charliepritchardart-blog

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New podcasts online

Podcasts Eleven and Twelve are online. In Podcast Eleven Siân Lyn Hutchings interviews Alison Carlier, while Podcast Twelve features Simón Granell. The podcasts can be found here, or go directly to Podcast Eleven by following this link, or to Podcast Twelve via this link.

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New podcasts online

Podcasts Six, Seven, and Eight are online. In Podcast Six Sian talks to Andy Weir, artist and Fine Art lecturer at The Arts University Bournemouth. Together they discuss the importance of improvisation, un-learning music and art hierarchies. Podcasts Seven and eight feature Barry Truax and Cara Courage, respectively. The podcasts can be found here, or go directly to Podcast Six by following this link, to Podcast Seven via this link, or to Podcast Eight via this link.

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Dissertation reflections

Synchronicity is the understanding of events as meaningful coincidences and is an underlying principle of connectedness. This is interesting from a number of directions, it sits awkwardly in relation to academia in some respect, as it is seen as paranormal etc, but really the term is quite malleable and Terrance mckenna treads around the topic very playfully without dwelling on the surgical blade of the truth or not true dichotomy. what emerges when we leave this aside is some interesting exciting and enchanted methodology and understanding of events, and this is after all one of the objectives of new materialism etc. Synchronicity is subjective according to McKenna when he tries to come back to show the synchronicity of butterflies landing on his hands and dancing the event does not occur, he uses this to discern the delicacy of this force. Lindsay Seers videos pull together a wide range of media and events and weaves alternative histories and storytelling in a disparate and abstracted manner, I have not seen this work yet but maybe going in, primed with the idea that this video is going to be using synchronicity as its medium, or as its sculpture then maybe something interesting will happen, Maybe I should this about what is being made in terms of form and synchronicity, or of synchronicity, how does one channel such a delicate and subjective force? i think that the videos rely on weaving its own fictions within the facts to create a spectrum of validity or flux that creates the environment for synchronicity to emerge. In the duchamian way the viewer finishes the artwork when they watch it, subjectivity imbues the artwork with synchronicity. Synchronicity can be quite dangerous and universal, when overanalysing works synchronicity plays a role, connections make so much sense when forcefully justified.synchronicity poses some interesting questions, when does it stop and interpretation begin? is all artwork not a meaningful coincidence? i suppose this would be taking synchronicity objectively as if it exists out there as a force but i want to take this the other way. Paranoia and synchronicity are intimately related, different viewpoints of the same thing this could be a contemporary condition, the synchronicity the feeling of meaningful events As the difficulty of viewing lindsay seers work gets in the way of my dissertation, I could select another one of her works that is much more accessible from fragments on the website and videos, which is Automated ventriloquist dummies, Wait, before i give in on synchronicity there is this http://www.lindsayseers.info/blog/synchronicities ventriloquism and the voice are becoming my main topics now, Things I am stuck on,  what throws me at this point is how can I write about an artists work whos ovure is not available online? if i miss the show then thats it basically, but surely this is the same as performance art? and how can I still like a work so much when I havent seen it this is an interesting topic talked about in a very new net art way by Oliver Laric http://artpulsemagazine.com/the-real-thing-interview-with-oliver-laric Laric talks about his favour of mediated experiences, I cant agree more, I watched loads of tate videos and this is my primary lens for veiwing art, through mediated university or explainitory terms, there is a potential topic here which runs through some of the works i want to talk about, which is the topic of the mediated experience, carey youngs print of nasas data of mars, Imogen Stidworthys 'A crack in the bread, also includes a 3d scan of the last meal of a russian prisoner, also monster flat outby carey young uses mediated experiences in a certain way, I spose they are everywhrere when you look for them, its just another way of understanding objects and events, but this adds some friction when Laric states that it is as much the real thing, this is refereing to image heirarchies and net experiences i think vocie and mediated experience, the phantasm, consciousness, imagination are all topics that revolve around these artworks look at this https://www.youtube.com/watch?v=lLBfX0SHy04

O.L. - I enjoy interpretations and mediated experiences: books about books, exhibition catalogs, interpretations of films. Some of my favorite artworks and movies have only been described to me. A description can generate new work while acting as a portrait of the person retelling the idea, plot, etc.

There is a novel titled The Weather Fifteen Years Ago (2006) by Wolf Haas, written as an interview between a literary critic and the author. There are two layers: the fictional interview and the fictional novel. Over the course of the interview all details of the plot are revealed through the subjective interpretations of both critic and author. Versions is an interpretation open to interpretations. The first incarnation has been reinterpreted by Momus, Dani Admiss, and Guthrie Lonergan, and I just found another reinterpretation of the last version on YouTube. They are permanently in a beta state and affect each other.

look at this https://www.youtube.com/watch?v=lLBfX0SHy04

if we have a voce then whose voice is it-

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Performance for a Hypothetical Megastructure

Maybe the shape of solar flares do have some influence on our thinking?

Perhaps there is a cosmic order that flows through us?

Maybe would could just lift the veil and look through to the true reality

Maybe that's what he did?

Perhaps the smooth slick flecks of a sun flare affected an innovative twist just at the right time and place in Cromer, Norfolk on the 2nd of may 1947?

Maybe the sound of pulsars beamed a frequency of spinning into his brain

Only to take on the form of spinning v8 cordless plastic extendible technology

Or does ‘absence’ have a role to play in this? airless, black space, black holes.

I could be that we, planet earth, are all descending into a black hole, it’s just that time slows the closer the event horizon we get.

maybe our particular twist of planets and the alignment of moons pass through an electromagnetic singularity causing a focused realignment of cognitive activity, just enough to affect the realm of abstract platonic forms into producing novel ergonomic moulds.

It's like they’ve fallen from outer space, and moulded on their journey through high speed atmospheric friction, and transforming experience in the domestic home, office public bathroom an experience of prestige and premium hygiene that will banish the unplanned agents of bacteria and dust.

The Dyson sphere breaks down any idea of rigidity and convention and introduces into breathable space not stacked back and forth motions over carpet crusts and bread crumbs. The dyson sphere draws voluptuous forms flush into beige carpets dusted brown

Fear not! For this power that makes you weak at the knees and quivers your thighs will take us to the next level of the kardashev scale, from a planetary civilisation to a stellar civilisation to a galactic civilisation. The Dyson Sphere is the logical consequence of the escalating energy needs of a technological civilization and would be a necessity for its long-term survival.

