Willem Oorebeek

 

He opts for illustrations, passages of writing, or manipulated images that have an autonomy without being too recognisable or seductive. Although images in general only have any meaning in a particular context or when linked to specific information, Oorebeek gives the images he chooses a certain independence. His selection thus also implies a value judgement, which he simultaneously confirms and undermines by the way he deals with them. // Worst by Willem Oorebeek. Paddle8. [online] Available at: https://paddle8.com/work/willem-oorebeek/23936-worst [Accessed 1 Jan. 2018].

Frame rate

Frame rate (Hertz/Hz)

  • Flicker rate is 30hz = 30 frames per second
  • Analogue television broadcast = 50 Hz or 60 Hz
  • Movie = 24 frames per second
  • 48fps Movie
  • 24 fps “Temporal Resolution = measures the quantity of information within a period of time (source)
  • Spatial resolution measures the quantity of information within a Space (the number of pixels inside a frame).
  • shooting and exhibiting it at 24fps helps to achieve this stylized effect
  • create a sort of psychological distance to the viewer from the images.
  • “reality filter”, distance effect, actually helps the viewer to immerse much more on the film
  • 24fps is less information for the brain to process, watching content at 24fps will put your brain in a more relaxed state, similar to hypnosis.

  • Still Scan (1, 2, 3)

    Levin, Golan. An Informal Catalogue of Slit-Scan Video Artworks, 2005-2015. World Wide Web: http://www.flong.com/texts/lists/slit_scan.

Freeze-frame shot (1, 2, 3)

Practice

 

Untitled-1

CentreSlit

Fixed Centre slit

Move1pxtoRight

Move by 1px to the Right

Screen Shot 2018-01-02 at 02.14.36

Processing 1 px / 1 frame

Screen Shot 2018-01-02 at 13.05.26

80000 fps

Screen Shot 2018-01-02 at 13.05.35

80000 fps, detail

Domains and image schemas

Domains and image schemas
TIMOTHY C. CLAUSNER and WILLIAM CROFT

 


Informed matter 2

 

[[Thingness]]


Pinker, S. (2013) Language, Cognition, and Human Nature. Oxford University Press.

p.117: brain stores the arrangement of the object’s parts with respect to a coordinate system centred on the object itself rather than on the viewer’s eyes, head, or body. — Highlighted 15 Nov 2017

p.117: people took longer to recognize a shape when they saw it at orientations different from the one in which they had originally learned it, suggesting that they had stored the shape in something like its original appearance, rather than having stored its inherent geometric structure. — Highlighted 15 Nov 2017

p.118:  A prominent proposal by Marr and Nishihara (1978) is that the visual system first aligns a coordinate system on an input object based on its axes of symmetry, elongation, or movement, describes the arrangement of the object’s parts within that system (resulting in the same description regardless of the object’s orientation relative to the viewer), and matches the description against memory representations stored in the same format. — Highlighted 15 Nov 2017

p.118: humans possess an analogue visual transformation process, — Highlighted 15 Nov 2017

p.118:  For example, during the interval between stimulus presentation and the response, the subject can quickly classify a probe stimulus displayed at an intermediate orientation; — Highlighted 15 Nov 2017

Explanatory representation

The age of the World PictureEssential Phenomena of modernity

  1. Science
  2. Machine Technology
  3. Artwork becomes an object of experience ( art’s moving into the purview of aesthetics) [ Eriebens ]
  4. Human action is understood and practised as Culture.and then becomes the politics of culture5. Loss of the gods. [ Entgötterung ]

To grasp the essence of contemporary science we must first free ourselves of the habit of comparing modern with older science – from the perspective of progress – merely in terms of degree.

The essence of what is today called science is Research, which consists in the fact that knowing establishes itself as a procedure ( requires an open region within which it operates) within some real of beings in nature or history.  The experiment is only possible where knowledge of nature has already transformed itself into research. The observation directed toward knowledge until medieval with number and measure.

Maybe it is because there was the God and the answer embarked in nature.

p64 By this term is to be understood, first of all, that phenomenon whereby a science, whether natural or humanistic, in order to achieve proper recognition today as a science is required to be capable of being institutionalised.  Similarly, in historical research,. the stock of sources only becomes usable when the sources themselves are verified by historical explanation.

methodology → possibilities of procedure

What is going on in the spread and entrenchment of the institutional character of the sciences? Nothing less than the establishment of the precedence of methodology over the beings (of nature and history) which, at a particular time, are objectified in research.
The university is that it is an establishment which still, in a unique way, on account of its administratively self-contained form, makes possible and visible both the fragmentation of the sciences into the specialities and the peculiar unity of constant activity.

 The name of University course determine the character of the knowledge

Science as research first arrives when, and only when, the truth has transformed itself into the certainty of representation. It is in the metaphysics of Descartes that, for the first time, the being is defined as the objectness of representation, and the truth as the certainty of representation.

Modernity

  1. the interplay between subjectivism and comparable objectivism
  2. individualism

Man first time, became a subject. Man becomes the referential centre of beings as such. Being as a whole. When we inquire the modern world, we characterise this by contrasting it with the “World picture” of the Middle age and of antiquity.  “World” serves a name for being in their entirety ( not confined to the cosmos, to nature).

World defined the interpretation by the human being. Comparing the ancient world with modern means, comparing the subject matter of the human’s point of view.

 

 


Heidegger, M. et al. (2002) Heidegger: Off the Beaten Track. Cambridge University Press.

Informed matter

#Extract and added #thought from #Flusser, V. (1999). Shape of Things. Reaktion Books.

matter / form. – content / container

  • Hyle = wood material content
  • When the Greek philosophers took up the word hyle, they were thinking not of wood in general but of the particular wood stored in carpenters workshops.
  • Morphe = form
  • Forms concealed behind the illusion of the material.
  • Forms are neither discoveries nor inventions, neither Platonic Ideas nor fictions, but containers cobbled together for phenomena (‘models’). And theoretical science is neither ‘true’ nor ‘fictitious’ but ‘formal’ (model-designing).

The world of phenomena that we perceive with our senses is an amorphous stew behind which are concealed eternal, unchanging forms which we can perceive by means of the supersensory perspective of theory.

The possibility of looking through time into eternity and of representing what can be perceived in the process has only become relevant since the third millennium. Newly invented screen ‘materialise’ the forms. The form itself doesn’t have a purpose, as it is a model, it shows the content the way of reading, receiving. In cyberspace, it is not focused on materialising the content but materialise the form, because the content itself has no original present to compare or witness. Purely immaterialised material/content flowing around within stew Universe. This newly wailing universe space do not control but contents forming itself.

When the wall painting by first homo-sapience trying to representing the content/matter in the form of the picture, it was the question how precisely grasping the apparent matter in the form of the painting. The purpose of the painting was to show the evidence of the real world. However, now it became a “question of making a world appear that is largely encoded in figures, a world of forms that are multiplying uncontrollably”. Such artificial images not because they show up in the electromagnetic field but because they display material-free, empty forms, it does matter what is the language or the form in-form the contextualised formal space. There were several program languages such as JAVA, HTML5, C or newly started Swift. It is not only how they are having a competition but how they will in-form the information of the content. The form makes eternal since I can imagine it anywhere and at any time.

In-formation, in other words, imposing forms on materials. Forming the idea into the shape of the formality. #Flusser Therefore, the question is “To what extent are the forms being imposed here capable of being filled with material? To what extent are they capable of being realized? To what extent is the information practical or productive? Discovered, indeed, in such a way that one recognizes how the amorphous phenomena flow into forms, occupy them in order to flow out into the amorphous once more.

 


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