My Pure Data Patch Middle Screen.

This is the patch which controls the middle screen within my installation, this patch is different from the outer screens one since 5o% of the time it plays clips of the Canary wharf building in a portrait ratio and the rest of the time it plays footage from my database in a landscape ratio.

Now that my installation is fully functional I can make adjustments and improvements as they occur to me and I intend to conduct some fine tuning of my Puredata patch between exhibition opening hours.

My Pure data patch outer screens.

This is the final version of my pure data patch for the outer two screens.

It is very simple, but still the most sophisticated patch I have built to date.

The metronome object is used to  synchronise the play back of ‘random’ (referring to the random object within P.D)  videos and sounds from my data base and also to alternate the position of two Gemheads within the screen space.

Outer screens top level patch. 

Sub Patches

The videos within my database are organized based on the themes – Inward, Outward, Left to right and Right to left. The movselectA and movselectB objects are nested within my patch. The random number object is used to select a category and then a clip within that category.

movselectA

movselectB 

This is the same as movselectA only the categories are inverted, thus if category’ inward’ is selected in movselectA then category ‘outward’ will be selected in movselectB.

wavselectA + wavselectB

There is one unique sound for each video ‘wavselectA/B’ controls the playback and functions in the same way as  ‘movselectA/B’

In my installation this patch is running on two computers which are networked together, it thus creates almost perfect synchronizing between the 4 channels of video featured on the outer two screens. Thanks to Ed Kelly for help setting up the network and also giving me his timeseed and dsp_meter patches which I have also utilized.

Unit 1 Research Paper_Looking at Screens.

Looking at screens_Research Paper_Andrew Burgess.pdf

Uploaded my research paper to WordPress for anyone who is interested.(link above) Bit disappointed with the final piece.

I think my arguments are well researched and interesting, but needed to spend longer editing and proof reading, since there are some rough patches.

Anyway happy this is done so I can move on with my life.


Nam June Paik – screens as sculptural objects.

“Whether with simply manipulated black and white televisions, or complex multimedia colour installations Paik’s objective has always been to make the T.V set itself, that is the monitor, the box with the screen – comprehensible in it’s own right as part of a sculpture, not a mere conveyance for the picture it screens. ”
pg 10 Nam June Paik Video Time – Video Space. Edited by Toni Stoos and Thomas Kellein. Published by Harry N. Adrams, inc.

All images found at http://www.paikstudios.com

Big TV’s 1








Paik’s T.V Buddha and Lacan’s theory of the Mirror phase.

Found some footage of an installation of the T.V Buddha piece  by Nam June Paik. Originally exhibited in 1974.  I really like this amateur documentation,  the guy waiving in the background of this Youtube clip somehow draws out the sense of humour which I think is often overlooked when people consider this work, which was born from the same mischievous ‘hacker’ spirit as all Paik’s work.

Beyond this though, the work is literally about eastern philosophy meeting western media. And statuesque idols of old colliding with ephemeral electronic images in the present,  unfortunately the light hearted almost kitsch appeal of the work to contemporary audiences,  might overshadow a more serious consideration of what Paik was exploring here.

What is it about this narcissistic Buddha statue that is interesting?

One answer to that might come from considering Lacan’s theory of the mirror phase. The Mirror Phase , occurs  in child development roughly between six and eighteen months. This is believed by Lanan to be an important part in our social development. In the Mirror phase the child first discovers an ex-centralized image of them self, an image that relates to the self, but that does not contain the self or provide any solutions to the problems posed by the physical world. The reflected image can not resolve the search for identity that is sought, and a sense of uncertainty soon fills the void between the embodied sense of self and the reflected one, a crack thus becomes apparent in our general sense of self awareness. And so the child’s first awareness of his/her own image is an awareness characterised by a split. This is supposedly when the need for language arrives, language being a tool to fill the gap between the embodied sense of self and the ex-centric mirrored self in symbolic terms. Based on Lacan’s ideas then we can view language itself as an interface that performs a functional mediation between both our centric and ex-centric notions of self.

‘The Human being has a special relationship with his own image – a relation of gap, of alienating tension’ Jacques Lacan The Seninar. Book II. Pg 323

Interestingly Paik’s T.V Buddha video work was produced as a spontaneous gap-filler for an empty space in his fourth show in the Galeria Bonino, New York.

Maybe Paik did not fill the gap but was instead filled by the gap, and in closed circuit video  saw something that interacts with the gap fundamental in our sense of self awareness.

