Peter Kubelka

Pause(part1)

Pause(part2)


from youtube



I would like to see this without the plates in shot. cropped just above the forehead.


strangely sexualised at times.







Vito Acconci




Bruce Nauman

brief notes from critique:

people connected the photocopies and the shreds of notepaper to the videos but the clock and the paper frame were too far out. other than a few initial comments there was little discussion about the various objects other than to say that they were unnecessary.
statements about the combination of humor and anxiety, and a nervous energy running through the videos.
portrait of a psychologically disturbed individual.
people noticed that I looked exhausted and after I explained the process said about how people slap themselves to wake up, but it seems to have the opposite effect on me.
it seemed like people were gaining a sense of unease from the videos but they weren't getting close to realising what was going on/means of production.
awareness of the process builds interest(but how to get that awareness in there without just doing some cop-out piece of wall text?)
Richard liked comparing his reaction to the work before and after gaining knowledge of the process.
there was mention of physiognomy
defined by wiki as:

Physiognomy (Gk. physis, nature and gnomon, judge, interpreter) is the assessment of a person's character or personality from their outer appearance, especially the face. The term physiognomy can also refer to the general appearance of a person, object or terrain, without reference to its implied characteristics.

The credence of such study has varied from time to time. The practice was well-accepted by the ancient Greek philosophers but fell into disrepute in the Middle Ages when practiced by vagabonds and mountebanks. It was then revived and popularised by Johann Kaspar Lavater before falling from favour again in the 20th century.

It is now being revived again as some new research indicates that people's faces can indicate such traits as trustworthiness, social dominance and aggression. The latter trait seems to be determined by the level of the hormone testosterone during puberty which affects the ratio between the height and width of the face - aggressive individuals are found to have wider faces

from: http://en.wikipedia.org/wiki/Physiognomy

it sounded like everyone agreed that I need to gain empathy from the audience rather than make myself look a little strange.

Tim suggested looking at Face-art, Peter Kubelka and Gary Hills 'Kiss'

play the two above simultaneously.

Diego Stocco - Music From A Tree from Diego Stocco on Vimeo.

555 KUBIK | facade projection | from urbanscreen on Vimeo.

maybe more relevant than I previously thought.

Synesthesia

"At its core, Ponyo is an sweet, old fashioned fairy tale - albeit one about inter-species love between two five-year-olds (one a former goldfish-with-a-human-head who runs away from home), laced with pro-environmental messages."

From here

APPARATI EFFIMERI Tetragram for Enlargment from Apparati Effimeri on Vimeo.

By Apparati Effimeri
more because it's amazing than because it's helpful...

Quotes from Watt, by Samuel Beckett

Watt's way of advancing due east, for example, was to turn his bust as far as possible towards the north and at the same time to fling out his right leg as far as possible towards the south, and then to turn his bust as far as possible towards the south, and at the same time to fling out his left leg as far as possible towards the north, and then again to turn his bust as far as possible towards the north and to fling out his right leg as far as possible towards the south, and then again to turn his bust as far as possible towards the south and to fling out his left leg as far as possible towards the north, and so on, over and over again, many many times, until he reached his destination, and could sit down. So, standing first on one leg, and then on the other, he moved forward, a headlong tardigrade, in a straight line. The knees, on these occasions, did not bend. They could have, but they did not. No knees could better bend than Watt's, when they chose, there was nothing the matter with Watt's knees, as may appear. But when out walking they did not bend, for some obscure reason. Notwithstanding this, the feet fell, heel and sole together, flat upon the ground, and left it, for the air's uncharted ways, with manifest repugnancy. The arms were content to dangle, in perfect equidependency.
p.28-29


The house was in darkness.
Finding the front door locked, Watt went to the back door. He could not very well ring, or knock, for the house was in darkness.
Finding the back door locked also, Watt returned to the front door.
Finding the front door locked still, Watt returned to the back door.
Finding the back door now open, oh not open wide, but on the latch, as the saying is, Watt was able to enter the house.
Watt was surprised to find the back door, so lately locked, now open. Two explanations of this occurred to him. The first was this, that his science of the locked door, so seldom at fault, had been so on this occasion, and that the back door, when he had found it locked, had not been locked, but open. And the second was this, that the back door, when he had found it locked, had in effect been locked, but had subsequently been opened, from within, or without, by some person, while he Watt had been employed in going, to and fro, from the back door to the front door and from the front door to the back door...
...The result of this was that Watt never knew how he got into Mr. Knott's house. He knew that he got in by the back door, but he was never to know, never, never to know, how the back door came to be opened. And if the back door had never opened, but remained shut, then who knows Watt had never got into Mr. Knott's house at all, but turned away, and returned to the station, and caught the first train back to town. Unless he had got in through a window.
p.34-35