When a dyson lands in a new home, this is a part of a larger distributed megastructure, seemingly unconnected nodes of the dc bagless vacuum series, bladeless fans, mark 3-5 handriers transform into a mobile swarm capable of streamlined wireless energy transfers back to the national grid. A dyson sphere is not to be confused with a dyson swarm, a dyson sphere is the complete encompassing of a star through a spherical megastructure, whereas a dyson swarm consists of a large number of independent constructs orbiting in a dense formation around the star. This construction approach has advantages: components could be sized appropriately, and it can be constructed incrementally.

Disadvantages resulting from the nature of orbital mechanics would make the arrangement of the orbits of the swarm extremely complex. The simplest such arrangement is the Dyson ring, in which all such structures share the same orbit. More-complex patterns with more rings would intercept more of the star's output, but would result in some constructs eclipsing others periodically when their orbits overlap.

The fanless ring that filtrates air, and fits on your bedside table or desk using smart technology that never lets the heat shrivel and dry humanity into split ends and dry flakey scalp

The first mention of the dyson sphere was as an indo european religious creation myth, which described the prenatal sun as being enclosed by rock. Plastics are a coming of new age, new ways of understanding the mind through material metaphors, our neuroplastic fantastic mind has morphed the creation myth, it comes full circle in a smooth curve to birth a new level of civilisation. Dyson is the new myth, the one who will be spoken about for generations into the future of humanity.

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What Do I Do Now

Questions What is in between my sound work, essay work and the SGC? maybe reverse engineer this project, what do I want to do after that will be aided by thinking this project? what exactly is it that I understand I have to do? pick 2 or three things to make the next work, ok lets run with 'the probability of a room' how is the colour, size, reverberation of the room what is the anchor for the room somehow the outcomes support a view that I'm developing that in all creative processes there is something chaotic unknown interconnectedness, whatever the work needs to support this approach does not have to be logical does interconnectedness imply a kind of the what other human decisions are there Im interested in how they can make decisions that are against statistics room for materials, what if using the artist in peter osborne's book idea, I created a fiction in emily's words "that we are all living in a shared fiction of the contemporary, we are all living with the idea of a globalised imaginary, a globalised conscience, a sense that we share that moment with everyone else, and so fiction, that force that erodes the distinction between story and history is absolutely central to what peter Osborne means when he philosophises about contemporary art" our bodily materials are a kind of imaginary that we have scientists directly affect this image of thought, I could assert that in all bodies there is a imaginary of how the imperceptible actions of the body, creating a series of findings about the names and the colours in the sgc, politics of divination prediction and the sgc CONSTELLATIONS main points, approaching this idea from the politics of divination, addressing the steaks of the chemical discovery and the financial fate of their dicoverises so I was reading about the politics of divination and how this is oriented around economics shutting, and looking into the different types of divination mentioned in the article, and seeing how I can use any of these methods, I settled on astrology, as this has different meanings, an interesting relation to fate, and visually, and so I was looking at taking financial horoscopes and aligning or overlaying constellations over their new discoveries. I could to borrow from the aesthetic of medieval mysticism or maybe  as pages from a book that would go nicely in the context and heritage of the RSL library,

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Divination and the sgc

What are the main ideas I would like to communicate at the moment -gut decisions can be the title, to think about how this is proteins looking at themselves -is divination really a gut decision? surely these two kind of contradict each other -as an idea the charnal ground meditation kind of works, in a way that you could sense the proteins in your body to come up with one of the gut decisions like chemical screens.. I could use more than one gut decision rent payments for March I developed my idea from thinking about gut instinct and ways I could map the probability of the lab as I thought this sat at an interesting intersection to my ideas, The idea that proteins make up life and they act but they are not life themselves, they are on the fuzzy border between life and non life, I So I was looking for a divinatory ritual that relied on gut instinct, something that could somehow address this fuzzy boundary and simon mentioned a seance, so this is a way of mixing the scientific, and the mystical quite directly the chemical screens are a random choice in the process of crystallisation where a screen makes up 96 different chemical maybe if you could heighten your awareness of your body and listen to your proteins then that kind of highlights their agency? EXAMPLE PROPOSITION, the walls and colour of the walls, have a bearing on the actions fo the scientists, what is a proposition, what is my position? what I was trying to think about with gut decisions is the fuzzy boundary of life and non life, how this is proteins looking at themselves and 2 or three things to decide how to make the next work so ive gathered most information around increacing the probability of crystallisation is there any way to subvert this what are ways to borrow from the aesthetic sounds of electromagnetism, sonication. how can I make a video to these sounds DESCRIBE WHAT I WISH TO ASSERT The idea that proteins have escaped their body, This is what I was hoping to highlight through the idea of a seance, that contacting the dead is somehow akin to contacting the non-life force of proteins, There is always a preceding force until we get to the quantum level, there is a simplicity in proteins actions, but technically,  collectively they produce daydreams, anxieties proteins can stop a process from happening or they can support, they are the doing that makes a doer, would it be too absurd to assert there is a kind of vitalistic nature to proteins, my question is how can we 'feel' our proteins

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Alcallme maybe?

I'm still making connections between the origins of science and modes of thought, this could be done more rigorously when I know the right questions to ask.

Roger Bacon, was involved in different esoteric practices and he is a seen as writing some key texts in alchemy 

The chemical approach is easily understood. As the distinguished historian of alchemy, the late F. Sherwood Taylor, concluded: "The hopeless pursuit of the practical transmutation of metals was responsible for almost the whole of the development of chemical technique before the seventeenth century, and further led to the discovery of many important materials. This is the commonly recognized contribution of alchemy."1 Mircea Eliade and others, on the other hand, have emphasized the soteriological function of alchemy as working toward the perfection and liberation of the human soul or spirit, a process symbolized in the perfection of metals into gold and of the human body to a state of optimum health and even immortality. Such an approach is complemented by the psychological studies of C. G. Jung, which correlate alchemical symbolism with the development of the psycho-religious life of the individual.

