 Response Water as a platform to hold movement discourse centre shifts friction reduction to minimum. Movement about centre Movement mechanical exploitation of subtle change System allowing response to air displacement Simple outside of simplicity Multiplicity of combinations can be explored Within organically naturally found then into the design fabricated The system enhance Basic principle finding floatation vessel (vessel also for potential mechanism) Upper supporting unit Reciprocating ballast Ballast potential to be dynamic utilising mid point float/sink to activate lever up in mechanism Moving across pool of water Contained restricted freedom within container (possible floating with another) Then onward Future discoveries addition heat with and exploration of currents formed to activate change Bobbing spring of a float pressed then released Mechanical exploring dynamic ballast Thread or chain like-between water and air undulation exploited through mechanism partial release from gravity Natural reference larvae like air bubble finding shape in surrounds Share out Ascertain what this towards Multiplicity Individual unit reaction then unified to whole Approach- simplicity - multiplicity - combination  
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When at the opening for an Art Exhibition a visitor knocks into an art work; this piece made of wood... not special in any aspect of material only through being imbued in value as a result of the process, status and person of this Artist - Reactions- -A dumb surprise of this visitor -A frantic "White gloved" effort by two or three members of gallery staff -The words and approach towards the dangling swaying object by the Artist "I wouldn’t worry too much about that, it is going to move" This reaction by the institution, although over the top, is completely necessary as this object has been assigned an immensity of value, beyond the wildest imaginings of the materials which constitute its being. For this is a high art gallery and all objects of art here exist as a construction of value rather than their constituent parts. The people who have manifested these objects are the assigned high priests of materialism. Through this context a conversion of value has taken place. What has happened? The physical has been impregnated and saturated with thought, with idea, with narrative, with placement and belonging to then become the exulted? It is beyond simple for the sudden return of this material back to the mundane and normal, so effort must be rigorous and immediate if there is risk of this return. This entire context requires a massive expenditure of energy to maintain this illusory and privileged status. Is this authentic? The Artist may act with a freedom and relaxedness that is not allowed or appropriate for any other person/s present. Any act of the artist will continue to assign the art ‘stamp’ of exulted value. Any act towards the piece by another person pollutes this and so devalues the exalted (unless this act has been invited by the artist). Is the object dead? Is the object alive? With wealth anything can be possible? The vision and genius of another person can be attained and owned so long as an object can change hands? what do I believe? what do you believe? Is this truly possible? This is perhaps not about right/wrong/true/false only ...if this can actually happen in the manner that such effort is made towards its happening. Should this situation be a deception then, the maintenance of this deception is integral, as otherwise the flow will terminate and the entirety of this illusory construct will collapse. This cannot be allowed to happen! The wondrous ease by which this cake is made feeding so many very hungry mouths. Perhaps more hungry than starving Those who are starving are more often the subjects than the players in this materialist transformation game?  Gallerist nose picking ‘performance’ in front of drawing by Marc Bauer, frieze London 2019  I truly appreciate the chance to experience ideas and artworks in the context of quiet and peace. I am miraculously fortunate that I have a family base in the Engadin from where I can easily travel to view the smaller versions of galleries such as Hauser and Wirth and Galerie Karsten Greve within St Moritz. Yesterday I could experience Alexander Calder's propositions in solace at Hauser and Wirth, with a knowledgable expert on hand, and then to view an exhibition of small works by Joel Shapiro at Galerie Karsten Greve, the Vernissage of which I’ll get to tomorrow evening, even the artist will be present!   6th December 2019 AI - Robots - Puppetry The suspension of disbelief is convincing and we are easily misled. That the appearance and sensation of presence in a thing has us react as if this is a thing quite different. A fragmented, reductive, (scientific, solely analytical) perspective of us in the world also contributes to the belief that these “humans” we create are anything other than their material and mechanical process. What am I? What are you? What do you know? What are you feeling? What is in front of you? Is it a screen? What is a screen? The screen A camera takes this two ways as does a microphone The room you sit in is hot/is cold as you feel this. Where does the cold you feel and the cold of the room end? What is this boundary? Reaction within place/space Where do you stop? Where do you start? Can you exist outside of anything else? A series of questions reflecting on reductionism Will the “intelligence” we believe we can create be more aware of the us which we do not even know? Response Responsibility Is this related? Where do I start and stop experientially? Is the requirement towards the mechanical The dragonfly wing is a football field. Larger Perhaps every speck is a universe. Our perception is scaled for us and gifts no true total omni perspective This feels to me outside of our remit   A principle collaborator in my study of the emperor dragonfly was Ben Price at the Natural History Museum. Here I am prototyping a mechanism to move a real insect in response to a genuine need expressed by Ben. I had a breakthrough in reflecting this devise through and did a quick studio make on it today. The materials are readily available and cheap. The tooling needed to make this are standard DIY fare. The concept is that this can be easily recreated by scientists internationally and aid in the photographic documentation of specimens. Current versions of this devise require specialist tooling and machinist skill.   Here sitting looking right and left Imago-A dragonfly in motion at Circus Gallery is only a matter of moments away from closing. It has been a joy to share and connect through this exhibition. Thank you to all of the team at Circus and to all those who have visited.   Exploration of vessels to freely hold and allow for physical reaction to a passing by. (A suggestion has been to fill a large room with a vast plethora of these individuals.) Within the film my physicality is responded to through the medium of the air by means of displacement, Each individual reacts to this in a unique way. Early suggestions of character. The delay is fascinating. drawing from all around surrounding to within through travelling journeying lines scrubbing paper to impress marking from the empty feel impression impressed made mark this place to myself with this place aspect of being this here here also in the physically made mark I become within and of this what i see then felt to again experience through active seeing to see to be physically in and within this seeing feeling being      Floating Responsive Prototype is an experiment in using water as a ‘platform’ for motion to happen. Simple, yet so subtle that it responds to my casual movements around the studio. Part of early explorations towards a precise and fluid responsive mechanism interface. In this early stages prototype I’m experimenting with centrifugal force, Through a rotation movement of the fingers a surface of red below the yellow and above the blue is exposed and increases/decreases depending on the speed of rotation.  |
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© Oliver Smart 2020
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