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GREY MATTER — DYLAN KELLY (2018)

Statement:

In a world where human and computer cultures have become so intertwined, it is important to understand and deconstruct this relationship. Theorist Lev Manovich’s notion of ‘Transcoding’ reveals that there are “two distinct layers” of computer use: the ‘cultural’ layer (human) and the ‘computer’ layer (data/ code)[1]. When so much of our media and information is handled on computer systems, it can be expected that the computer layer will have an effect and influence on the cultural layer. This effect is most observable when the computer layer fails or becomes corrupted. Computer systems have their own language seperate to our own. We are intended to speak to it through a translator, who converts code into media which we can interpret. In this artwork, I remove that translator, creating a total failure of communication. By altering the meaning of a language that I don’t understand, I have created something that neither a computer nor a human could have produced on their own. There is a certain beauty to the failure of media. We have the power to control if something fails, but to control the result of that failure is an impossibility — a unique and new representation is an expected outcome, intertwining further the human and the computer.

Referenced: Manovich, L. (2001). The Language of New Media.

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mOre mosh thanks

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More mosh

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Data Mosh Test

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An evolution of my concept and practice

As my experiments have strayed further and further into practices of data corruption, I have decided to change my topic to failure rather than erasure. Even though there are aspects still of erasure and chance, I feel that failure is the most prominent aspect of my creative direction and practices in my experiments and I want to follow through with these practices into my final work as it has really struck my interest. 

I want to explore further the intersection of computer and human culture, communicating between these cultures in ways that are not intended. I want to distinctly juxtapose natural imagery with digital corruption to show the failure of post-internet ideologies. I have experimented with image corruption, audio corruption... And now I want to explore video corruption. I have been doing a lot of research on ways to do this - I found that using text edit and similar formats of glitching works much better in image formats as these are much smaller files where changing the code will have a prominent effect. So I looked into other forms of bending the data of a video, and I stumbled upon data moshing.

These are my sources of how I learned about and put into practice this technique: https://www.youtube.com/watch?v=UKmhWnFnlh4&t=154s http://datamoshing.com/2016/06/26/how-to-datamosh-videos/

This is a technique that essentially breaks video files by removing certain frames: removing I frames has one effect, and duplicating P frames has another effect. The theory of what these frames do is stated in the second link above. I love this effect as it breaks the videos in such a unique way.

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More audacity edits, progressively fucking with the audio more and more through the series.

This is what it sounds like: (don’t listen if you care about your well being) https://soundcloud.com/hakunetsuu/glitch-audio/s-HMMOY

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This is an idea that builds off the group assessment, using keying as an effect to erase. In this example I drew onto paper, adding to the paper, and yet in the post we can flip this on its head and subtract.  This is just a method but I would like this to be more meaningful; I think in my next experiment I will explore this further but bring in identity and the physical body, where I can explore erasure of identity using the body as a canvas.

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some more experiments exploring glitch. The first image is another example of editing the text file of an image, this time the effect was more extreme than intended, but hey, I love that. The 3 other images is a new technique where you import an image into audacity as an audio file, add audio effects, and then reconstruct that as an image. Although this is much more of a process, the fact that you can edit an image as audio amazes me.

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Repetition activity: ambiguity and the external properties that affect the way we perceive art in an less noticed way than that of the actual artwork - this can be very repetitious especially in a gallery context.

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First experiment Recently I have become really interested in the intersection of human and computer culture - two very seperate languages and yet we communicate with each other on a day to day basis. So in this experiment, I decided to erase and manipulate the computer language, by opening images in text edit and deleting, changing and moving the information, then saving it and reprocessing it as an image. 

The reason I chose to use ink in dish washing liquid as my medium is because I wanted to create a high contrast two tone image so that the effect would be very evident. I also love the fact that you can manipulate it but only to a certain extent - the ink creates a unique makeup for itself that is undefined and lacks form. 

Experimentation with ink - How I made it 1| https://vimeo.com/269425336  2| https://vimeo.com/269426182

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Brainstorming for assessment 3.

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RULES 1. Draw a self portrait 2. Use your non dominant hand 3. Eyes closed 4. Banana peel on head

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Final Statement From the inspiration of works Long Count (Thrilla in Manila) by Paul Pfeiffer and Static No. 12 (Seek stillness in movement) by Daniel Crooks, we have created a time based work that explores the dimensions of erasure, specifically investigating the erasure of identity in order to transform original perceptions. In the creation of our work we played with the idea of digital manipulation as a medium to erase and that anything that has been deleted in the digital world can be brought back and in theory always leaves an imprint. Through playing with this idea we decided to shoot a video depicting that of a family portrait however erasing the familiar perception of there to be homely, family orientated interactions. After filming we selected one of the three shoots we took and used Chroma Key effects to edit and digitally manipulate the footage, employing the process of erasure to removed certain colours, highlights and play with layering. These processes allowed the figures in the video to slowly blend into the background leaving nothing but a vague outline of their existence much reminiscent of that of digital information.

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Artwork Response/ Reference

Paul Pfeiffer - Long Count (Thrilla in Manila) https://www.youtube.com/watch?v=tIj4IpTATLM

Daniel Crooks - Static No. 12 (Seek stillness in movement) https://vimeo.com/77654682

Both of these artworks use the idea of erasure in very unique ways; which really captured our group. They both remove certain information from their multimedia works respectively, changing the identity of what we are looking at. Pfeiffer’s work removes figures from a video, leaving behind these strange ghost like traces of where they have been erased. By attempting to remove information, even digitally, it still leaves a print behind. Crooks work alternatively erases information by warping what we are looking at and forcing the physical makeup of the images to change over time, progressively becoming more and more abstract. 

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The most useful useless thing that you need. Why do you need it? Because we said so. What do you need it for? Who knows buts its boujee as

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Final Work Keep out - Dylan Kelly 2018

Statement My experimentation began with the interest of using light to create atmosphere inside of a box. The result was pretty, but lacked substance or a unique relation to the construct of what a box can be. I followed on with the idea of creating a space that the viewer is removed from by making a song that intentionally instills a sense of being left out — the classic kick and bass that you hear when you walk past a night club. The intended purpose was to play this song from the inside of a box creating a culture that we are detached from and yet we are still receiving the products of that culture. In my final iteration I strayed closer to my first idea by creating an artificial environment inside a box. I attached an array of strings that dangled down from the roof of the box which flurried under the force of my ceiling fan creating a strange eerie environment. This transforms the idea of a box as a product of function to an exoskeleton that highlights negative and artificially constructed space. It places the viewer at the centre of the box without actually having to be physically inside of the box, transforming invisible spaces into visible reality.