What would happen if I made a link between the alchemical perfection and liberation of the human soul, and the neoliberal condition and the neurological subject, but again with this connection and the connections I was making with the crystal ball and crystallography, 

Ok the priority question is, how is this going to manifest in physical materials?

occult diagrams, objects, actions, chants, processes, conducting the practice of roger bacons alchemical texts currently my SGC work is concerned with mixing the mystical and scientific, in some way that can, be analogous or aesthetically merging the two, things to look up in bold the problem comes with the essay, before, when I had had it in my head that my previous work was to do with animism which it is in a certain way but it isn't really truly what the work is about. However this installed a lot of confidence in how my ideas where going to tie together. As I've explored the previous work to write an essay about, the projects have started to splinter more and more, the concern with the SGC is more about scientism, and ways of unearthing the archeology of the foundations of the scientific method, doing this by aligning, or getting different objects sounds actions... to produce new meanings or different insights into the genealogy of the SGC. The things to collect are, firstly sound, insure into the sonicator the X-ray beam or general electromagnetic recording around the sgc, the first link here is with how electricity was called the 'alchemical fire', or the practice of scrying and whether this has anything to do with alchemy. Fate is an interesting word here, I'm drawn to that fact that it has a bad rap for relating to bollocks but fate still occupies a space in the imagination, and when you submit yourself to relating to things in the aesthetic dimension then you are buying into concepts as one would do with a religion, so the alchemical fire Im thinking about this through firstly vibrating objects with contact mics,  why? there some more speculations need to come out of researching more about alchemy, so more comparisons can blossom and substantiated thoughts, so I am to divide my time, between watching alchemy documents, ask DOM about where to research, and why particularly he references alchemy in his work, do you expect the audience to know is there a particular part of alchemy that he references, whats englands alchemical heratage? how significant is the work of Roger Bacon? how does this relate to hermeticism, READ MORE TECHGNOSIS so the essay, FOLK NEUROLOGY, what is new folk, why folk? so this means of the people, the common everyday people, I suppose this could to some extent refer to the Digital native, the internet now fosters folk, is an archive and incubator of weird folk rituals, reddit for example, practices both the old hermetic rituals, but to what degree are new folk mutations emerging out of the internet? this word mutations is interesting in relation to michel fehers' the neoliberal condition, that rather schematically explains the way the general condition of people has become an entrepreneurealization of subjectivity due to neoliberal markets needs revision and this has mutated into folk ritual weirdness, this needs to be defined, so to appease the hyperobject? of neoliberalism there is a desire to transform the bodymind to enhance productivity, what is a way of viewing this and the neurological subject? My urge here is to follow a certain enchantment path, to appeal to the folk side, so maybe a way of thinking could be that the internet fosters 'bodies' or parades of connections and communications, e.g. the quantified self movement, diy tics movement sub categories of performance enhancing drugs and meditation online, this is partly to do with the bubble nature of the internet, perhaps Bubble is better than the word body. but do entrepreneurs actually use tdcs it seems to appeal more to teenagers in their bedrooms, or people wanting a quick fix of focus, just for the kicks, the CULtures of boredom perhaps plays a role in this. Superpowers are needed to keep up in this day in age, In terms of alchemy, people are usually sympathetic to the practical nature of the experiments and how this formed the basis of science, I kind of wanna go a bit further and look at the more esoteric side of the practice, what where the internal effects of alchemy? erik davis talks about this briefly somewhere there is something in the nature of the coding, perhaps the motivations and desires of alchemy and scientists need to be examined, like the Philosophers stone was a search for eternal life and being ingrained in new conditions, how can artists problematising the human condition THE COGNITIVE TURN as subjects we think of ourselves as previous generations did not, material and chemical entities to be improved on artists to consider Mariko mori and harry sanderson, wellcome trust artists how did my work take on the topic of the neurological subject How is mark mori making art about the neurological subject Benedict drew, speculation, neoliberalism

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Timothy Morton, Erik Davis and the SGC meeting

Uncanny Objects 36:50- ridding the concept of nature not about coral, the twisted and weird, what got us into modernity is the divide of nature non human beings are in social space, in your handkerchief, bacteria, etc.. this means social space was never completely human, no real difference between where i live and the other beings live, the word nature, nature is only really a concept of good and bad, but everything is nature so what is good and bad, nature is inhbiting the 'intimacy' with the non human, ED 'in hyperobjects- when we lose the world and we are left with intimacy, humans craft their little bubbles of their world, only thinking about the narrative flow of the bubble, but suddenly when inhuman emptiness and non-human encounters and events and hyperobjects occur, then the zizekian example of the toilet occurs, you flush your waste then poof its gone, but its actualy still a part of the world, the outside of my world, the outside doesnt really exist, then realising that this applies in some sense to the self, this can be scary and overwhelming, but also has the buddhist tint of being intimate with object, terrify to white western guys that its horrifying for a few secounds then get old, the UNCANNY freud talks about coming out of your mums vag, your horrified for a few sexist secounds, but when you relax about it you notice this is the way things are, you notic, it becomes different, a nighmare becomes, funny silly, then your being impinged and oppressed, but then you relax into it, waht is happening is some basic connection between me these 'outside objects' non human beinngs that are ungraspable (talked about erlier).  INTRINSICALLY UNGRASPABLE. so there is an intrinsic sadness that melts into lower stimulation depression space, pressed down accepted melancholy, there is a connection that is intrinsically ungraspable- horror melancholy rediculous melancolia sadness equvalent to the experience of beauty, the sadness is feuled by a longing to reach out and grasp i want to reach out and grasp i want to hold, its the buddhist secound noble truth,

The truth of suffering (Dukkha)

The truth of the origin of suffering (Samudāya)

The truth of the cessation of suffering (Nirodha)

The truth of the path to the cessation of suffering (Magga)

VISUAL PARRALELLS OF PROTIENS AND PARTY POPPERS

we live in the realm you cant delete it but you can have different positions on it, maybe i can hold o really tight, but maybe i can let things come and go, to have a more intimate relationship with them, one of the things that you can loosen your grip on is the MIND, never be completely graspable, what happens when you meditate, you realise it disappears, it  is not somehting that you can completely grasp, so when you meditate you come to realise that there is not nothing, there is somthing, but its not you grandaddy somthing, its what in some text they cal buddha nature, this kind of etherial, energy flow, that is not exactly me, there is somthing sad and spooky about it, but inside the sad and spooky is an uncontitional joy// layers of guilt-shame horror melancolia sadness, longing joy, instead of trying to delete these stages you let them happen but then you go inside then and explore the encrypted frozen wisdom, inside the consufion, inside the confusion

the strong image in this work is the 'charnal ground' to not flee from the lonliness the paranoid dispair, looking at our current condition as a greif space, in the current (ecological) situation spinning out of control, but the charnal ground look this up, its a space where you can't separate being alibve and not alive, there are these spectars and spirits, and gohsts, a place where the difference between a corpse and something that is alive as chemicals or something that is biological, kind of breaks down, 

