being a physical extension of an algorithmic controlled virtual society he is connected through his iPhone’s internet connection and make him a human being of free will. The emotionalising movie-soundtrack „Chariots of Fire“ is playing during the interaction of the recipient.

			The intended „liberation“, as it is staged by the created fictive institution, is executed through a software, accessible through the altar, that is used as an iPhone dock. It uses generic Apple software to restrict the smartphones ability to use any kind of third party apps, as well as to connect to the internet. The 2x2 meter large altar is built of grey MDF and has a monumental appeal. The tryptichon displays the fictive Beyond-Society’s symbol, a moebius strip, stylised as minimalist productimages, referring to the design language of tech companies, especially such as Apple. The sacral appeal is continued on the audible level through playing the music by Vangelis that strengthens the emotional binding to the created institution.

			With the sacral appeal and strong references to the commonly known aesthetics to Apple Inc.’s design language, that are exaggerated through its further minimisation, connected to the dystopic but though realistic idea of the recipient being an unfree personality but controlled through his smartphones software, the science-fictional installation becomes reality and through that criticises the current praxis of data-capitalism and people farming, arises awareness and provides, in a satiric manner, a method to overcome this practices. This is intended to process the personal observations and experiences of the author/artist/creator.

			City Center

			City Center is a photographic work of 36 images displayed on a flat-lying 1x4 meter backlit display. The 6x6 photographs picture an about 40 year old shopping center, that’s architecture has hardly changed over the years. The mall is mostly empty and abandoned with some shops still in use and still maintained. The images are arranged in a straight 3x12 layout with identical distance in-between.

			The photographs are made with the available light, which is daylight, falling through the glass-roof or from the sides, and fluorescent lamps from the center’s lightning. The camera is a 6x6 medium format camera that is used as well on a tripod as in the hand and captures on color negative film. The film is scanned and without editing digital printed on backlight textile. The print in its backlit frame is placed on the floor in a central position in the exhibition space, providing space to walk around.

			The photographs by showing stillstand and decay are a time document referring to consume-culture and trends. The little life-signs of open shops and traces of human beings make the place appear like a human made zombie to irritate the recipient. The form of the installation, picturing a huge abstraction of an archeologists workplace and the material of the installation, coming from contemporary retail design, further focuses on the meaning of time, simultaneously putting the past, the present and the time in-between on display and through that uncovering societal change in the field of consume culture in public spaces.

			Current undertaking



			Future work

			My aim for future work is to sharpen the explorations and mediate the abstract systematic in a spatial image surround that is in form a exhibition presenting a view on the world that explains its level of abstraction and puts existing artworks in context of the exploration.

			Why making it?

			Parts are also explained above, but …





			References

			Texts/Books

			Baudrillard, Jean, Simulation Simulacra
			Eco, Umberto
			Flusser, Vilem, Towards a Philosophy of Photogarphy
			Turner, Fred, The Democratic Surround
			Turner, Fred, From Counterculture to Cyberculture
			Curtis, Adam, All surrounded by Machines of Loving Grace, and others
			Kramer, Florian


			Artworks/ Exhibitions

			Lund, Jonas, Operation Earnest Voice
			Paglen, Trevor, Autonomy Cube
			Staal, Jonas, Steve Bannon A Propagande Retrospective
			Systrom, Kevin, Krieger, Mike, Instagram
			Zuckerberg, Marc, The Facebook
			Harris, Josh, We live in Public, and others

	=RE •• Reader: Starting with Flusser=		=RE •• Reader: Starting with Flusser=

Felix at 11:35, 27 March 2019

2019-03-27T11:35:57Z

← Older revision		Revision as of 13:35, 27 March 2019
Line 2:		Line 2:

	[[User:felix\|< back to my page]]		[[User:felix\|< back to my page]]

			=RE •• Reader: Starting with Flusser=
			* [[Felix/Reader\|my notes on the reader]]
			* [https://app.milanote.com/1H43Rb1rxp429N our working group's notepad (apparatus)]
			* [[Mia/Annotated Reader\|our reader site on the wiki]]


	=S6 •• Eye Texts and Styles=		=S6 •• Eye Texts and Styles=

Felix: /* Essay: Baudrillard in Eco */

2019-01-23T08:03:54Z

Essay: Baudrillard in Eco

← Older revision		Revision as of 10:03, 23 January 2019
Line 47:		Line 47:
	=S5 •• Synopsis no2 & Essay=		=S5 •• Synopsis no2 & Essay=
	===Essay: Baudrillard in Eco===		===Essay: Baudrillard in Eco===
	~~In his first chapter~~, ~~Baudrillard~~ presents his thesis of the simulation and how the contemporary society uses it to produce its perception of reality. He claims that contemporary reality is its own simulacrium, with no reference to the real and with no strong meaning. Whereas in earlier historical periods a simulation was clearly visible as such of the real, through mass medias ability of reproduction, it later was capable of creating an own reality. This is exaggerated nowadays when this kind of simulations suppress the profound reality.		Baudrillard, in "The possession of the Simulacrum", presents his thesis of the simulation and how the contemporary society uses it to produce its perception of reality. He claims that contemporary reality is its own simulacrium, with no reference to the real and with no strong meaning. Whereas in earlier historical periods a simulation was clearly visible as such of the real, through mass medias ability of reproduction, it later was capable of creating an own reality. This is exaggerated nowadays when this kind of simulations suppress the profound reality.

