Nonsense Lab

Department of Biological Flow
Till Tomorrow
2013
ballizein poetics (no.3)

one. entanglement: seed, seedlings, sunshine, dusk.

~

[google docs live editing (or a dance floor) > 2 artificial identities + 1 seed + entanglements > gait surfing playlist time constraint and emergent poem = ‘till tomorrow’]

Department of Biological Flow
Spasm Pigment
animation process
in progress

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detail:
node zoom —> contraction and return phases

Natasha Papadopoulou
Vodougrams
2005-07

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These series of photograms are a registration of movement on photographic paper. They were created in New York from 2005 to 2007. The dark room was transformed into a stage fitting 4-5 sheets of paper of 76.2x101.2 cm each. In the dark I place the papers on the ledge and I perform poses inspired by the traditional dances of Haiti, Vodou. The performance exists only as one dimensional imprinting.

Sophia Szilagyi
Water Studies
2013

Gyun Hur
I Dreamed of Your Utopia
2011
installation

Morgan FisherProduction Stills1970film

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"As its title indicates, the subject in Production Stills is a series of production stills of a film that was never made, and that at the same time is the film we are watching. Scott McDonald calls Production Stills “the quintessential Fisher film”. A perfectly enclosed narrative of its own production: the image is one long take (again 11 minutes) of a wall on which a hand sequentially pins a number of Polaroids, one after the other. The Polaroids depict the crew making the film; the synchronous sound allows us to hear in ‘real time’, their chatter and the hum of the still camera, so that we can anticipate the photos and assign faces to the voices we hear.” (diagonal thoughts)

Morgan Fisher
Production Stills
1970
film

- - -

"As its title indicates, the subject in Production Stills is a series of production stills of a film that was never made, and that at the same time is the film we are watching. Scott McDonald calls Production Stills “the quintessential Fisher film”. A perfectly enclosed narrative of its own production: the image is one long take (again 11 minutes) of a wall on which a hand sequentially pins a number of Polaroids, one after the other. The Polaroids depict the crew making the film; the synchronous sound allows us to hear in ‘real time’, their chatter and the hum of the still camera, so that we can anticipate the photos and assign faces to the voices we hear.” (diagonal thoughts)

Sabina Lang and Daniel Baumann
Comfort #3 (Barcelona)
2005
architectural installation

Victor Vasarely

top:
Torke-Uy
1956-73

left:
Orion-K
1972

right:
Boo
1978