Beauchamp Art

B.S. Beauchamp's Art Blog; Reflecting on Art

Weekly Summary – 15.9.14 – 21.9.14

Curtain Obscura - 05

More of this week was spent reading Mobile Interface Theory, along with more semi-useful articles, feeding into extend discussions that go in circles, with peers and internally.  Moreover, I spent some time experimenting with making a Camera Obscura using my bedroom curtains, after noticing the effect of the light on the walls on particularly bright mornings. To get decent photos, I did require some assistance, so the images turned out quite pleasingly.

Furthermore, having thought more about display, the Gravestone GIF/Video piece in progress could work well displayed on a grave-like TV mounting, with the screen displayed upright in portrait, with a small box in front of it with a place to put flowers, in the style of an actual grave. Accompanied by a Facebook group made up of profile featuring the details from the various graves featured, called something like Tome (Gravebook, iGrieve or something equally cold).

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Photos: BA7 Misc

Synesthesia - 2

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Digital: Gravestones GIF



Gravestones GIF

A perpetually looping GIF animation featuring a rapid succession of photographs of gravestones taken in profile.

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Weekly Summary – 8.9.14 – 14.9.14


Having mostly resolved the texts I have been writing relating to war, based on recent research and news media, I am now intending on redirecting my focus back towards the topic of my dissertation, and start working on the actual text (given the winter term is so ridiculously short, it is essential to start immediately, to have draft ready for hand in. However, I may have to briefly segway into writing about games before delving into the main essay. Having access to my research and quotes via the cloud is useful, as it saves me transporting a memory stick everywhere, as the internal memory of my head is not indexed, and unsuitable for the task.
However, there has been a disconnect with my practical work recently, though I am still producing things.

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Weekly Summary – 1.9.14 – 7.9.14

Tripleplay - 01


The week primarily consisted of reading & taking quotes; writing on war, propaganda, and images of suffering, spured on by concluding Sontag’s Regarding The Pain of Others and the MA Curation exhibition at NUA. The MA Degree show overall was of a fair quality, though there was a surprisingly high predisposition of painting, given how alienating the presentation of this media in a contemporary academic context may seem (given cries of ‘painting is dead’, and calls that everything is inevitably a ‘conceptual, site-specific, interactive installation’ [words becoming as redundant as 'digital', and 'media' in the same context]).
It was useful to practice using using Logic and doing a small amount of Photo editing, though I have yet to resolve display methods (I do believe that the Unfamiliar, Instability video could work well displayed on a tablet/screen laid flat on the floor on a low plinth, to create the effect of a shimmering puddle, an insignificant electronic reflection.)

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Thought on: Consensus

If “we monitor our own, and limit ourselves in the name of consensus, and the quiet life,” then the principal of the Panopticon has been totally internalised; evidenced not only through the spiral of silence in everyday conversation but through the complicity of individuals to present themselves online through social media, as part of the “engine of consensus.” [Wilson, 2014]

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Thoughts on: Familiar; Recognisable

If every face in a crowd can be rendered recognisable, then what is the value of familiarity?

Why does knowing one person take precedence over another? Why is one person to be considered more familiar when information about everyone is immediately accessible?

How can you distinguish between a friend and someone with statistically similarly listed interests, when the deepest kinships can form through contrast and conflicts of ideas and opinion?

When the faces of the individuals themselves are all equally recognisable, what will become the face of familiarity?


Weekly Summary – 25.8.14 – 31.8.14

I have been reading through a considerable number of articles, having finished Do Androids Dream… and starting Sontag’s Regarding the Pain of Others, and have thus been considering issues I want to address in my dissertation, and have begun to understand that the inquiries I wish to make are not for a 10,000 word text, but much greater consideration. When I ask myself;

If every face in a crowd can be rendered recognisable, then what is the value of familiarity (to the users of online media)?

Then I have a single to untangle a single strand of the mesh I wish to un-weave, so this may be a good starting point.

Such a digital uncanny that I am researching has begun to manifest itself in practical works too; exploiting editing technologies’ limitations, such as in Unfamiliar, Instability in which I exploit stabilising algorithms to produce a hyper-real motion image.

I have also begun work on editing more recent photographs of the screen.

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Photos: Shortsighted

Shortsighted - 01


In this photographic quatrain, the two pairs of images show my retinal scans display on a computer screen, re-photographed through a magnifying glass, optically amplifying threefold. The image of the seeing object is broken into sub pixel fragments, subtly reflecting the mechanics of the gaze and that of the subject; the image. Viewing these images on a screen could be seen as a means of mirroring the audience’s eye, plunging them internally into an uncanny representation, the image of an image, which out of context may resemble a nebula, or something sub-cellular; both the pixel and body cell, at a loss for scale, but obviously organic. The dumbfounded vision of the short-sighted eye.

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Photos: Near-Far

Near-Far - 04


These images of spontaneously glitch explicit imagery transform intimate bodily acts into abstract constructions. The data-moshing-like effect of the momentarily corrupted image dehumanise the representations revealing their mechanical falsity. With the prominence of green suggesting a classical depiction of envy and greed; a distinctly unnatural hue that ironically echoes the shades of meadow and the circuit board simultaneously.

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