BUT what this space actually is is modern science biology is fundamentally saying that life forms are made of non-life, but you cant draw this thin rigid distinction between them its exactly what happens in charnal ground awareness you are ready to confront a thick reigon like population with all kinds of weird anomalous undead creatures, and thats how to think of ANIMISM, its not this firm distinction between life and death, its accepting that things have this wierd uncanny slightly PARANOIA INDUCING, but also funny and silly category of confusion of kind of crossing of boundaries there is life and there is death you do die and things do live but nevertheless we cant really distinguish, its exactly the same, because of the fact, that we cannot distinguish the difference between appearing and being, [substantiate this erlier],  but in fact there is a difference between appearing and being at the same time, so we encounter these weird contradictory uncanny beings much more what like first peoples actual experience was like, a sort of ontological paranoia, and we have been trying to get rid of that paranoia, but maybe there is somthing interesting and true in that paranoia, people who are diagnosed like my brother with schizophrenia, in this culture, they have been demonised and pathologised, but in another kind of culture, they are seen as a kind of shamen because they can bridge worlds, so maybe they need to have some kind of training, so all the ideaas that in order to see anything at all, you have to be hallucinating really, which is neurophysiologically correct, there is so much more data to beaming into you phalimus, from INSIDE your brain, to what is coming from outside of your brain and if it didnt come from inside your brain, like when you are in a darkened room and you see stuff, like a prisoner in solitary confinement, if that was not happening then you could, see stuff and i would argue that you couldnt think, thinking is basically like a hallucination, that you believe in, then we have to get into the possiblility of human/plan co evoloution, and the fact that thoughts themselves might be the product of interaction between humans and psychedelic plants, this goes back quite some way, but what happenes when you have a thought at all is like some version of a plant that is happening in your mind, the thought is not your thought its more like a flower opening, your way of seeing that 

ED- Animism is coming back, the latest twist that RESONATES [THE ACT OF ALIGNING} things that have been eclipsed, resonance does not mean we are going back to animism, this is not a return there are all sorts of resonances that stretch beyond the modern, budhism is a beutiful way of lining up the resonances in an insightful way

A KIND OF FUNCTION FOR SPECULATIVE IMAGINATION

what is your meditative practice today, TM- formally studing, NINDRO, tibettian, im a student of zogchan a form of esoteric tibettian buddhism, doing a lot of visualisations of enlightened beings like an allergy medicine, allowing to tolerate the vivid- withdrawn yet vivid quality of your very own mind, which we do tend to delete, relaxing with the idea that since we left the paleolithic, experience doesnt have you, meditation is about letting experience happen freely, then what you realise is that experience is suffused with its own kind of stability and energy

SGC NOTES

interior architechture

formed plansthinking about ideas and cultural impact

ellie williams, 

meetings every thursday

interior architechture projects, 

teams- exhibition production teams not thematic

map advertising catalogue, publication WRITING?, links essays could essays be published as part of the catalogue?

GROUPS 36 people

publicity writing and viuals

1.writing team, catalogue, venue press release

2.visual team, visual appearance of posters layout, 

3.publicity, sending stuff to press audience

Open saturays, so the publoic can see the work, this is communicated through the punlic

opening night can be an event, with performances etc, so the opening has to be a real event,

4. team can be production, in charge of the private view, wall building, materials 

other roles, project managing,

Budgeting

travel budget from the SGC, 

fine art can provide transport to get work there (VAN) fuel, volkwagen caddy

poster hooks

the course will find the publicity 

installing

auctioning work? bids on the work, silent auction, for sale?

research pool?

coordinators- charlie, debbie locke

floor plan

ok I would like to kick off the research pool idea, by showing you guys this https://techgnosis.com/uncanny-objects/

this is Erik Davis' podcast, hes amazing and has loads of good Art Science stuff to listen and read, in this one he talks to TIMOTHY MORTON a guy who popped up in the cultures of nature workshop about animism and our good ol friend Object Oriented Ontology and could relate to the study of proteins in an interesting way 

"biology is fundamentally saying that life forms are made of non-life, but you cant draw this thin rigid distinction between them"

ideas and collaboration with interior architecture whether people want to collaborate  they can,  so we have to know, or at some point share individual ideas with each other,

hyperobjects, global warming

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Michel Feher

In the last three decades, neoliberalism has defined a brave new capitalist world – a world in which financial markets preside over the allocation of resources. Under neoliberal capitalism, investors are not only allowed to reap an exorbitant rent from the production of others: they are also invested with the power to decide what is worth producing. In addition to siphoning off wealth, financial institutions establish the criteria that shape the business plans of corporations and the budgets of elected governments. redemption fulfilment appreciation  6 lectures on the neoliberal condition

2 propositions, trying to ascertain the existence of the neoliberal condition

1

in the past 3 years has not only been transformative in statecraft and management, but just as transformative of personal motivation and conduct,

2

 in order to fight neoliberal policies  my recommendation would be to not reject it but to embrace it, considering how resilient it is- next year

neoliberalism is a notion that belongs to its foes, belongs to the people who does not like neoliberalism, this was not always so, the term was coined in 1938 by a german economist alexander rustif the walter hitman conference, including the main figures in neoliberalism. 

milton freedman used the word neoliberal to describe himself 

hayek F never used the term, he's an old wick instead

so the term was used less and less, disappeared in the 60s and reappeared in 80s with clinton and blair right wing democratic parties, 

they where proud to be called neoliberal but didn't know what necessary what they stood for, this was the last time someone presient , liberal wing of the democratic 

then in the 80s as neoliberal, first with Margaret Thatcher, rREgan  this is when it started to be used by critics

this is a contested term, -what has happened since the 80s is a dismantling state, to regress to the early 20th century, some claim to want to return to the pure unmitigated capitalism, however

WHAT IS NEW?

others cantinas focal marx, neo is new, radically new 

what is this new made of 

1-financialisation, the rise of markets, facilitated by old forms of deregulation- this means 3 different things

   1. from the 80s on financial capital has been able to circulate freely from country to country across border

   2. financial capital has also been able to circulate freely from one type of financial institution to another, so no more difference between an investment bank and regular bank and what they can do

   3. the development of financial engineering that has caused the ever mushrooming market of derivitives, options and so forth 

2. what stems from the financialization is a transformation in corporate governments. corporate governments today are about creating value for their shareholders. this is new, this is a doctrine and a practice developed in the 80s, thanks to financialisation

3. new public management, a transformation in statecraft, that mandates that public administration should be managed the way that corporations are managed, the way they are managed now, so this is about shareholders, there is no shareholders but voters this is making a government that proportes to please the bone holders, corporate management is about pleasing the shareholders, national governmental policies now is about pleasing the bone holders and that is also a consequence of finance

