Nonsense Lab

footsteps footsteps
footsteps
wings flitting
humming

cold and uncertain
emboldened

humming

Gego (Gertrud Goldschmidt)
Ocho cuadrados [Eight Squares]
1961
welded and painted iron
66 15/16” x 25 3/16” x 15 3/4”

Nicolaj Diulgheroff
L’uomo razionale
1928
oil on canvas

Young-Min Kang
Headscanning
2004
digital prints on metal apparatus

$Takahiko HayashiD-22.Nov.20062006pen drawing on parchment - - - “Let us try to understand in the simplest terms how space escapes the limits of its striation. At one pole, it escapes them by declination, in other words, by the smallest deviation, by the infinitely small deviation between a gravitational vertical and the arc of a circle to which the vertical is tangent. At the other pole, it escapes them by the spiral or vortex, it other words, a figure in which all the points of space are simultaneously occupied according to laws of frequency or of accumulation, distribution; these laws are distinct from the so-called laminar distribution corresponding to the striation of parallels. From the smallest deviation to the vortex there is a valid and necessary relation of consequence: what stretches between them is precisely a smooth space whose element is declination and which is peopled by a spiral. Smooth space is constituted by the minimum angle, which deviates from the vertical, and by the vortex, which overspills striation. The strength of Michel Serres’s book is that it demonstrates this link between the clinamen as a generative differential element, and the formation of vortices and turbulences insofar as they occupy an engendered smooth space; in fact, the atom of the ancients, from Democritus to Lucretius, was always inseparable from a hydraulics, or a generalized theory of swells and flows. The ancient atom is entirely misunderstood if it is overlooked that its essence is to course and flow. The theory of atomism is the basis for a strict correlation between Archimedean geometry (very different from the striated and homogeneous space of Euclid) and Democritean physics (very different from solid or lamellar matter). The same coincidence means that this aggregate is no longer tied in any way to a State apparatus, but rather to a war machine: a physics of packs, turbulences, “catastrophes,” and epidemics corresponding to a geometry of war, of the art of war and its machines. Serres states what he considers to be Lucretius’s deepest goal: to go from Mars to Venus, to place the war machine in the service of peace. But this operation is not accomplished through the State apparatus; it expresses, on the contrary, an ultimate metamorphosis of the war machine, and occurs in smooth space.” — Gilles Deleuze and Félix Guattari, A Thousand Plateaus, p. 489 (via fractal ontology)$

Takahiko Hayashi
D-22.Nov.2006
2006
pen drawing on parchment

- - -

“Let us try to understand in the simplest terms how space escapes the limits of its striation. At one pole, it escapes them by declination, in other words, by the smallest deviation, by the infinitely small deviation between a gravitational vertical and the arc of a circle to which the vertical is tangent. At the other pole, it escapes them by the spiral or vortex, it other words, a figure in which all the points of space are simultaneously occupied according to laws of frequency or of accumulation, distribution; these laws are distinct from the so-called laminar distribution corresponding to the striation of parallels. From the smallest deviation to the vortex there is a valid and necessary relation of consequence: what stretches between them is precisely a smooth space whose element is declination and which is peopled by a spiral. Smooth space is constituted by the minimum angle, which deviates from the vertical, and by the vortex, which overspills striation. The strength of Michel Serres’s book is that it demonstrates this link between the clinamen as a generative differential element, and the formation of vortices and turbulences insofar as they occupy an engendered smooth space; in fact, the atom of the ancients, from Democritus to Lucretius, was always inseparable from a hydraulics, or a generalized theory of swells and flows. The ancient atom is entirely misunderstood if it is overlooked that its essence is to course and flow. The theory of atomism is the basis for a strict correlation between Archimedean geometry (very different from the striated and homogeneous space of Euclid) and Democritean physics (very different from solid or lamellar matter). The same coincidence means that this aggregate is no longer tied in any way to a State apparatus, but rather to a war machine: a physics of packs, turbulences, “catastrophes,” and epidemics corresponding to a geometry of war, of the art of war and its machines. Serres states what he considers to be Lucretius’s deepest goal: to go from Mars to Venus, to place the war machine in the service of peace. But this operation is not accomplished through the State apparatus; it expresses, on the contrary, an ultimate metamorphosis of the war machine, and occurs in smooth space.”

— Gilles Deleuze and Félix Guattari, A Thousand Plateaus, p. 489

(via fractal ontology)

Kim Asendorf
12c
2012
animated gif series (80 gifs, each 12 colours and 12 frames)

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note: due to tumblr limitations for file and pixel size, i was unable to post the original animated gif without distorting the intricate patterns contained therein. please click through to see this work in its original splendor.

top:

Bridget Riley
Movement in Squares
1961
tempera on hardboard

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bottom:

Bridget Riley
Twist
1963
tempera on hardboard

Helmut Smits
Rainbow
2010
acrylic on tempered glass

Michael Awad and Evan Penny
Panagiota: Conversation
2007
photo/sculpture assemblage
Biennale de Montréal

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“Awad photographed Dimos using a custommade camera built from old aerial reconnaissance equipment. The camera recorded an image over time as the moving shutter panned across the photographic plane, documenting movement and stillness in monstrous distortions. The utterances and gestures of the conversation are just barely discernable in Penny’s contorted features as a remarkable record of the drama of conversation emerges. His sculpture is a near impossible proposition of what this moment could have been in space.”

Mia Liu
Can’t Stop Rolling it Up
2010
acrylic on watercolor paper and aluminum plate

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“The story of Can’t Stop Rolling It Up has started from a flat drawing. After being enlarged proportionally onto 144 full-sheet water color papers, the drawings are cut, curled, and then pieced together onto an aluminum board. Shades that appear underneath the curls also become part of the visual elements in the work. Simply by adjusting the viewing distance, the audience also shifts between macrocosmic or microcosmic views, experiencing the work in both two-dimensional and three-dimensional aspects.”