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So Catriona Gallagher and myself wrapped up our time here on the SNEHTA residency with a small exhibition titled Unsettled Certainties.  Over the two days we had some interesting conversations with people we had met and others we had not from our time here in Athens.  It was a great way to finish our two months and hopefully will see either of us or both returning sooner rather than later.  I will post some images over the coming week.  For now here is a little GIF teaser from a sign piece I made which is the start of a new series of work titled “Concept Of Since”.

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“Unsettled Certainties”

Catriona Gallagher and Dickie Webb

Opening, Friday 29th November 6:30-9pm
(Open Saturday 30th November 3-8pm. Open Sunday 1st December by appointment.)

Gallagher and Webb have both been occupied with the notion of place, comprehending what it is to be settled or grounded and equally seeking intermediate sites to challenge their knowledge. Through certain and uncertain exploration they have found different places to work within the Athenian landscape.

Gallagher has been making interventions that highlight absurdities in the preservation of heritage and trying to understand the notion of shelter when that becomes necessary.

Webb has concerned himself with liminal spaces, sites that were but are not now, since certain events occurred. He has created reflective intermedia works that question what now, post since.

“Unsettled Certainties” is a synopsis of their research and time at Snehta and points towards possible resolutions in the future.

 

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“Ακαθόριστες Βεβαιότητες”, Catriona Gallagher και Dickie Webb

Εγκαίνια Έκθεσης την Παρασκευή 29 Νοεμβρίου 3-8 μ.μ
Ανοιχτά Κυριακή 1 Δεκέμβριος, κατόπιν επικοινωνίας

Βασικό θέμα έρευνας των εικαστικών Ghallager και Webb είναι η έννοια του τόπου, ο τρόπος με τον οποιό αντιλαμβάνεται ο καθένας τις ρίζες του, και τη βάση της ζωής του, που συναρτάται με κάποιο χώρο. Η τυχαία και πολλές φορές συμπτωματική διαδικασία που οδήγησε τους καλλιτέχνες στην ανακάλυψη τέτοιων σημείων-τόπων, τους ώθησε να επικεντρωθούν καλλιτεχνικά σε διαφορετικά σημεία της Αθήνας.

Πιο συγκεκριμένα, οι παρεμβάσεις της C.Galagher, τονίζουν τους παραλογισμούς στην συντήρηση της Ελληνικής κληρονομίας και φανερώνουν την προσπάθεια της εικαστικού να κατανοήσει την έννοια του καταφύγιου όταν αυτό είναι παρόν, ή όταν αυτό μοιάζει απαραίτητο.

Ο D.Webb ερευνά χώρους περιθωρίου-ενδιάμεσους χώρους και μή τόπους. Μέρη που κάποτε κυριαρχούσε η ζωή αλλά τώρα μένουν κενά ανθρώπινης χρήσης και παρουσίας. Βρίσκει τρόπους να φέρει στην επιφάνεια το χρόνο που μεσολάβησε ανάμεσα στις δυο διαφορετικές καταστάσεις και βάσει αυτού δημιουργεί έργα που έχουν ως βασικούς άξονες δύο καίρια για τον ίδιο ερωτήματα: «Τώρα τι? Από τότε τι?»

Η επιβεβαίωση του άστατου και συμπτωματικού χαρακτήρα που διακρίνει τον τόπο και το καταφύγιο συνοψίζουν την έρευνα που έγινε μεταξύ των δύο μηνών που οι καλλιτέχνες αφιέρωσαν στη Snehta. Μέσω της ερευνητικής αυτής διαδικασίας, δίνεται η δυνατότητα σε καθένα από τους δυο καλλιτέχνες να προχωρήσει και άλλο την εργασία του στο μέλλον προς την κατεύθυνση αυτή.

So this week spent on Sound Tectonics is coming to an end. A week I will not forget, spent with one great team of artists, architects, sound artists, composers, theorists and just generally inspiring people. The week has been focused on discussing the relationship with sound as a material and its relationship and use within the architecture of Athens and beyond.

So today, Sunday 24th November, will see the unveiling of a prototype which encompasses some of the thoughts, skills and discoveries made these past 8 days. If you would like to come and see and meet some of those involved we will be having an opening at 6pm at the British Hellenic College here in Athens.

Please see the photo for more details of the location.

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Earlier I posted a first draft/edit of a sound piece that I have been working on whilst here in Athens.  Here is the edit with more work done to it and at the moment I am moving onto new tracks.  I may return to this but at present this is now finished.  I am now looking at ways to combine the audio samples used within Athens Arrival with the visual sample that this glitch sounds were created from.  I hope to have a few new workings of this come next week.

Here are the visual samples:

visual samples used in arrangement no edit

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I am well over half way through my residency here in Athens.  The experience has given me time to reflect and focus not just on the proposed new works I hope to start working on but give me new perspectives on continuing themes within my practice.  The city has given me plenty more new ideas for future works and added to existing ideas, bolstering concerns ongoing.