4. the advent of workfare, the replacement of welfare (the transformation of social policies) to workfare, in other words social programmes helping people return to work rather than providing for the fact that they are unemployed. its a transformation from a search for full employment to a search for employability, social policies should search for making people employable, not about making them employed necessarily

some of these transformations I embrace:

but it is not only state, corporation macro scales, its our condition  that has changed, our subjective forms, personal motivation and conduct

of course I am not only one who make this claim as early as 1979, is the very birthdate of neoliberalism, is the official birthdate, thatcher... in 79 birth of biopolitics lecture was given by michel Foucalt  and was something radically new among the new things it bought, one was subjective transformation, the self entrepreneur, entrepreneur of the self as the new subjective form of neoliberalism

my claim is that the consequence of financialisation, the subjective form of the self entrepreneur will be slightly obsolete and can be replaced by someone who could be called a portfolio manager instead of entrepreneur of the self, 

2nd part what do I mean by condition, neoliberalism brings with it a representation of the human condition, my contention is that it is not only neoliberalism that brings the representation of the human condition, but, every mode of government is articulated, predicated on a certain representation of the human condition, in order to make my point i will lean on foucault

Foucault in the 70s developed a distinction between 2 kinds of power prominent in western society, 

1. sovereign (supreme ruler) power, studied by political philosophy

so sovereignty the power to take and re distribute, to levee and reallocate, to confiscate and redeploy

the son can kill and give grace, raise taxes and redistribute wealth, and with land etc... a special right to take and reallocate

2. governmentality is different its not about taking and giving back, its based upon peoples action, about modifying peoples conduct to a certain end or goal, e.g. pastoral power, the power of the priest to modify the conduct of the faithful to bring them to some kind of salvation

what he claims is that governmentality (which was largely confined to the power of the church, in the west, in the middle age, early renaissance) will then extend beyond its pastoral, confines and governmentally will deploy as the major power in western society in the modern era, Not that sovereignty will disappear but will be more and more articulated through governmentalitly and govern mentality will loom larger and larger

now think of the legitimacy of the 2 powers, - look at what gives the right to the sovereign to be the sovereign is a special quality, for the platonic sovereign this is the world of the idea, for the absolute monarch, its the fact that god had given them the mandate to rule for the democratically elected leaders its the popular suffrage that allows them to be the sovereign 

so sovergienty is based upon the special quality of the sovereign 

Govenmentality is not legitimated by a special attribute of those who govern, but a special defect of those who are governed, and in order to allow yourself to govern others, you have to be able to claim that they cannot govern themselves, but then you have to show why, which means that you need to have a certain representation of how people behave when hey are not governed

this is why you need a certain representation of the human condition, interpreting the natural spontaneous propensities of certain people before government presented in a ay that makes government seem necessary and possible

this means you have to endow people with 2 types of inclinations 2 types of propensities they need to have bad inclinations to prove they cannot go without being governed, but it cannot only be done by the bad inclinations but if they where only governed upon bad propensities they they would be ungovernable as they would only have bad inclinations this JUSTIFIES but does not make possible

in order to make it possible they also need to have some good dispositions. these good dispositions show that governing them is possible but also tells how they should be governed tells what a good government is and will enhance  foster the good disposition of the people and ward off the bad ones, schematically this is the kind of representation that is required from a government that is entwined and necessarily articulated with a mode of government

by that I dont mean that the representation of the government are ideologies, that they are produced by government to justify what they do, to feel legitimate to do what they do and how they do it

it does not work like that

in fact in between a representation of the human condition and a form of government what you have is a relationship of mutual presupposition they lean on each other, which means a certain part of the human condition can be raised to government to justify or criticise it, in the name of the same representation you can say no if we agree that the human condition is a certain way then, than say that government has not adapted you can see here where I'm going when one should appropriate the condition that correlates to our current mode of government, the neoliberal mode of government 

thats what is meant by condition but I'm saying something more- that there is a neoliberal condition, by which i not only mean that a certain representation of the human condition correlated with the neoliberal mode of government, but also that the neoliberal mode of government is correlated with a new representation of the human condition and that is a pretty bold claim because, major shifts in the representation of the human condition occur but are rare, I would argue that there have been two major shifts of this sort since the 5th century after christ so to say the 3rd one has been happening within the last 30 years is a bold claim in oder to defend this claim it is important to go back to see the predecessors of neoliberalism  the first condition is the augustinian condition which appears at the beginning of the 5th century and they are, the bad disposition called cupiditas cupidity, desire and the good charitas, charity the propensity to give desire to give, the human condition will be divided between these two polarising propensities, between the 5th and the 17th century, conditions are malleable 33:40 liberal condition -passions rash violent, bad - good yearning and ability to pursue interest recognised as praiseworthy  polarised between two propensities the neoliberal brings a new polarity self loathing and self appreciation this will be developed in economic terms- the economy based on profit to credit the evolution in psychology, the liberal subj optimises the neoliberal subject wants to inflate the self esteem social and love life of neoliberal subject the basic relationship of the neoliberal subject the relation of the liberal subject trading the atomic relationship of the neoliberal condition are not exchanging but SHARING intersecting, trading gives you profit, sharing gives you credit, bound to self esteem the augustinian condition, 1411 paladin controversy in the classical and hellenistical world the idea that evil was coming from the outside and men where endangered the form of hazard and this came in different forms, and within through imagination cells, but there was always a kernel of the soul that was rational, there has to be self control and autonomy, purification was the idea there was something pure in the soul that needed to be polished augustine changed that by discussing the paladins  the old we must be pure, the idea that these guys, in order to defeat them since the fall free will is a joke, there is not one part of our body that is good, that belongs to us, m the only thing that can save us is the charity that god in his

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CP essay points

How can art be metamorphic, animist, in the way that Isabelle strangers writing is? recovering any experience that is "not ours" but is animating us, making us witness what is not us while using phrases like magic to 'feel the smoke in our nostrils' and recognise that we are heirs of witch-hunting, she never comes to a definitive idea of animism, thats the point, is to leave it undefined how is the word assemblage used in this text? reading art as a kind of "magic", in the way that david abram describes how is lure described as magic and how does this feature in my previous work- the previous project actually came out of the lure I had to tDCS How can we accept regression, or conversion to supernatural beliefs? The point, however, is not to wonder whether we have to "accept" the goddess that contemporary witches invoke in their rituals. If we said to them, "But your Goddess is only a fiction," they would doubtless smile and ask whether we are among those who believe that fiction is powerless how does the sound of electromagnetism animate images, or forms in my last work? why does the image of a 'paranoid visionary' how can it work to affect an imaginative response to the work? how do you experience sound art, as a silenced mind/ meditative practice or letting associations and the imagination flow?- I'm thinking of minimalist composers how can blurring fact and fiction help to thinking a more enchanted art? Timothy morton is concerned with a transcendental gap, between how objects appear and how they are, a black hole for example gödel esher bach- in order to be true, a logical system needs to be able to talk nonsense the existence of this logical system, the existence of a logical system depends upon its inner fragility TO DO for 5

neurology

ˌnjʊəˈrɒlədʒi/

noun

the branch of medicine or biology that deals with the anatomy, functions, and organic disorders of nerves and the nervous system.

neuroscience

ˈnjʊːrəʊsʌɪəns/

noun

any or all of the sciences, such as neurochemistry and experimental psychology, which deal with the structure or function of the nervous system and brain.

