<div dir="ltr"><div class="gmail_default" style="font-family:verdana,sans-serif;font-size:small">An old book, an insightful <i>practitioner's</i> book full of nuanced<br></div><div class="gmail_default" style="font-family:verdana,sans-serif;font-size:small">insights into video at its birth and ongoingly, is Paul Ryan's <i>Video Mind, Earth Mind</i>. <br></div><div class="gmail_default" style="font-family:verdana,sans-serif;font-size:small">Ryan is a passionately idealistic proponent of systems to promote<br></div><div class="gmail_default" style="font-family:verdana,sans-serif;font-size:small">interpersonal communication and ecology, aligned in some ways with <br></div><div class="gmail_default" style="font-family:verdana,sans-serif;font-size:small">Bateson and Peirce. I think his observations can be usefully extended to <br>work with various technologies.<br></div></div><div class="gmail_extra"><br clear="all"><div><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><span style="color:rgb(192,192,192)"><br><br><br></span></div><span style="color:rgb(192,192,192)"><span style="font-family:verdana,sans-serif">Stephanie</span> <br></span></div><div dir="ltr"><div><span style="color:rgb(192,192,192)"><br><span style="font-family:verdana,sans-serif">Stephanie Stricklan</span></span><span style="font-family:verdana,sans-serif"><span style="color:rgb(192,192,192)">d<br><br>1175 York Avenue 16B<br>New York NY 10065<br>212-759-5175<br></span><span style="color:rgb(192,192,192)"><a href="http://stephaniestrickland.com" target="_blank">http://stephaniestrickland.com</a><br></span>.. .. .. .. <br></span><div><span style="font-family:verdana,sans-serif">Hours of the Night <br><a href="http://hoursofthenight.com" target="_blank">http://hoursofthenight.com</a><br></span></div><div><span style="font-family:verdana,sans-serif">House of Trust <br><a href="http://www.house-of-trust.org/" target="_blank">http://www.house-of-trust.org/</a></span></div><span style="font-family:verdana,sans-serif"><i>Dragon Logic, </i>Ahsahta Press<i> </i><br style="background-color:rgb(192,192,192)"><i>Vniverse </i>iPad app<br></span></div><br></div></div></div></div></div></div></div></div></div></div></div></div></div>
<br><div class="gmail_quote">On Thu, Jul 28, 2016 at 11:37 AM, Jacky Sawatzky <span dir="ltr"><<a href="mailto:sawatzky.jacky@gmail.com" target="_blank">sawatzky.jacky@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr">I have been scanning these posts , and thank you for the thought provoking ideas. <div>As I am not a theorist but a practitioner _ my practice is called models of observation, I would like to insert some thoughts about my recent experimentation in my art practice. Having worked with (video) cameras, all kinds, in my practice, I have noticed that the technology default mode is to erase the embodied intent. The technology and out of that the 'production values' encapsulates diverse physical expression and 'normalizes' this. The users physical vulnerability is compartmentalized into a tag. There is a dialoque between the intent of the user and the operative requirements of the device. This results in choices which, directs the kind of 'data' (even light, cane be talked about as a kind of data) and quality. (ideally is would be a nuanced as one requires) This dialogue is more and more limited to technological choices and the nuance is lost, thus becoming a monologue, only more expensive devices give more nuanced choices. Thus access the funds becomes a criteria. Also a physical vulnerability is nullified by technological by supporting devices , a simple and common example is a tripod. </div><div>In my work I have been training in improvisation techniques, and listening. Thus not to work with the camera as a vision machine, but as an instrument. Hereby in the process of filming I try not to capture but to sketch. The device in an environment becomes less of representation of power, though trust is a big one here. </div><div>I am currently interested the 'capturing' of animals with a camera and searching for a less dominate power relationship that is not only based on the captured image. </div><div><br></div><div>I thought this might help with the discussion. </div><div><br></div><div>Best, Jacky Sawatzky </div><div><br></div><div>An older examples of a 'digital camera obscura : <a href="http://www.jackysawatzky.net/social/" target="_blank">http://www.jackysawatzky.net/social/</a></div><div>and video example of this (my personal website is an utter mess to many upgrades ) : <a href="https://vimeo.com/31227090" target="_blank">https://vimeo.com/31227090</a> </div><div><br></div><div>And an example of this recent experimentation the sketching camera: </div><div><br></div></div><div class="gmail_extra"><br><div class="gmail_quote">On Thu, Jul 28, 2016 at 7:00 AM, Cortez, Beatriz <span dir="ltr"><<a href="mailto:beatriz.cortez@csun.edu" target="_blank">beatriz.cortez@csun.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
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<p>Thank you very much for your messages. I was very excited about the different ways in which Christine, Johanna, and Aviva approach the concept of Camera Obscura, and I am so excited about Christina's Transborder Immigrant Light installation!</p>
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<p>In my case, rather than considering the different types of light that might evoke different realities, or tracing the data of their trajectories, my interest is to consider the possibility of letting go of a manifest vision that is linked to modern reason
and humanism, that is, to explore the possibility of evoking a new vision.</p>
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<p>Deleuze, when engaging with Henri Bergson's ideas about memory as well as the image, spoke of the virtual, which for Deleuze was a type of potentiality that was not material, but real, and that allowed for multiple possibilities for the creation of the new.