	The simulation is happening in four stages: In the first one, the image is a clear copy of some reality, Symbols refer to it. For the second, the image is a copy that is referring to the real but creating its own interpretation of it. The third is depicting a non-real. The fourth is not relating to some reality at all but to its own simulacrum. This „hyperreal“ has its own existence.		The simulation is happening in four stages: In the first one, the image is a clear copy of some reality, Symbols refer to it. For the second, the image is a copy that is referring to the real but creating its own interpretation of it. The third is depicting a non-real. The fourth is not relating to some reality at all but to its own simulacrum. This „hyperreal“ has its own existence.

Felix: /* Essay: Baudrillard in Eco */

2019-01-23T08:02:16Z

Essay: Baudrillard in Eco

← Older revision		Revision as of 10:02, 23 January 2019
Line 47:		Line 47:
	=S5 •• Synopsis no2 & Essay=		=S5 •• Synopsis no2 & Essay=
	===Essay: Baudrillard in Eco===		===Essay: Baudrillard in Eco===
			In his first chapter, Baudrillard presents his thesis of the simulation and how the contemporary society uses it to produce its perception of reality. He claims that contemporary reality is its own simulacrium, with no reference to the real and with no strong meaning. Whereas in earlier historical periods a simulation was clearly visible as such of the real, through mass medias ability of reproduction, it later was capable of creating an own reality. This is exaggerated nowadays when this kind of simulations suppress the profound reality.

			The simulation is happening in four stages: In the first one, the image is a clear copy of some reality, Symbols refer to it. For the second, the image is a copy that is referring to the real but creating its own interpretation of it. The third is depicting a non-real. The fourth is not relating to some reality at all but to its own simulacrum. This „hyperreal“ has its own existence.

	In "Travels in Hyperreality", Umberto Eco gives various examples of the specific American phenomenon of the belief and desire to experience the a "real" in an unwillingly unrealistic way. This is specifically pointed out through the experience of art, history and experience that are, in the American culture reproduced or reenacted to be made consumable. These reproductions are made in line with the cultural rooted need for "more" of everything, which results in the reproductions to be augmented with an additional factor of experiencability of its realness that can come in various ways. Mostly in common an extension of an images framing to make something consumable despite temporal or local distances.		In "Travels in Hyperreality", Umberto Eco gives various examples of the specific American phenomenon of the belief and desire to experience the a "real" in an unwillingly unrealistic way. This is specifically pointed out through the experience of art, history and experience that are, in the American culture reproduced or reenacted to be made consumable. These reproductions are made in line with the cultural rooted need for "more" of everything, which results in the reproductions to be augmented with an additional factor of experiencability of its realness that can come in various ways. Mostly in common an extension of an images framing to make something consumable despite temporal or local distances.

Felix: /* S5 •• Synopsis no2 & Essay */

2019-01-23T08:01:17Z

S5 •• Synopsis no2 & Essay

← Older revision		Revision as of 10:01, 23 January 2019
Line 47:		Line 47:
	=S5 •• Synopsis no2 & Essay=		=S5 •• Synopsis no2 & Essay=
	===Essay: Baudrillard in Eco===		===Essay: Baudrillard in Eco===

			In "Travels in Hyperreality", Umberto Eco gives various examples of the specific American phenomenon of the belief and desire to experience the a "real" in an unwillingly unrealistic way. This is specifically pointed out through the experience of art, history and experience that are, in the American culture reproduced or reenacted to be made consumable. These reproductions are made in line with the cultural rooted need for "more" of everything, which results in the reproductions to be augmented with an additional factor of experiencability of its realness that can come in various ways. Mostly in common an extension of an images framing to make something consumable despite temporal or local distances.

			Against that stands that kind of reproduction that functions as a realistic copy of something from the past or present, that still preserves its original meaning and stays distinguishable as the copy. Also here, the obsession with realism is driving the copy, but rather in the way that it wants to preserve the original's properties and not to want to "enhance" the viewers sensation.