"the company's research areas include the neurosciences"

is there a specifically neurological branch to the sec are there any neurologically related medicines that how do I let folk neurology inform the SGC Work? find out more about the well being side of things, what is are the interactions

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thinking animism

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RESEARCH POOL draft 1

A more organised collection away from the group chat of all the reserch

ok I would like to kick off the research pool idea, by showing you guys this https://techgnosis.com/uncanny-objects/

this is Erik Davis' podcast, hes amazing and has loads of good Art Science stuff to listen and read on his website, in this one he talks to TIMOTHY MORTON a guy who popped up in the cultures of nature workshop about animism and our good ol friend Object Oriented Ontology and could relate to the study of proteins in an interesting way, as strange 'hyperobjects' maybe?

"biology is fundamentally saying that life forms are made of non-life, but you cant draw this thin rigid distinction between them" he then goes on to explain that this resonates with ideas around animism,

also there is this place http://www.artscatalyst.org/projects that has endless amounts free art-science reading material and artists resource

AND there is RADIOLAB, a SUper accesible resource for sciency ideas and loads of other cool sh!t http://www.radiolab.org/search/?q=cells#q=genes heres a search for podcast relating to genes, close enough to proteins i guess

SO YEAH please contribute with ANY assosiations no matter how weird or twisted or research, that could could potentially change the way we think about the project individually and as a collective, so if your confused, discuss,

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Ideas or starting points for the next project

What are some aspects of the video, sound and objects that I might want to take further?

I think future lines of inquiery lie in how to use the ambiguity of the sounds, after the Alison Carlier talk on Monday she won the Jerwood drawing prize with a piece of found text that described tonal qualities etc, and to the listener it sounded like a drawing because of its label. I think this is a clever use of the ambiguity and interpretation of sound that I couldn't quite grasp in my work.

Do the Domes still have any ideas left in them?

try quicker sounds

This is all great for research but don't forget to play

Make some obstructions, respond to the words micro-macro, do a video drawing, sound drawing, mapping, filming, listening, building, balancing,

foleying 

Elizibeth price 

objects sounds and video 

pipolotti rist

viktor timofeev

invisible forces

narrative, conspiracy, creative writing, the story of concrete, plastic, television amoung the bees

cultural, theatrical plots and villains, convenient Narratives

controllable objects

new ways of sensing with contact mics

projection

DIY, home made and shit 50s sci-fi, cold war paranoia scientology, tin foil hats, the cultivation of paranoia, 

astral projection

that colourful DMT documentry

find a way to do sketches, quick ideas, how long does your 'inspiration moment' last?

 https://www.youtube.com/watch?v=bwxK2pVmZgc&list=PLRj-rMaj2BqyQ47sa3qyTI5fCXgr9quyo

This dichotomy between subject matter and material seems to be widening and Im not sure if I can, or should try to marry them together, but again early days try extending both as to see what happens this happened at the start of the last project when I felt a bit iffy about doing a sound piece, again I find this is not a productive starting point for me I don't think in the ways I can push the medium of sound What are some of the topics and ways of working do I want to put more research into or develop?

Try using the news tab on google

neuroplasticity

Cynicism and irony or fully fledged conviction, in Zizek style

Scientology, conspiracy theories, mind control http://skewsme.com/tinfoilhat/

Simplicity of desires and how they are targeted with consumer devices.

Quantified self, tdcs or productivity meetups

Insect media

 I think its important to mention that in this project I have tried different methods of reflection, I've tried short handwritten notes on the fly as I'm making, longer hanwritten notes, and in the final stages of the unit, typing notes in the library as a more separated activity to the making process

Separate the making and reflection into, different activities I work best in the library in the morning

http://www.ilonasagar.com/prosopopoeiamanualhandbook

Found text as a drawing

Respond to research in a certain field, look at recent radiolabs, ask ben for more podcasts

NB When we first met, we shared an interest in the hallucinogenic drug Dimethyltryptamine (DMT) and its effects. We ended up watching a cheesy but colourful documentary, DMT: The Spirit Molecule (2010), complete with over-the-top CGI replicating psychedelic trips. In hindsight, it summarizes important aspects of your work – like drug culture, DIY relaxation techniques, self-help and commercialized therapy culture – and how those things are represented.

DIY

Capitalising on the 'don't know' and hype of meditation, and mindfulness, much like scientology

I like the relationship you seem to have with your practice; you seem to be following it or tracking it, letting it take you places which is when unexpected things happen. The 'ambiguity of sounds' is really interesting, having a schism between sound and the visual. Your film touches on this, you might be bringing that more into your 3D work by the sounds of it. I like that contradictory  dialogue combined with this allure of fiction. seems too like sci-fi. Because the industry of mindfulness is loaded with hype, this fictitious side is relevant. There's a big "don't know' hanging over the work which makes it strong. Some of the plane/drone shots look like sets with models. 

I like the unknown particularly in 'Stalker' a recent Tarkofsky film I saw 

fordist ideas of perfect insect organisation in post ww 2, metropolis 

https://research.bournemouth.ac.uk/centre/interdisciplinary-neuroscience-research/

WHAT ABOUT STRESS!?

So, what information can I gain from researchers at BU and how can this futher substantiate some of my ideas with specialist knowledge

Think about the intent I am going in with to get the best results and not to get bogged down or distracted

Don't restrict myself to specialist research I think it would be interesting to consider shiny popular things in relation to current ideas

https://www.psychologytoday.com/blog/sideways-view/201507/the-psychology-surveillance

http://blog.cursorware.me

http://potlatch.typepad.com again http://potlatch.typepad.com

the voice and ventriloquism, embodied sounds, animism vibrating stuff, robert morris idea, sound of its own recording 

And this https://www.youtube.com/watch?v=cA2-iMz479o&feature=em-subs_digest

This is all great for research but don't forget to play!

