the trolley pronounces
here I buy coffee
others walk the treadmill
seats only for those who buy
the arrival towards looking forward to a London place
and I will enjoy
how to take this away from
to give through
freedom allowed through this gifting
to work by tools of freedom for freedom
but buoyancy without metal prisons
outpost → outpost
firstly for myself
and towards every other
this is as is
so just as a bird will fly over all
trees allow us themselves
no matter who
within creation and solution this total embrace is more efficient
sitting in a no place
do I ever arrive?
where to and
when to leave
when to depart
when to arrive
this one place
being here and at the same moment all of my surroundings
to work by the tools of freedom for freedom
but also to
use the tools and methodologies commonly exploited towards
and to utilise these tools in the passage towards freedom
to express expansiveness by means of the instruments of restriction
outside from nostalgia the work moves closer to an edge
the cutting edge
knife edge place
this is being towards
separation of this rational /analytical from the less-literal
words are in one book then not-words are in another
setting these methodologies
these flexible/experimental codes of good practise
the place also requires distinction and separation in all which I do
let beauty be that and allow this to surround me
this is the open-access place
my joyful bubble
GIVE OUT JOYFUL MEANINGLESS BEAUTY
the intellectual pursuit away/out of/ separate from
the process further moving from mental analytical
allow science to make these observations
I am the outer
within process becoming away from this scientific
away from an art of emulation/ celebration of science
THIS IS NOT MY POINT
then also the other
will be present
so this could be focus
I need not succeed
I need not make convincing proof
I need not recreate the present
I may apply pressure
a pencil line
this will function as a measure for pressure on my path perhaps ?
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
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)
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
Ascertain what this towards
Individual unit reaction then unified to whole
Approach- simplicity - multiplicity - combination
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 -
-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
...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.
Those who are starving are more often the subjects than the players in this materialist transformation game?
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?
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?
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.
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
travelling journeying lines
scrubbing paper to impress
marking from the empty
to myself with
aspect of being this
in the physically made
I become within and of this
what i see then felt to again
to be physically
in and within this