Paik’s T.V Buddha is like a sad joke, as the statue Buddha attempts to stare through the screen into infinity his vision is blocked by a symbolic reminder of his own physical situation in the world,  the T.V in it’s efforts to exert it’s own physical statuesque presence in imitation of the Buddha can only fill the void within itself by an ephemeral imitation of superficial appearances . The two entities become entangled and consumed by each other.

TV Buddha (1974) Closed Circuit video installation with bronze sculpture. image from http://www.paikstudios.com

Essay – Looking at screens. Abstract + Bibliography.

Have a tutorial this afternoon about my essay, I was told to bring a 300 word abstract and a bibliography.

Might as well publish these here also, as evidence of work in progress.

Looking at screens

Abstract.
In this essay I want to consider art work and media content which draws attention to the physicality of the screens that they occupy.
It is an understanding of screens as conceptual phenomena, as much as technical and social that I am attempting to ascertain through this enquiry.
One of the things that interests me about the word screen is its ability to mean both something which unifies and something which divides and separates. Thus there is an ambiguity in the essential meaning of screen, in a non-specific sense – a screen could be something that reveals, it could be something that conceals.
The vast majority of work which utilizes the screen, is designed to disengage awareness of the immediate and distract from it’s own physical placement in the world by illuminating an interactive or immersive environment that is remote and abstract from the time/place which it inhabits.
By looking at artwork and media content that establishes a situation where the object-hood of the screen is addressed and the screen becomes an object that references it’s self, rather than references beyond it’s self, I propose to generate an alternative understanding of how the screen functions, and why screens have become such a prominent feature of contemporary society.
Throughout this essay I will consider the physical presence of the screen in works by artists as diverse as; Nam June Paik, Andy Warhol, Michael Snow, Bruce Nauman, Joseph Beuys, Brian Eno, Derek Jarmen, Jean Cocteau, Alfred Hitchcock, Brain De Palma, Mike Figgis, Rafael Lozano Hemmer, Tony Oursler and John Maeda.

Bibliography.

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Crowther, P. 1993. Art and embodiment : from aesthetics to self-consciousness. Clarendon.
Davis, E. 2004. TechGnosis : myth, magic & mysticism in the age of information. Serpent’s Tail.
Deleuze, G 1992. Cinema 1 : the movement-image. Athlone Press. 
Deleuze, G 1989. Cinema 2 : the time-image. Athlone Press. 
Deleuze, G. Edited by Stivale , C. 2005. Gilles Deleuze : key concepts. Acumen 
Harris, J. 2007. Dead history, live art? : spectacle, subjectivity and subversion in visual culture since the 1960s  Liverpool University Press
Lee, L. 1977. Appreciation of stained glass. Oxford University Press
Lopes, D. 2010. Philosophy of computer art. Routledge.
Lyotard, J.F. 1984. Postmodern condition : a report on knowledge. Manchester University Press.
Maeda, J. 2000. Maeda a Media. Thames a Hudson.
Manovich, L 2002. The Language of new media. MIT Press.
McLuhan, M. 1967. Medium is the massage. Penguin
McLuhan, M edited by McLuhan, E and Zingrone, F. 1997   Essential McLuhan. Routledge
Mèredieu, F. 2005. Digital and video art. Chambers. 
Mondloch, K. 2010. Screens : Viewing media installation art. University of Minnesota Press.        
Murrey, J H. 1997. Hamlet on the holodeck: the future of narrative in cyberspace. The MIT press.
Neumann, D. 1996. Film architecture: set designs from “Metropolis” to “Blade runner” Prestel 
Paini,D. 2000. Hitchcock and art: fatal coincidences. Montreal Museum of Fine Arts.
Pepperell,R and Punt, M. 2000. Postdigital membrane : imagination, technology and desire.  Intellect Books.  
Peretz, E. 2008. Becoming visionary : Brian De Palma’s cinematic education of the senses. Stanford University Press.
Plato. Translated by Lee, H.D.P. 1955. The Republic. Penguin Classics.
Reiniger, L. 1970 Shadow theatres and shadow films. Batsford 
Spertnak, C.1997. Resurgence of the real : body, nature and place in a hypermodern world.  Addison-Wesley
Simons, J. 2004. Contemporary critical theorists: from Lacan to Said Edinburgh University Press.       
Tomas, L (et al). 2004. Language, society and power: an introduction Routledge.       
Wiles, D. 2003. Short history of Western performance space. Cambridge University Press. 

Zizek, S. 2000. Looking awry : an introduction to Jacques Lacan through popular culture. MIT Press