I like to produce work with an allure of fiction, and particularly interested in how fiction can parrallel everyday delusions I think that because we are saturated with cinematic media, cinematic moments especially with modern day popular films that has reduced the overall average time of a shot due to cgi etc. I think cinema can reinforce so many delusions and western ideas of the solid I ok so re-reflecting upon tDCS its interesting that it cuts out voices, makes people less depressed, but nothing about their worldview has changed, in buddhist terms they are not excersising the growing of compassion or states of mind that are at the core of our being. it is exteremly oversimplified with too greater reward. tDCS by its very nature could be using attatchment, a desire to transform with a few easy sessions one can be a happier person surly if hypothetically tdcs did work then someone would start to depend on it? its attractiveness is linked with comfort, the attatchment to being comfortable, also a state when nothing is practiced no effort is produced to better your state of mind. at the end of the day surly tDCS leaves you with no world view to cause a better mood but tries to physically change the mind.  other reflections on DONT LET THEM IN, the framed individuals comment was interesting, I think this quite nicely linkes up with the idea that westeners have an inherent idea of a fixed self, maybe start to look at perceeptions and ideas of self in contrast to ideas of emptiness 

How to approach the researchers

I feel like I need to know more about what I want to do in the next project to approach someone with specialist knowledge to then base some of my practice on

some of the things I would like to gain further knowledge on are

meditation + tDCS

so control is interesting here particularly how The Cognitive Control Lab have done some research into control, but my preferred intention would be to investigate this interesting polarization between wanting more control by practicing mindfullness and meditation, but then it being used as a homogenizing force of capitalism. Or with intent on producing the 'Last Man' one of Nietzsches ideas. Ok so what is wrong here from my current understanding, is the appropriation of buddhist techniques, ok they are pretty down with people interpreting their teahings, but when people do with the intent of producing a more productive workforce, then the question arises, who is in control, I spose this is more in line with hindu meditaton, achieving the single point of focus, then the buddhist part is starting a journey to nirvana to achieve enlightenment, this is where corporate mindfulness starts to draw its own cartography inside your head, chill out, relax, and have those papers in by monday. 

an important contextual issue arisees here, what companies actually use corporate mindfulness?

Could I do work experience at one of these institutions?

do any contradictions arise in the motives of buddhism and corporations that appropriate their

I have this idea that there are bad guys that are corporations this idea needs expanding who exactly am I observing here? I risk coming across as a fascist hippy here

mcdonalds for eg

control samsara, where exactly does some of the research parallel with what I am interested in?

OK so ground the email in some questions and a request to use tDCS

-attention as a currency 

-the stroop test 

-any research around affective noises and sounds? 

-any research around 

The formation, content and maintenance of goal representations

When we set out to perform a task, we do so with a mental representation of what we want to achieve (i.e. a goal/intention). 

The mental representation needs to be constructed and temporarily stored so that it can be used to perform the task at hand. 

One aim of this project is to investigate the content of these mental representations, and to investigate how changes in the content of the representations affect performance on certain tasks.

Furthermore, it is often the case that we encounter things that distract us from the task at hand, and so we need to be able to remove the influence of these distractors. Sometimes the intention to remove the influence of these distractors is not enough because:

We might be too efficient at attending to / processing the distracting object

The goal or intention is insufficiently specified

The goal representation decays too quickly (i.e. is not maintained)

We have not specified the what, when and how of the intention (e.g. we have not created what is known as an implementation intention).

A further aim of this project is to investigate whether exposure to concepts that relate to a goal or intention can boost or reinforce goal representations enabling more efficient removal of the influence of distractors. Of particular interest is how to improve goal focus in populations that have been shown to experience problems with goal maintenance (e.g. those with inattention) and how long such effects might last. 

so this is the cognition behind the goals we create in our head, are they talking about the image of thaught and the coressponding brain activity? this could be interesting

The role of the Prefrontal Cortex in cognition and behaviour

There are many theories about the role of the prefrontal region of the brain in cognition and behaviour. There are also theories about the functions of particular regions of the prefrontal cortex. For example, regions of the brain known as the anterior cingulate cortex and the dorselateral prefrontal cortex have been shown to be activated by tasks that require cognitive control.  Regions nearby these areas of the brain have been shown to be involved in the processing of rewarding stimuli such as chocolate and pleasant odours. Since a goal often involves the desire to obtain a reward, the interactions of these brain regions are of significant interest to anyone wanting to understand goal-directed behaviour.  This area of research aims to further understand these interactions and to investigate neural regions involved in tasks requiring cognitive control in general.

so is this only relevant to sensory rewards, like ordours and choc, or can it be applied to things like the desire to be comassionate, 

So i have to think about the merging of these ideas with the buddhist conception of the world, so one who completely sees the concept of emptiness in all things there is something between this, meditation and the 'image of thaught' how can images and concepts affect our thinking, another interesting take on this idea is again alison carliers sound drawing, there is language and sound creating the artwork in the audiences head. I'm thinking how this lines up in some way to meditation practice, particularly 'meditation on shakyamuni buddha' an article by robina courtin, this entails visualising, in specific detail the buddha in the form of "light: transparent, intangible and radient. At the level of your forehead and six feet away...' and this goes on to describe the apropriate ritual for us to "develop firm conviction in our innate perfection - our buddha potential" the westen ideas of the mind,'we say "its only in the mind" we give no value to the mind even when we are caught in it. We give no value to just thought' I like to produce work with an allure of fiction, and particularly interested in how fiction can parrallel everyday delusi

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Genetics Brief- intent THIS FRIDAY

