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.
“The I-R.A.S.C. is an infrared device, which protects against infrared surveillance cameras. It can be made by anybody; no special skills are required. The device radiates infrared light disrupting the reception of infrared surveillance cameras. A sphere of light covers the face of the person under surveillance and as the interaction is invisible to the human eye (at a frequency between 780nm and 1mm), the individual is unaware of what is going on i.e. they don’t see the infrared rays emitted by either the surveillance camera or the I-R.A.S.C.”
The moiré — as a spacing operation of grids laid upon one another — is not the same as Deleuze and Guattari’s smooth space emerging or escaping from the limits of striation, nor is it the same as the holey space that connects the striated and smooth via declination or vortical movement. And yet its watered silk still offers us a hydraulic model to perceive, but only when we are in movement. When standing still the traces of the moiré’s interference pattern remain as afterimages, barely perceptible — though it has only come to life in the first place once we have as well: in movement (cf. the discontinuity of Massumi’s ‘movement-vision’??). Rippling, shimmering: as we move with these grids our relation unfolds to suggest previously unseen contours and trajectories lying dormant within the metric machinery of these information ecologies.
A teleidoscope is a kind of kaleidoscope, with a lens and an open view, so it can be used to form kaleidoscopic patterns from objects outside the instrument, rather than from items installed as part of it. It was invented by John Lyon Burnside III, who filed a patent for the invention in 1970 and was granted it in 1972.
“Brewster referred to the teleidoscope as the purest form of a kaleidoscope, because the viewer is not limited by the objects in an endpiece.”
Nonsense Lab was dubbed the unofficial name of the studio space that hosted Sean Smith for the inaugural Artist/Scholar-in-Residence at the University of Western Ontario's Department of Visual Arts during 2011-2012. The title is a tongue-in-cheek homage to the Sense Lab, a program space for research-creation founded by Erin Manning and Brian Massumi in Montreal.
This blog originally documented Sean's engagement with students in the elective Visual Arts course "Toward a Kinoderm Aesthetics," other activities and initiatives with the UWO and broader London communities while in residence during the fall 2011 semester, and progress on work for the exhibition D S NFORMAT ON: Threnody from the Vision Machine, held January 12-26, 2012 at the ArtLAB Gallery, John Labatt Visual Arts Centre.
Today it continues to share emergent processes with various networked communities, as well as offering a rough curatorial exercise of inspiring artworks that engage similar thematic trajectories.
Much of Sean's current work emerges from the Department of Biological Flow, his ongoing experimental dialogue of research-creation with Barbara Fornssler. Spanning performance, installation, text, image, poetry and motion capture, their consideration of biological flow develops processes to a state at which they have just ceased to be fragile enough for one's imagination to take over and build upon the framework.
While the focus of their practice often concerns the aesthetics and politics of surveillant optics in urban spaces, they also intend to bring a more multisensory approach to their processes of research-creation -- along with generous helpings of humour.