Composing Anti-Art and Influences

 

Can you count how many international words are entering  our daily-life vocabulary? Is  innovation and globalisation to fast for our language to reimagine words like ‘soft-punk’ or ‘check-in’?

Words, to define music genres, food, clothing style and digital applications all refer back to english without valuable attempts from other indo-european languages to translate while maintaining the same fresh efficacy, but I wonder whether the origins of  words’ remixing as a practice for liberating creativity and generate something unique,  could make light on  why english words are occupying an privileged space in the basin of other idioms.

For analysing this phenomena I have to draw back from the Europen deconstructionist art movement  of Dada. In the DADA CLUB manifesto, the advent of a new anti-art is advocated as a way of communicating to the audience the infinite and the simultaneity of  modern existence (Richter et al., n.d.). The anti-art separates itself from aesthetics and becomes pure expressionism.  One technique which must are familiar with is the collage, it was introduced by the dadaist movement and have been applied to every form of their artistic production.

e30e69de8c61defc74b23cb9619b617d
Anna Hoch-Collage

 

Jean_Arp,_391,_No._8,_Zurich,_February_1919
Hans Arp-Sculpture

 THE GUEST EXPULSED

 Gravestones I carry on my head.                                        From water-bearing mortal clay                                               I cast offending Adam out                                                             -To pass the time-twelve times a day.
Standing i light up to the hilt,                                                      I leap out through my mouth perforce                             And, carrying owls to Athens town,                              Harness myself before my horse.
Farewell a und-and katzen-hold.                                            In line with Times’ polarity                                                            I follow in disguise,lead-gazed,                                            The Spirit of hilarity.                                                  
I mingle camphor of my own                                                      In with the elder-pith  of Time,                                             And into all eternity                                                             Innards and upwards sitll I climb
(Hans Arp)

If art had to express reality to a fragmented audience then beauty and all the aspects of   stereotypical environments should have been disrupted and inhabited by hybrid figures, composed by images and concrete sounds. From the DADA CLUB two styles of poetry emerged, one’s BRUTIST and the other  SIMULTANEIST. Dadaists preferred the  letter rather than the word as a mean to evoke feelings, therefore their poetry is rich both in speech figures and in sound figures, with a combination of distant images and contrasting environment that create a pluribus context.

Dadaist associatiated concepts one against the other,  in order to enable the discourse to generate multiple interpretation of the artwork. This concept is reproduced in the literary style of William Burroghs. In the composed novel ‘The Soft Machine’, Burroghs enjoys himself dissectioning his own texts for mixing them with other texts belonging to popular culture’s TV,comics and science fiction, to represent the contradiction of his characters, often drug addicted or sucides, within the imaginary of the society of spectacle. With this cut-ups he created many association of concepts like ‘erogenous holes’ or ‘June subways’ and mixed the narrative with the things the characters see on the streets, like advertisement slogans and street names.

Now consider,  words like ‘Heavy-Metal’, Fusion Cusine, Rock-Chic, Facebook; aren’t these english words drawing from this tradition and imposing themselves on European system of language?

References

Richter, H., Britt, D., Haftmann, W. and White, M. (n.d.). Dada. 1st ed.

 Burroughs, W. and Harris, O. (n.d.). The soft machine. 1st ed.SongMeanings. (2017). 

David Bowie – Candidate (Demo) Lyrics | SongMeanings. [online] Available at: http://songmeanings.com/songs/view/3530822107858693591/ [Accessed 9 Mar. 2017].

Travelogue- Brabican Center

DCIM108GOPRODCIM108GOPRODCIM108GOPRODCIM108GOPRODCIM108GOPRODCIM108GOPRODCIM108GOPRO

DCIM108GOPRO

The psychogeographic theory, developed by Guy Debord in the late 50′ teach us that spaces provke thoughts and that thoughts create new spaces. the georgaphy of our life, is not objective, and can be explored sujectively. Debord proposes to detour our path out of the urbanistic constrictions and explore the city in an alternative way. The doutrnment is a techinique that want to explore the reflexivity of a subject following routes already designe by somebody else; it rebels to a static and objective reality while embracing the interior movement of the counciousness through space, boundless, floating, ‘deriving’.

In my travelogue, I present a series of photograph in an exagerated wide angle that aims at portaing the circular prospective of space that the human’s eyes perceive when looking around. In the Barbican center, I perceived how the past idea of industrial conformity within the community, is hiding itself from the present reality of the technocratic city life. By this binary I constructed a travelogue that aims at exploring the way a space is expereinced in groups, a tought that within the burtalist architecture of the Barbican center has also an historical link i.e. how politics where experienced and the functionality of the central square an of open spaces; on the other side I had no difficulty in finding solitary individuals, who enter this architechtonic example of mass culture, bringing with them their individualistic attitude which is influenced by the financial district outside.

