Justin Lincoln's notational productions. Thoughts, text, images, sounds, and videos.
Transfinite
RYOJI IKEDA
Ryoji Ikeda // The Transfinite // 2011
I keep coming back to Ikeda’s work again and again, though I’ve only seen it once in a live performance by the collective Dumb Type @ 2002. It seems like part of the lineage of Kubelka’s work that I was posting earlier tonight. Both are about tactility and rhythm just as much as they are about minimalism and black and white aesthetic functions. My blogmixes aspire to something that appeals to me in both Kubelka’s and Ikeda’s work. I still have a ways to go with my material, but I am nowhere near ready to let go of that bone.
Arnulf Rainer
Peter Kubelka | 1960 | 7 minutes | B&W | Sound
“He has even created a film whose images can no more be ‘turned off’ by the closing of eyes than can the soundtrack thereof it (for it is composed entirely of white frame rhythming thru black inter-spaces and of such an intensity as to create its pattern straight thru closed eyelids) so that the whole ‘mix’ of the audio-visual experience is clearly ‘in the head,’ so to speak: and if one looks at it openly, one can see one’s own eye cells as if projected onto the screen and can watch one’s optic physiology activated by the sound track in what is, surely, the most basic Dance of Life of all (for the sounds of the film do resemble and, thus, prompt the inner-ear’s hearing of its own pulse output at intake of sound)… These films must, very truly, be seen and very truly seen and heard to be believed!” - Stan Brakhage
Peter Kubelka’s Arnulf Rainer: the film as a visualization (softwarestudies)
When you take the strip off the wall and run it through a projector. Then it is converted to a digital file in Youtube and relayed to Tumblr for an indefinate period of time to be played back at ones convenience. This is a very different experience than to see it in a theatre.
Background to the work “Monument Film” -
In 1960 Peter Kubelka put the finishing touches to his film Arnulf Rainer, which is still today seen as a landmark in the history of cinema. In this radical work Kubelka reduced cinema to its simplest form of expression: light and darkness, silence and…
Peter Kubelka: Monument Film. (by Bozar Brussels)
don’t know how sympathetic I am to that formalism games/zines piece
think I’m personally on board with a much more rigorously mechanistic kind of formalism, more formalist than the formalists if you will, i.e. you have ‘video/computer games’ as simply all interactive electronic media (though this…
Systematic structures seem more important than forms to me. Forms are masks or virtual states. How they are actualized within a network seems more significant. It’s like when Deleuze suggests that a brick can be used to break a window or construct a wall of reason. In many cases an intense study of how a “form” is used within a system is the first step in figuring out how to hack that system.
Next on my reading list
The Key Concepts: New Media (Nicholas Gaine and David Beer)
They divide their book into six sections :
Network
Information
Interface
Archive
Interactivity
Simulation
Will also be re-reading
Form+ Code (Casey Reas, Chandler McWilliams, LUST)
They use the following sections after the opening sections:
Repeat
Transform
Parameterize
Visualize
Simulate.
Interesting to attempt cross referencing between these books.
The ‘skills gap’ is mostly a corporate fiction, based in part on self-interest and a misreading of government data http://t.co/8EqHg05M0k
— Stowe Boyd (@stoweboyd)
The NY Times Editorial Board
This is a recap of Peter Capelli’s research debunking the skills gap, where companies plead ‘skills gap’ but in fact are unwilling to raise pay high enough to fill so-called ‘unfilled jobs’. It’s a Potemkin village argument.
(via stoweboyd)