As I posted recently I attended Urban Lightscapes Symposium which definitely gave me a wake up on certain areas of my practice and again reminded me to consider a wider practice.  This past weekend I started some workshops for the upcoming Sound Tectonics that is happening this coming week.  These workshops introduced both Processing and Arduino which I have used before but allowed me to understand further the benefits of such tools.  The workshops were long but really good and I feel a little more capable with these tools now, even considering future projects using Processing that prior to these I would of tried other methods first.  So I am getting excited for the whole week coming up which should give me new thoughts and ideas as to where I am going with sound within my practice.

The Glitch works I have been working on have started to come together.  I have had to really think before starting these new works of how to order my process.  Considering a language that will allow me to find each sample and know where I found it and where I could use it.  This has meant I have had to label each sample either using a systematic approach of 1-28/A-S or more descriptive BW Slow Fade Whisper Crackles, Silent Double Beeps.  I have attached a test run of a track that I am in the process of putting together based of the image above.  The abandoned airport here in Athens, Ellinikon.  The track uses 12 samples currently of this image mainly Black and White though some colour samples as well.  I have not yet used any effects on these samples so the track is pure Glitch image with only the volume adjusted.  Have a listen and let me know what you think, I will post the track in its next form once I use a bit of artistic license and use effects to manipulate the sounds a little and add some midi samples.

imagesWOAH today sees the launch of The Wrong – New Digital Art Biennale, the concept and outcome is pretty incredible with such diverse works being shown and with such a broad spectrum of artists.

The Wrong – New Digital Art Biennale

WELCOME
The Wrong – New Digital Art Biennale opens its “online” doors, here at http://thewrong.org/ , and in a more relaxed pace, its “AFK” doors in more than ten different cities around the world.

What is The Wrong’s mission? To create, promote and push positive forward-thinking contemporary digital art to a wider audience worldwide through a biennial event that gathers the best selected by the best, while embraces the young talents of today’s digital art scene.

A team of 30 top curators/artists have been working for more than 6 months to feature what they like best in the new digital art world. The biennial is divided into pavilions; virtual spaces in which selected works are exhibited. In total, there are 30 online pavilions, including an “unlimited” pavilion open to public participation and a “meta” pavilion exclusively featuring exclusively the artwork of the curators. More than 300 artists have been invited officially, and have their work featured in the pavilions, and several hundreds are still applying to until the end of the event to participate of the “unlimited” open pavilion. The Wrong is the only free biennial that is fully accessible both to participate and to attend, and everything just one click away.

The Wrong has no theme. Each of the official pavilions has a curator responsible to select its artists. The curators leading pavilions are Jodi, Yoshi Sodeoka, Anthony Antonellis, Rollin Leonard, Lorna Mills, Curt Cloninger, Emilio Gomariz, Eric Mast, Chiara Passa, Max Hattler, A.Bill Miller, Helena Acosta, Peter Rahul, Miyö Van Stenis, Andrew Benson, Emilie Gervais, Rick Silva, Michaël Borras, Sara Ludy, Ellectra Radikal, Giselle Zatonyl, Protey Temen, Johann Velit, Michael Staniak, Gerhardt Rubio Swaneck, Rosa Menkman, Joseph Yølk Chiocchi, Cristina Ghetti, Julia Borges Araña, Guilherme Brandão e David Quiles Guilló.

The open public unlimited pavilion (aka Homeostasis Lab) displays a selection of artwork submissions that artists and general public interested in participating in the event, but who were not invited by any curator, can submit to the two curators assigned specifically to this space . An open call was released early April 2013, and will run until the last day of the event, allowing everyone interested to have a chance to submit their work also during the event. The content of this pavilion will be curated by Julia Borges Araña + Guilherme Brandão and renewed everyday until last day of the biennial.

The curators pavilion (aka META) will open its doors later this month, and displays exclusively artworks generated by the curators. The curators’s pavilion curator, David Quiles Guilló, is also the creative director of the The Wrong, and found guilty of selecting the 30 curators of the biennial. He is the founder and creative director of ROJO®, the art joint responsible for putting this biennale together, from initial ideas to getting everyone on board, to design, production and full media communication of the event, until its last consequences.

In addition, and for everyone who really needs to share a drink AFK (away from keyboard) with their friends, The Wrong curators have selected several art spaces in cities around the world to host The Wrong Embassies, temporary AFK projects, where the physical experience of the digital biennale will take place, featuring live performances, workshops and exhibitions.

At the very end of the biennial, The Wrong Book will be launched, compiling a selection of the best digital artwork submitted by all participants to specifically appear printed in this book. Due to the very nature of the event, we had to think of something amazing, so The Wrong Book’s binding will be done in “random mode”, meaning that each and every copy will be unique. It will be available for orders online on January 2014. More news on this very soon.

The Wrong is, as David Quiles Guilló puts it; “A large gathering of creative individuals, inside a virtual enviroment, speaking the highest form of human communication; ART”.

Please join us like if it was your very first time at;

The Wrong
New digital Art Biennale.

November 1st to December 31st, 2013
http://thewrong.org/