 

 

Documentary Techniques

Documentary Techniques

 

When representing culture, moving images have to deal with a forced selection. The elements that get through the lens of a camera, are thought t be significant both to create consistency of the film or to uncover a novelty hidden in foreignness. In representing culture details become essential, hence the attachments of people and objects are contextualised as means and ends of the culture itself but also re-contextualised in the screen.

Encapsulating an item into a frame making of it a representation, which, to quote Baudrillard, deprives the image of any original reference to the real, linking it to an hyperreal that is the system of reference created by the man with a camera. M Michalski and J. Gow, distinguished the techniques of current affairs films, which are short in format and episodic, and long-format documentaries, to describe how the medium alters the relation image-understanding-interpretation.

Among the long format documentaries, they identify the category of ‘drama documentary’ especially because this format permits the complication of issues with fast-cutting, jump editing, opinions and sound that emphasise mood and eventually re-create reality.  Louis Theroux, for example in ‘ My Scientology’ attempted at re-creating, with proper with Actors on settings the characters and the processes of the Scientology Church. Juxtaposing elements of fiction and reality, he under covered some of the most secret methods of the religious corporation; in faithful objectivity, such details that would have otherwise remained hidden.  Moreover, in this visual essay, Theroux was recorded by members of Scientology, a glitch that allowed him to build on the awkwardness conveyed by the slightly distorted interviewees with problematic ex-members while intervowing the story into an authoritative Whole. Such technique goes under the name of the Lapping technique which costructs the story through the mouths of the protagonists,thus  tech builing  on the credibility of the parts to create a detailed and fragmented narrative.

On the feeling of awkwardness, dominating the critique of documentaries upon the depiction of the ‘Other’, has speculated the architect Rem Koolhaas. In Lagos, he produced an ‘interactive’ documentary where aerial shoots are juxtaposed with scenes from the streets and authentic views into the public buildings and private houses at street level. Without a storyteller, Koolhass leaves the image speak for itself and with long immobile shots it reveals all the ambiguities hidden in details of a society and the relation between people and space. Besides aiming at bringing the subjects and the audience’s experience together, the reality of a foreign city represents itself according to that is made up of people and spaces, truly understandable only with the direct experience of it.

References

Baudrillard, J. (1983). Simulations. 1st ed. New York City, N.Y., U.S.A.: Semiotext(e), Inc.

YouTube. (2017). My Scientology Movie. [online] Available at: https://www.youtube.com/watch?v=eoZ9OkcOS4E [Accessed 4 Feb. 2017].

Michalski, M. and Gow, J. (2007). War, image and legitimacy. 1st ed. London: Routledge.

YouTube. (2017). Lagos Wide and Close Online 1. [online] Available at: https://www.youtube.com/watch?v=yD8euzWnY8k [Accessed 4 Feb. 2017].

Anon, (2017). [online] Available at: https://vimeo.com › Submarine Channel › Videos [Accessed 4 Feb. 2017].

Mise and Abyme

Mise and Abyme

 

The couple left the gallery at 7 pm and walked arm in arm with each other to the opaque bar at the corner. It was a winter evening, when the streets were empty but the rumour of the city remained in the echo. The couple sat at counter and adjusted their legs; he lighted up a cigarette and then ordered a coffee.

-Thanks, Erwin

– Did you like the exhibition, Poppy?

– Oh, yes of course, I used to see this Hopper’s painting in my art class, and staring at it I believed I could have done it, so easily, but today I realized I couldn’t have: he is a genius, so precise and so sensitive to light…pfff, I don’t know how to say it, really, I would like to sound as an art critic, but I can’t!

-Well, what did you like the most?

– Oh, I couldn’t find a favourite one, but I like the fact that they are so silent. Do you like this one of mine?

-I wouldn’t sa…

– Maybe I am confusing you again, I didn’t mean to sound pretentious, like that small high school girl.

-I meant, I wouldn’t say so. Hopper’s paintings speak a lot to me, I can begin a proper dialogue with them… maybe you look to much, suspicious monkey; Instead, you should approach his paintings with your soul.

-How can you have a conversation in those static and surreal landscapes? They make me feel excluded. Moreover, Erwin, you communicate only when you need to, otherwise you keep quiet.

She glances the barman; he is bewildered. She lowers her eyes towards the lighter in her hands.

-You know, I believe that everything we see is a prediction

-ah, like me! Am I so predictive?

-Well your harassment is, eheh.

-Would you like me to leave you alone in this solitary place now?

-No, please, Poppy come on, stay.

-Okay I won’t leave, but you are wrong because you could not predict whether I’d stay or not

-What do you think, I know you have finished your cigarettes and that you love smoking at night, in bars…

Ding Cling

A man enters, shadows are behind him and the fresh air finds its way through the door, the lights tremble softly, Poppy clings her head, the man goes strictly to the stool. He too, lights up a cigarette and then orders a coffee rising his finger above his head.

-She catches a glimpse of the smoking lips at her side and then goes back to the lighter, lights it up and looks in front of her.

