HUNTING IN THE DARK

If we consider the layers of a compost heap as strata, then the foremost layers can be seen to be the beginning of a process. This commencement however, is a significant distance from its purpose. To return again from the height to the collective earth, binding with loam to create stronger roots and utilising the inevitability of decomposition. The point in time becomes displaced, the interoceptive becomes the exteroceptive as the compost creates a horizon that has no discernible boundary. The growth stems from indeterminacy. It is an ‘open’ situation, in movement. A work in progress.

via compost and height.

The basic idea behind Displaced Sounds is to focus on the hidden influences, implications and possibilities of sound. We feel these elements are under-documented in our visual culture however it’s clear that we live in a world inhabited and surrounded, some say polluted, by sound. We are losing and neglecting our ability to hear and listen because we’re so busy with tuning things out instead of tuning in.

via Displaced Sounds » About.

The first photograph was taken in 1814 by Nicéphore Niépce using a sliding wooden box camera made by Charles and Vincent Chevalier in Paris; the photograph though was not permanent and it faded. Niépce built on a discovery by Johann Heinrich Schultz 1724: a silver and chalk mixture darkens under exposure to light. While this was the introduction of photography, the history of the camera can be traced back much further. Photographic cameras were a development of the camera obscura, a device dating back to the Book of Optics 1021 of the Iraqi Arab scientist Ibn al-Haytham Alhacen,[1] which uses a pinhole or lens to project an image of the scene outside upside-down onto a viewing surface.

via History of the camera – Wikipedia, the free encyclopedia.

London When I was young I made myself aprisoner of my room. It became part of me, an extension of my being. I thought of the walls as my shell. The room as a container had some relationship to the imaginary space inside a monitor . . .—Peter Campus, conversationwith Barbara Nierhoff, 2003 1

Warren S. McCulloch, a scientist, physician, philosopher and poet, was one of the 20th century’s greatest and most versatile minds. In 1952, after 12 years of research in psychiatry and neurology, McCulloch turned his formidable skills to problems of neurophysiology, mathematics, cybernetics and the mechanics of logic, joining the Research Laboratory of Electronics at M.I.T. He became a key person in the new field of cybernetics—the study of complex systems, especially communication systems, in living organisms and technology. At M.I.T., along with his team of J. Letvin, W. Pitts and H. Maturana, he studied the visual system of the frog and discovered that the eye has an active role in organizing and interpreting visual information before it is sent to the brain: in short, that knowledge is a part of perception. Their groundbreaking paper was titled “What the Frog’s Eye Tells the Frog’s Brain,” and it was published in 1959.

via Peter Campus Image and Self – Features – Art in America.

[youtube=http://www.youtube.com/watch?v=PwkJfkl-clw&hl=nl_NL&fs=1&]

A détournement is a variation on a previous media work, in which the newly created one has a meaning that is antagonist to the original. The original media work that is détourned must be somewhat familiar to the target audience, so that it can appreciate the opposition of the new message. The artist or commentator making the variation can reuse only some of the characteristic elements of the originating work. The term “détournement”, borrowed from the French, originated with the Situationist International 1957-1972;[1][2] a similar term more familiar to English speakers would be “turnabout” or “derailment”.

via Détournement – Wikipedia, the free encyclopedia.

Some years ago I began propounding the theory that all humor is conservative. This thesis was prompted not just by the obvious humorlessness of the Politically Correct Left, but by a series of essays by liberal pundits asking why the Right was having all the fun and by the observation that all of the best comic novels and movies tended to serve conservative ends. It wasn’t though until I started reading some of the philosophical writings on the topic of humor — of which there are surprisingly few — that I really started to take the idea seriously. What stands out in those writings , and seems to explain why there aren’t more, is just how uncomfortable the authors are with where their investigations lead them. Simon Critchley’s On Humour is a perfect example of how a rational consideration of humor tends to bring what are generally secular and Leftist thinkers into conflict with their own philosophies.

via Review of Simon Critchley’s On Humour (Thinking in Action) – BrothersJudd.com.

a list of different venues

Continue Reading “Venues” →

TIM VAN LAERE GALLERY.