	Umberto Ecos observations in America, that he has written down in “Travels in Hyperreality”, are very much incorporating and proving Baudrillards thesis on the “Possession of the Simulacra”.		Umberto Ecos observations in America, that he has written down in “Travels in Hyperreality”, are very much incorporating and proving Baudrillards thesis on the “Possession of the Simulacra”.
	Eco describes the abstraction of historical events caused by their placement in interactively experienceable surroundings as hyperreal which corresponds to Baudrillards third stage in his four stages of the Simulation.		Eco describes the abstraction of historical events caused by their placement in interactively experienceable surroundings as hyperreal which corresponds to Baudrillards third stage in his four stages of the Simulation.
Line 54:		Line 59:
	===Synopsis: Travels in Hyperreality===		===Synopsis: Travels in Hyperreality===

	In Travels in Hyperreality, Umberto Eco gives various examples of the specific American phenomenon of the belief and desire to experience the a "real" in an unwillingly unrealistic way. This is specifically pointed out through the experience of art, history and experience that are, in the American culture reproduced or reenacted to be made consumable. These reproductions are made in line with the cultural rooted need for "more" of everything, which results in the reproductions to be augmented with an additional factor of experiencability of its realness that can come in various ways. Mostly in common an extension of an images framing to make something consumable despite temporal or local distances.		In "Travels in Hyperreality", Umberto Eco gives various examples of the specific American phenomenon of the belief and desire to experience the a "real" in an unwillingly unrealistic way. This is specifically pointed out through the experience of art, history and experience that are, in the American culture reproduced or reenacted to be made consumable. These reproductions are made in line with the cultural rooted need for "more" of everything, which results in the reproductions to be augmented with an additional factor of experiencability of its realness that can come in various ways. Mostly in common an extension of an images framing to make something consumable despite temporal or local distances.

	Against that stands that kind of reproduction that functions as a realistic copy of something from the past or present, that still preserves its original meaning and stays distinguishable as the copy. Also here, the obsession with realism is driving the copy, but rather in the way that it wants to preserve the original's properties and not to want to "enhance" the viewers sensation.		Against that stands that kind of reproduction that functions as a realistic copy of something from the past or present, that still preserves its original meaning and stays distinguishable as the copy. Also here, the obsession with realism is driving the copy, but rather in the way that it wants to preserve the original's properties and not to want to "enhance" the viewers sensation.

Felix: /* Essay: Baudrillard in Eco */

2019-01-22T10:48:25Z

Essay: Baudrillard in Eco

← Older revision		Revision as of 12:48, 22 January 2019
Line 47:		Line 47:
	=S5 •• Synopsis no2 & Essay=		=S5 •• Synopsis no2 & Essay=
	===Essay: Baudrillard in Eco===		===Essay: Baudrillard in Eco===
	Umberto Ecos observations in America, “Travels in Hyperreality”, are very much incorporating and proving Baudrillards thesis on the “Possession of the Simulacra”.		Umberto Ecos observations in America, that he has written down in “Travels in Hyperreality”, are very much incorporating and proving Baudrillards thesis on the “Possession of the Simulacra”.
	Eco describes the abstraction of historical events caused by their placement in interactively experienceable surroundings as hyperreal which corresponds to Baudrillards third stage in his four stages of the Simulation.		Eco describes the abstraction of historical events caused by their placement in interactively experienceable surroundings as hyperreal which corresponds to Baudrillards third stage in his four stages of the Simulation.
	Another of Eco’s observations, the American urge to preserve authentic originals, that leads to the multiplication authentic objects, seems to verify Baudrillards thesis of the first stage of the Simulation, the clear copy of an object, but Eco argues that the increasing habit of copying is even creating an abstraction.		Another of Eco’s observations, the American urge to preserve authentic originals, that leads to the multiplication authentic objects, seems to verify Baudrillards thesis of the first stage of the Simulation, the clear copy of an object, but Eco argues that the increasing habit of copying is even creating an abstraction.

Felix: /* Style: Personal Letter */

2019-01-10T14:06:39Z

Style: Personal Letter

← Older revision		Revision as of 16:06, 10 January 2019
Line 35:		Line 35:

	My Heart,		My Heart,

	today something has happened, that I need to tell you.		today something has happened, that I need to tell you.
	When I attended the PZI screening at the Eye, the cinema could not handle the high amount of 20 short films in the one hour of the screening. It was so much, that the projector crashed and needed to be restarted. That cost three minutes of time I paid for the ticket, so I am very annoyed about that. They did not even manage to arrange a replacement faster, but we saw the operator restarting the system on the big screen, we even had to see an ad during that time.		When I attended the PZI screening at the Eye, the cinema could not handle the high amount of 20 short films in the one hour of the screening. It was so much, that the projector crashed and needed to be restarted. That cost three minutes of time I paid for the ticket, so I am very annoyed about that. They did not even manage to arrange a replacement faster, but we saw the operator restarting the system on the big screen, we even had to see an ad during that time.

	I know you can understand how upset I am about that.		I know you can understand how upset I am about that.

	In love,		In love,

	your personalletterwriter		your personalletterwriter

Felix: /* Style: Personal Letter */

2019-01-10T14:06:12Z

Style: Personal Letter

← Older revision		Revision as of 16:06, 10 January 2019
Line 33:		Line 33:
	'''My worst cinema experience		'''My worst cinema experience
	'''		'''

	My Heart,		My Heart,
	today something has happened, that I need to tell you.		today something has happened, that I need to tell you.
Line 39:		Line 40:
	In love,		In love,
	your personalletterwriter		your personalletterwriter


	=S5 •• Synopsis no2 & Essay=		=S5 •• Synopsis no2 & Essay=