Digital: Alter Mann

Alter Mann 01

Alter Mann
This is another 3D sculpture of an elderly, bearded man. Perhaps the digital sculpture appeals as a superior way of preserving the living, to embody them in a electronic form with greater depth than photographs, moulded from memory, rather than just the binary nodes of a light sensor in a digital camera. In the death of my grandfather I see death as a more familiar companion, even more so than with the passing of other relatives, now that I wear his coats, walk in his shoes, furrow the same brow, strain my eyes behind similar spectacles, and ache with the joints of a form more elderly than years should indicate.
By giving the dead a form the mind can make them inhabit, they are giving an appearance of life, an illusion of necromancy born into the beginning of the post-human epoch.

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Digital: Turn

Turn

Turn

Scanning my face whilst turning my head slowly, to reveal the twist of the motion, as if turning away from the viewer, if read from top to bottom; as in Roman text, or in video rendering, imitating a form of roller shutter effect, utilised by in Rollin Leonard’s 360/18 Lidia. This could also be seen to reflect a neo-Futurist aesthetic, but rather than illustrating the power and speed of the machine and the motorcar, “extension of man that turns the rider into a superman” [McLuhan, 1964: 221] towards the contemporary era, in which the computer has “moved from being a culturally invisible technology to being the new engine of culture” [Manovich, 2013: 21] with the space of only a few short years (compared to rate at which most technologies work their way into mainstream everyday use).

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Degree Show titles and statement

1: Your name

Benjamin S. Beauchamp

2: Title(s) of work

Twenty Four Hour Delirium Rhythm
Hi-Vis Green-Screen

3: Medium(s)

Digital Video, Voile Fabric, Fishing Line
Digital Video, Monitor

4: Statement

Individuals living within a mass mediated society, “an ‘allnights newsery’ reel that substitutes a ‘reel’ world for reality,” may aspire to machine transcendence, to become unfeeling, unresting, unresisting, to move with a twenty-four hour delirium rhythm. Never missing a beat, stomping in time over the bodies of the weak, weary and unprivileged in a technological apartheid.
The psychopath paves the way to a hollow immortality, where man never dies because it does not live, its simply exists as one endless renewing body of genetic material, a hereditary möbius.
The kinaesthetic wheels of Revolution turn in illusionary movement, denying the possibility of change whilst insisting on an aesthetic of constant progress, without reflection or potential substantial shift.
A riot may be the language of the unheard, but its voices clamouring together in one indecipherable, chaotic cacophony may mark that only the surface of meaning is disturbed, its ripples a highly visible, banal spectacle.

Thoughts On: HELP ME

HA HA HA HETERNORMATIVE MARRIAGE CULTURE IS SO FUNNY!!!!!!!!!!!!!!! ALL THESE MEN ARE BEING FORCED INTO MARRIAGE!!!!!!!! ITS HILARIOUS BC THEY DON’T WANT TO BE MARRIED!!!!!!!!!!! SOME BALL AND CHAIN BITCH IS HOLDING A GUN TO HIS HEAD AND FORCING H!!!IM!!!!!!!!!!!!!!! ITS SO FUNNY FUNNY FUNNY FUNNY FUNNY FUNNY !FU1!!!N1!!!!!!N!!N!N!N!N!NY!YY!Y!YY!Y!Y!Y!!!!!!!!!!!!!YYYYYYYY

HELP ME

(The Cries of the Consenting Male Husband)

The above image shows man and woman kneeling, dressed in a suit and flowing white dress, presumably they are about to be married. On the man shoes is written ‘HELP ME’.

Could this be seen to equate child rape to grown men’s systematic sexist belief that a women is a burden to the liberty of the man? Unlike the sex slaves sold around the world who are unable to escape the horror they have been thrown into, the adult Western male greatest fear is to made to feel emasculated by their possession of a wife (a wedding ring is a sign of ownership, the wife is given by the father?T he rights of the women transfer to the dominion of the man; yet it is he who feels dis-empowered, and fearful for his state of union. The Straight Man’s burden is to carry the weight of the women, and to compare this burden to the that of the trapped slave.

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Digital: Blood Will Have Blood (A Bloody Handshake)

Blood Will Have Blood

Blood Will Have Blood (A Bloody Handshake)

A photograph of Prince Charles shaking hands with Gerry Adams, accompanied by captions taken from Shakespeare’s Macbeth:

Out, damned spot!
What need we fear who knows it, when none can call our power to account?
Will all great Neptune’s ocean wash this blood clean from my hand?

 

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Growing Cities

Norwich [Vertical Gardens] - 04

I recently attended the Growing Cities: Crowds, Games and the Web lecture with NUA Senior Lecturer in Games Innovation and Research Marie-Claire Isaaman and NUA Visiting Professor of Architecture Anthony Hudson, which was stimulating, as the topics discussed covered game theory, city planning and simulations of societies, and the prospect of using interactive virtual reality programs (video games et al.) to organise urban space. This seemed intriguing, especially after looking at the topic of how homelessness in the Sims City games is discussed in forums, referring to Matteo Bittani’s (2015) How to get rid of homeless.

Following this line of thought, I proposed a question surrounding the issue of banality, and if using digital interfaces to manage plan and manage a human landscape would make it easier to dehumanise the population, and therefore make it easier to exploit them, or commit acts of horror against them; as it requires minimal mediation for atrocities to become minor phrases slipping off the tongue (as Hannah Arendt observes regarding (1963) Eichmann in Jerusalem: A Report on Banality of Evil). ‘Cleaning up the streets’ not only suggests the removal of general detritus from the urban landscape, but also can easily progress towards the notion of ‘ethnic cleansing’, turning genocide and systematic oppression and murder of undesirable people into un-emotive housekeeping.

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The Death of Innocent: The Tower of Babel is The Panopticon of the New Promised Land Peace Time

Riot - 09

The the role of cameras in the public sphere as a political subject must be considered when pictures speak louder than words. As Chomsky illustrates, “the principle of the presumption of innocence, which dates back to Magna Carta 800 years ago, has long been dismissed to oblivion,” [Chomsky, 2014] The individual is guilty until proven otherwise or until the establishment have had enough time to amass enough arbitrary evident against them, why else would CCTV be so popular? But, now the issue is not top-down state monitoring, but the citizen surveillance of social media turns the populous into one great paranoid, self-regulating, self-fearing state.

As Doctorow established, “spying is cheap, and cheaper every day. Many people have compared NSA/GCHQ mass spying to the surveillance programme of East Germany’s notorious Stasi, but the differences between the NSA and the Stasi are more interesting than the similarities” [Doctorow, 2015], but has already been stated, it is not simply Big Brother staring through unblinking eyes down on the populous, it is the people who choose to act as their own Though Police, spying on their neighbours, trapped in the “spiral of silence” [Hampton, 2013], reinforcing the norm, the establishment, for fear active individualism will cause disorder. In the distorted belief;, warped by privately owned and government biased media; that Anarchy equals chaos, rather than a necessary critique of every level of existing authority, expanding the Scientific Method of Neo-Newtonianism to the social sphere.

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