References

Dällenbach, L. (1989). The mirror in the text. 1st ed. Chicago: University of Chicago Press.

Blnchot M. (1993).The infinite conversation. 4th ed. Minneapolis and London: University of Minnesota Press.

 

Maps and the 20th Century Drawing the Line – Review

Maps and the 20th Century Drawing the Line – Review

In the 20th century politician  renewed the use of maps in order to understand and manage more broadly many aspets of society.

The Exhibition Maps open until the 1s of March at the British Library displays the history of maps within the past century by a subdivision into maps of war, peace, market and movement, therefore also drawing the history of the 20th century.

In each sections the art of carthography explored through technical perspectives, design, representation and innovation. The visitor dwells in a  space of constructions that deconstruct movement paths and references alternative juxtapositions of elements.

Cartography making has deeply changed from the advent in the early 90′ of Gps, thta has not only paved the way to a new extened employ of geography, but has also revealed how inaccurate territorial maps were when used to trace the signs of humanity on earth.

During wartime, there was an increased interest in maps as infographic tools, strategic devices as well as images of contemplation for the nation with colonial expanision and military occupation aims. Map for war, are rich of symbolism and allegories that depict the stereotypes which supported the renewed wave of nationalism.

The section on peace, collects maps of the post-war period, which deal mostly with hope for the future, utopia of reconstruction and tourism. The maps show greater sophistication in data representation but also an increased fashion for representing ”atlas’ of culture.

As the world got reconstructed and converted to the goods economy, maps began to be employed to syntetize socio-economic data from census and income as well as showing the complication of city centers with he development of shopping areas and international interests.

The final sections shows how the world is marked by human movent. In this final room elements of early carthography are combined with the latest technologies which are able to record the tranfer of other species than the human one, but also a final social reaction to the confinement of constructed path in the name of rediscovery of unconstrained journey.

References

Jasondavies.com. (2017). Map Projection Transitions. [online] Available at: https://www.jasondavies.com/maps/transition/ [Accessed 9 Feb. 2017].

Short story of a failed soldier ep 4

 

“How, do you dear!” I shouted angrily.

Bartolomjei was one of my dearest companions, we used to call each other ‘Sharks’ because we were blind like predators. With him, I felt like I was  growing under a light which his courage emanated, that’s why I could respect even  the most dreadful of his tastes. He used to share with me the pleasure he gained from shooting people and we laughed about how clever we were becoming in the sight and in the sprint.They where intense days, and he was the only one who could always lift me up, a tough joker, with hard balls, he could have been a general, for sure. I reinstated:  ‘You definitely know nothing about him he was…’

“Honestly- the vicious interrupted – nobody cares, he lays in the field of white flowers like everybody else, he did not win a war and never will he be celebrated, but a stone will crush his body. His death is the important thing! For you, only, he became a martyr, because you see the soil of this land drenched with nationalist water.  When you will pass away, who is going to be there to recall his value?  Instead, if you help me publish my words, he will be forever remembered as the purest spirit fighting for the honor of Poland”.

…“the purest spirit fighting for the honor of Poland? No no no! I knew that guy, he was a perverse killer, and you knew we all were, otherwise you wouldn’t have stayed in the back and snuggle up. I find no history in this poems, but only a medieval fantasy and surely not my friend, now, I am tired of you, get out”!

“ I deeply resented that particular soldier” the poet still had the guts to speak “but I now I respect because he  achieved his full duty, to die; to die and to put an end to the war, because when to many dead will occur then we will see the end to this mess”. And left.

Short story of a failed soldier Ep 3

One day I received a visit from Dunajski, he made it too, but I was not very glad he came around. Intoxicated with my new reputation I did not want to be seen with the least honourable of the soldiers, the one who decided not to fight, who stayed in the back lines, recording miserably the orders of the sergeants and the names of the deads. The memory of  him sneaking out and approaching the fallen men, sitting next to them for hours disgusted me.

We had a glass of milk at the kitchen table, but he did not take off his coat, he came there with a purpose. At one point he said: ” ehi, remember that little obsession I had?”, “yeah, the name records” I said lowering my sight,” Exactly! I am so glad you remember- and smiled lovely- Look I know you are now very busy with all your meetings and conspirators planning, but I would like you to have a look at what I’ve wrote while we were at the front one year ago”. He handed my some papers, smooth as they were first taken out from a printing press, ” what is this Alexandre”?

He suddenly stared at me leaning his bold head towards me and he gave me a pitiful look, ” what a problematic person” I thought, “read them please, you are the only one I know who can make value out of this words”.

I panted, but his sorrowful eyes were still on me, so I had to start reading:

….of Bartolomjei whose pain is silent, but echoes trough the mountains,

you died screaming for their sake,

you beloved peaks, where you have never been

and never you will go.

Every step you followed, heavily breathing for the cold,

they brought you to this,

a glorious fate!

In me you met your creator, and from the soil you are now rebirth,

I will sing you your song

and the mountains will finally hear you name.