Weekly Summary: 30.3.15 – 5.4.15
by Beauchamp Art
“Television is not the truth! Television is a God-damned amusement park!” [The Network, 1976]
Most of this week revolved around editing the Twenty-Four Hour Delirium Rhythm video further, and producing an experimental four panel version, and subsequently revisiting the Pause video, to produce a four panel version of that, with the possibility of combining the two more thoroughly than with an earlier experiment. This comes alongside making another set of 4 screen GIFs, with the panels playing at multiple screens, including using key frames from the Chandelier, Harry’s Portraits Optical Flow, EchoReFlex and Delirium films to make the animations. Some of the more complex sequences (still only consisting of a few dozen to hundred frames – just a few seconds) provided a bit of a difficult to complete on my computer, due to the software repeatedly crashing, so I made use of the Library computers (which are less powerful, but more stable) to complete the necessary operations.
As with previous units, this has been a particularly busy time for reprocessing existing materials into something new, chewing the cud of a selection of ideas, but over a progressively more critically and technically informed developmental arc. Following this, I have been doing some more writing about my works, and going off on a range of tangents, some focusing on particular areas of criticism, others more doom-laden prophesying; along side which I watch the 1976 film The Network, which seemed particularly relevant, especially as its opening and closing shot featured four televisions cycling through various materials, and similarity could be found between Neitzche’s Last Man, and the idea of an individual as:
“Television incarnate, […] Indifferent to suffering; insensitive to joy. All of life is reduced to the common rubble of banality. War, murder, death are all the same […] as bottles of beer. And the daily business of life is a corrupt comedy” [The Network, 1976].
I’ve also been reading a book on Small Screen Aesthetics which already seems more relevant than the particular book on Derrida that I began, and may return to later. Along with reprocessing Harry’s portraits further, playing with a scanner for the first time in a while, as well as trying out more 3D sculpture, experimenting with Sculptris; freeware that means I can try out extending my digital painting skills into another dimension which, in time, I may be able to animate, and take the work of the stylus into the forth dimension. However, for the time being, this sort of work is more for my own benefit, though does stimulate thoughts surrounding the simulacrum, and the instability of the individual in a digital age.
But at the same time, I am aware that there is a tendency to generalise and globalise, given much of the world is not connected to the various electronic networks of the world, presuming that the world will descend into a secondary position behind cyberspace simply ignore the immediate concerns of much of the world’s population. You can’t eat a 3D model of a sandwich, drink HD rendered water, or wear virtual rags. The obsolete body only considers the wealthy white Western body. Everyone else is subject to the slings and arrows of fortune, to a boot stamping on the human face – forever.
The Network. (1976) [Film] Dir: Lumet, Sidney. Writ: Chayefsky, Paddy. Prod: Gottfried, Howard; Caruso, Fred C. Ontario, Canada / NY USA. Cited from IMDB [Online] <http://www.imdb.com/title/tt0074958/trivia?tab=qt&ref_=tt_trv_qu> Accessed 3.4.2015