The name of this fortunate family was Lynch and at the moment of Watt's entering Mr. Knott's service this family of Lynch was made up as follows.
There was Tom Lynch, widower, aged eighty-five years, confined to his bed with constant undiagnosed pains in the caecum, and his three surviving boys Joe, aged sixty-five years, a rheumatic cripple, and Jim, aged sixty-four years, a hunchbacked inebriate, and Bill, widower, aged sixty-three years, greatly hampered in his movements by the loss of both legs as the result of a slip, followed by a fall, and his only surviving daughter May Sharpe, widow, aged sixty-two years, in full possession of all her faculties with the exception of that of vision. Then there was Joe's wife née Doyly-Byrne, aged sixty-five years, a sufferer from parkinson's palsy but otherwise very fit and well, and Jim's wife Kate née Sharpe aged sixty-four years, covered all over with running sores of an unidentified nature but otherwise fit and well. Then there was Joe's boy Tom aged forty-one years, unfortunately subject alternately to fits of exaltation, which rendered him incapable of the least exertion, and of depression, during which he could stir neither hand nor foot, and Bill's boy Sam, aged forty years, paralysed by a merciful providence from no higher than the knees down and from no lower than the waist up, and May's spinster daughter Ann, aged thirty-nine years, greatly reduced in health and spirits by a painful congenital disorder of an unmentionable kind, and Jim's lad Jack aged thirty-eight years, who was weak in the head, and the boon twins Art and Con aged thirty-seven years, who measured in height when in their stockinged feet three feet and four inches and who weighed in weight when stripped to the buff seventy-one pounds all bone and sinew and between whom the resemblance was so marked in every way that even those (and they were so many) who knew and loved them most would call Art Con when they meant Art, and Con Art when they meant Con, at least as often as, if not more often than, they called Art Art when they meant Art, and Con Con when they meant Con. And then there was young Tom's wife Mag née Sharpe aged fourty-one years, greatly handicapped in her house and outdoor activity by sub-epileptic seizures of monthly incidence, during which she rolled foaming on the floor, or on the yard, or on the vegetable patch, or on the rivers brim, and seldom failed to damage herself in one way or another, so that she was obliged to go to bed, and remain there, every month, until she was better, and Sam's wife Liz née Sharpe aged thirty-eight years, fortunate in being more dead than alive as a result of having in the course of twenty years given Sam nineteen children, of whom four survived, and again expecting, and poor Jack who it will be remembered was weak in the head and his wife Lil née Sharpe aged thirty-eight years who was weak in the chest. And then to pass on to the next generation there was Tom's boy young Simon aged twenty, whose it is painful to relate

?

and his young cousin wife his uncle Sam's girl Ann, aged nineteen, whose it will be learnt with regret beauty and utility were greatly diminished by two withered arms and a game leg of unsuspected tubercular origin, and Sam's two surviving boys Bill and Mat aged eighteen and seventeen respectively, who having come into this world respectively blind and maim were known as Blind Bill and Maim Mat respectively, and Sam's other married daughter Kate aged twenty-one years, a fine girl but a bleeder{1. Haemophilia is, like the enlargement of the prostate, an exclusively male disorder. But not in this work.}, and her young cousin husband her uncle Jack's son Sean aged twenty-one years, a sterling fellow but a bleeder too, and Franks daughter Bridie aged fifteen years, a prop and a stay to the family, sleeping as she did by day and at night receiving in the toolshed so as not to disturb the family for twopence, or threepence, or fourpence, or sometimes even fivepence at a time, that depended, or a bottle of ale, and Jack's other son Tom aged fourteen years, who some said took after his father because of the weakness of his head and others said took after his mother because of the weakness of his chest and some said took after his paternal grandfather Jim because of his taste for strong spirits and others said took after his paternal grandmother Kate because of a patch he had on the sacrum the size of a plate of weeping eczema and some said took after his paternal great-grandfather Tom because of the cramps he had in the stomach. And then finally to pass on to the rising generation there were Sean's two little girls Rose and Cerise, aged five and four respectively, and these innocent little girlies were bleeders like their papa and mama, and indeed it was very wrong of Sean, knowing what he was and knowing what Kate was, to do what he did to Kate, so that she conceived and bought forth Rose, and indeed it was very wrong of her to let him, and indeed it was very wrong of Sean again, knowing what he was and what Kate was and now what Rose was, to do again what he did again to Kate, so that Kate conceived again and bought forth Cerise, and indeed it was very wrong of her again to let him again, and then there were Simon's two little boys, Pat and Larry, aged four and three respectively, and little Pat was rickety with little arms and legs like sticks and a big head like a balloon and a big belly like another, and so was little larry, and the only difference between little Pat and little Larry was this, allowing for the slight difference in age, and name, that little Larry's legs were even more like sticks than little Pat's, whereas little Pat's arms were even more like sticks than little Larry's, and that little Larry's belly was a little less like a balloon than little Pat's, whereas little Pat's head was a little less like a balloon than little Larry's.
p.98-101


No symbols where none intended
p.255


also need to find 120 days of Sodom(film, Pasolini), Marquis De Sade books, and ecstacy by Haruki Murakami(apparently).