transitorynature-blog

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Traditionally, Italian Palazzo’s are adjacent to a piazza and loggia that houses statues. Palazzos represent civic unity that complimented the religious icons around the town. They were owned by secular families such as the Medici’s. A clock tower presents a symbol for a town to gather and represent a unity. 

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My recent trip to NYC and revisiting the old Whitney, the now Met Breur exhibition addresses a subject critical to artistic practice: the question of when a work of art is finished. Beginning with the Renaissance masters, this scholarly and innovative exhibition examines the term “unfinished” in its broadest possible sense, including works left incomplete by their makers, which often give insight into the process of their creation, but also those that partake of a non finito—intentionally unfinished—aesthetic that embraces the unresolved and open-ended. Some of history’s greatest artists explored such an aesthetic, among them Titian, Rembrandt, Turner, and Cézanne.

The unfinished has been taken in entirely new directions by modern and contemporary artists, among them Janine Antoni, Lygia Clark, Jackson Pollock, and Robert Rauschenberg, who alternately blurred the distinction between making and un-making, extended the boundaries of art into both space and time, and recruited viewers to complete the objects they had begun.

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Jacques Henri Lartrigue

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Invisible movement through shadows

Invisible movement is only done through the form of shadows like a sundial. The clock will always produce a modification of the position, as invisible for the average eye as planetary movements. Emphasising motion more than form is first of all to change the roles of day and light. In the chrono-photographic universe; we observe movement of a liquid due to to the artifice of shiny pastilles in suspension. The effect of the real becomes that of the readiness of luminous emission. What results is the phenomena of acceleration and deceleration in every respect identifiable with intensities of light. Like a shadow of tim. 

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Chronophotography given by its inventor, the engineer Etienne Jules Marey explore movement, making a fugacity a ‘spectacle’ s far from his intentions. The debate centred on the inability of the eye to capture the body-in-motion everyone was wondering about the veracity of chonophotoraphy, its scientific value. The very reality it coveys insofar as it makes the ‘UNSEEN VISIBLE’. The in-between-state makes these forms visible that he qualifies as ‘impossible, supernatural and marvellous’. The pursuit of time but if there are no stable forms, there are no forms at all!

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Paradoxical awakeness

'paradoxical awakeness' and applies it to the collective consciousness, “our conscious life which is not to be considered without dreams, is just as hard to consider without paradoxical awakeness.” (Ibid. 15) We are so numbed by the speed of this constant pseudo toxic media exposure, we are unable to perceive our own illness. PICNOLEPTICS are numbed beings, neither fully awake nor asleep.

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Dromology

The theory of dromology interprets the world and reality as a resultant of velocity. In Paul Virilio’s 1977 essay entitled “Speed and Politics”, the french philosopher makes a compelling case for an interpretation of history, politics and society in the context of speed. Extending the definition of “dromomaniacs”, Virilio argues that speed became the sole agent and measure of progress. He contends, that “there was no ‘industrial revolution’, only ‘dromocratic revolution’; there is no democracy, only dromocracy; there is no strategy, only dromology

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Picnolepsy

Virilio's dromology of media phenomena is a mass condition, a near universal social disease, characterised by DISAPPEARANCES. He describes the physiological condition of PICNOLEPSY – similar to frequent epileptic fits, constant interruptions after which the subject is UNAWARE of the time he or she has lost, the absence is not perceived. According to Virilio we are all picnoleptics, we are all subject to these lapses in consciousness, to these moments of disappearance or 'absences'. By announcing this, condemns us all to an illness that we are UNAWARE OF.

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chronophotography

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I am business, I am profit and loss, I am beauty come into the hell of the practical

Benjamin Casseras

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Adam Curtis’s series of the power of nightmares explores the politics. He looks at the western society and its irresistible illusion of society. A society around self-individualism. He says behind this, we are weak and there is a blatant corruption of morals and virtues.

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Living in order to work!...we must live surrounded by flowers

Le Corbusier

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Michael Craig-Martin, Transience, Serpentine Gallery 2015

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Society

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The glare is everywhere, and nowhere a shadow

Maxim Gorky, ‘Boredom’