The piece functions within a duality. On the one hand, the spectator will view different realities reflected upside down in the camera obscura chamber, denaturalizing our traditional understanding of reality. On the other hand, a camera obscura parallels the
mechanics of the eye. It generates an objective perspective in bi-dimensional format of the way the three-dimensional image is perceived by the retina. As spectators of the images generated by the all seeing eye of the camera obscura, the viewer will be placed
in the position of the one who surveys. This will also evoke the all-seeing eye of a panopticon, where the possibility of our being under surveillance at any moment emerges, immersed as we are in what Deleuze called societies of control, in the disciplinarian
societies described by Foucault, and in more contemporary surveillance regimes with access to advanced technological tools. However, the surveillance that takes place through the camera obscura generates an image that is upside down, de-naturalizing the perspective
of the watch person, and putting into question what an image is, how we interpret it, and how we assign meaning to it.</p>
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<p>As a result, my attempt is to create another type of vision through the inversion of images that move through space and time, a vision that in some ways parallels what Marx/Sellars/Brassier argue. In other words, I am interested in the possibility of achieving
a vision that deconstructs the normalizing transformation of images into objects or concepts embedded within Western reason (manifest image), emerging instead the possibility of perceiving the building as a platform that is moving through space and time, and
thus, seeing the world as difference: as shapes, as shadows, as colors, as negative spaces, and as surreal manifestations of other possible worlds.</p>
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<p>As the world appears in front of our eyes in moving visions of an inverted reality that disarticulates our normalizing understanding of the world, the construction of the transcendental identities that are the foundation of Western philosophy has the potential
of being deconstructed, as it no longer makes sense in a world that is in constant motion, made of inverted landscapes, of shapes, shadows, and moving visions that invited the viewer to become part of other possible changing identities or nomadic possibilities
of being in this world. </p>
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<p>Here's a list of some of the works that I cited:</p>
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<p>Bergson, Henri. Matter and Memory. Trans. N. M. Paul and W. S. Palmer. New York: Zone Books, 1990.</p>
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<p>Braidotti, Rosi. Nomadic Theory: The Portable Braidotti. New York: Columbia, 2012.</p>
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<p>Brassier, Ray. "I Am A Nihilist Because I Still Believe in Truth. Ray Brassier Interviewed by Marcin Rychter." Kronos 1 (2005). Online.</p>
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<p><span style="font-size:12pt">Brassier, Ray. Nihil Unbound: Enlightenment and Extinction. London: Palgrave, 2007.</span></p>
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<p><span style="font-size:12pt">Deleuze, Gilles. Bergsonism. Trans. Hugh Tomlinson and Barbara Habberjam. New York: Zone Books, 1991. </span></p>
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<p><span style="font-size:12pt">Deleuze, Gilles. "Post-Script of Societies of Control." October 59 (1992): 3-7.</span></p>
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</span></p>
<p><span style="font-size:12pt">Foucault, Michel. "Panopticism." Discipline & Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Vintage Books, 1995. 195-228. </span></p>
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<p><span style="font-size:12pt">Marx, Karl. "The German Ideology." Literary Theory: An Anthology. 2nd ed. Oxford: Blackwell, 1998. 653-658.</span></p>
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<p><span style="font-size:12pt">Sellars, Wilfrid. "Philosophy and the Scientific Image of Man." Empiricism and the Philosophy of Mind. London: Routledge & Kegan, 1963. 1-40.</span></p>
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<p><span style="font-size:12pt">Spinoza, Baruch. The Letters. Introd. Steven Barbone, Lee Rice, and Jacob Adler. Trans. Samuel Shirley. Indianapolis: Hackett Publishing, 1995.</span></p>
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<p><span style="font-size:12pt">Spinoza, Baruch. The Ethics: Ethica Ordina Geometrico Demonstrata. Trans. R. H. M. Elwes. eBook.</span></p>
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<div>Beatriz Cortez, Ph.D.<br>
Professor, Central American Studies<br>
California State University, Northridge<br>
<a href="tel:%28818%29%20677-3585" value="+18186773585" target="_blank">(818) 677-3585</a><br>
<a href="Http://www.beatrizcortez.com" target="_blank">Http://www.beatrizcortez.com</a><br>
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<span style="color:black;font-family:Calibri,Arial,Helvetica,sans-serif;font-size:10pt"><span style="font-family:Calibri,Arial,Helvetica,sans-serif;font-size:10pt"><a href="http://www.csun.edu/humanities/central-american-studies/beatriz-cortez" target="_blank">http://www.csun.edu/humanities/central-american-studies/beatriz-cortez</a></span></span></p>
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empyre forum<br>
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<a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.edu</a><br></blockquote></div><br><br clear="all"><div><br></div>-- <br><div data-smartmail="gmail_signature"><div dir="ltr"><div><a href="http://www.jackysawatzky.net" target="_blank">http://vimeo.com/videovectors</a></div></div></div>
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empyre forum<br>
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