Forthcoming Exhibition Proposal Brief An exact determination of the laws of heredity will probably work more change in man’s outlook on the world, and in his power over nature, than any other advance in natural knowledge that can be foreseen. -William Bateson Human beings are ultimately nothing but carriers-passageways-for genes. They ride us into the ground like racehorses from generation to generation. Genes don’t think about what constitutes good or evil. They don’t care whether we are happy or unhappy. We’re just means to an end for them. The only thing they think about is what is most efficient for them. -Haruki Murukami Spanning the globe and several centuries, The Gene is an exhibition of the pursuit to decipher the master-code that makes and defines humans, that governs our form and function. Influenced by the story of the gene that began in an obscure Augustinian abbey in Moravia in 1856, where a monk stumbles on the idea of a ‘unit of heredity’. It intersects with Darwin’s theory of evolution and collides with the horrors of Nazi in the 1940s. The gene transforms the post war biology. Through this exhibition I would like to re-organize our understanding of sexuality, temperament, choice and free will. I would like to interview with a variety of artists, scientist and fellows researching in the field of genetics. As a studio based artist as a curator by artistic practice will be driven by the human ingenuity and obsessive minds from Charles Darwin and Gregor Mendel to Francis Crick, James Watson and Rosalind Franklin, and the thousands of scientists still working to understand the codes of code. ok I would like to align this project with the current project to do with the SGC, as I think this is a great specialist resource that could be utilized in interesting ways. They use genetic engineering to extract genes, put them inside non-human cells to 'trick' them into producing proteins. These proteins are then studied to determine their shape and function It would be nice to inqire into this process of genetic engineering, to see if genetics can be exploited for creative use. I am also interested in the genotype/ phenotype divide, and how this divide can be expressed in the notation and performance of sound. Or to take this idea further, and ask the question, what is the role of genetics in improvisation? This could lead on to describe the much deeper connections of genetics. In Dominic Shepard's lecture 'Englands Dreaming', he described the artist Tessa Farmer who makes meticulous, skeletal faries terrorizing taxidermy animals. What is most interesting about this artist and her work is described in an interveiw "My great grandfather Athur Maken was an influencial writer of horror and supernatural fiction. I didnt know or read any of his work until several years after the faries appeard. A friend of my grandmother told me the similarities with my work and some of his themes. many stories feature a mysterious race of murderous evil faries which echos the species dicovered. I suspect this is more than a coincidence..." This encapsulates the mysticism of genetic inheretance, coding that produces patterns of expression through different bodies. So I hoep to open up a space between scientific rationality and mystical irrationality

it has to be sound, i have to make that connection?

it has to be in a lab?

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Assessment chat final draft

1. The starting point for my project was a feeling of being drawn to by the topic of tDCS (trans-cranial direct current stimulation). I had a proposal outlining some general ideas, but in reality it was something about the strange subculture it generated, and how it was packaged and sold as a simple, answer to the complexity of peoples problems and desires, that drove my investigation. 2. My first thought was to try to address this through an object, or fabricate the experience of a consumer product that would put the audience into consideration with a tDCS device. I wanted to construct some sort of fiction, to perhaps fabricate a story around how its used to bring into question this new way you can subtley 'better' your thaughts. But as I started to try to materialise this idea my intentions started to adapt around what I had made 3. Once I had built the case or domes as part of the idea, I experimented with the sounds that could somehow signify the function of the device. Shifting my inquiry towards thinking about the speculation about what was on the inside of the dome, and its comparison to the reality of what was inside. This is when I started gathering noises to put on the inside, I thought to push this by trying to align the noise of flies with types of whitenoise. My origional intent was to try to amplify their buzzing or to somehow merge their noises with static noise from technologies taken from the nature of insect structures or behaviours. However I was finding it hard to see how to realistically resolve the work 4. So after the Iona Sagar reading group and the british art show, I felt particularly influenced by the article Happiness inc. by Jonathan P Watts and this following article influenced how I chose to resolve the work "As such techniques measures and technologies for combatting stress misery and illness now permiate the workplace, the high street, the home and the human body. Happy, heathly = productive, profitable people." "NOT HAPPY, 2014 by Benedict Drew, signposts a seething nihilistic misanthropy famailier from many of his video installations. ... a characteristically hallucinatory video work screened at the sepentines 'Extinction Marathon: Visions of The Future' last year, a morphed remix of Pharrell Williams's 2014 neo-soul track Happy blares over stock images of a clean kitchen, 'WHY ARE YOU SO HAPPY PHARRELL?' reads an intertitle ...'. Drew told me that the track's pervasiveness made it seem as though some sort of law has been passed that all the loudspeakers in the land had to play the song on a loop every day. The video implicates viewers in an ecological crisis by representing liberal sanctimonious platitudes of 'not me': landfills brim with plastic, but you and I are alright. The waste produced when consuming our way to individual happieness, of having everything, is a problem for everyone 'Happiness,' said the Dali Lama, 'is not something ready made. It comes from your own actions.' If you clap along enough with Pharell you might just find happiness. What structural violence, Drew's video asks, is being obscured when the imperative for happiness lies with the individual rather than the collective" This made me want to go back and see if I could somehow frame tDCS within this context. So my intentions shifted to framing the ways people subject themselves to products and programmes devoted to individual happiness, but this has ended up coming out in an ambivalent and problematic way. So I took a similar apporoach to what I had before- of trying to align sounds, but this time to some of the youtube research I had looked at earlier in the unit. I started editing the video with some causal links in mind, between tDCS, meditation and drones. I wanted to hint to these with informational clues in the video. But then I didn't want it to illustrate these connections, and absorb the video into making a point. During the editing process, in comparison to making objects, I noticed how it created an ironic distance with the individuals I've framed, and I feel this urges the viewer to make a judgement. But there wasn't exactly a clear message that I wanted to express in the video, I'm just left with an ambivalence towards office meditation and tDCS. When I had shown this video to people there were responses to the video on different levels, some people felt an affective response to the intensity of the sound. After the Annabelles reading group, she observed that the video was in some way performative, in that it acted upon the veiwer and it felt like you could join in with the instructional videos (but that was when it wasn't so loud). I another starting point was revealing invisible forces but they havent necessarily been revealed in the video, its ambiguous as to whether its this 'being watched', 'cosmic energy', asteral projection or electricity. Some people made narrative connections between the clips and the sound that is performed over the top. I had some problems in wanting to exhibit it without being too visual, and I wanted it to try to make it seem more like an individuals personal computer. I wrapped it in tin foil as I liked the questions that came out of why it was wrapped in tin foil, that it might be reflecting something, and somone has done it to protect their computer or themselves from the computer, It also has a title DON'T LET THEM IN, to bring out the absurdity of the video. I also saw this as a way of showing it on a laptop without having the make of the laptop influence the work. 8. But really, I didn't give myself enough time to play with how to install the video. I think what is wrong with the video is that it could be seen as too judgemental, maybe seen as blaming these things and making them look villainous. That what I responded to with the tin foil to take the edge off a bit, but on the other hand it I saw it coming across as too cynical. I think future lines of inquiery lie in paying more attention to how the sound can attach or embody something, and this slippage between whats on the screen and in the room, and I want to put more thaught into how it would be installed and encountered (7:30)   I think at many points across this journey I have gotten lost and forgotten any intentions, or how I have been constantly re-evaluating my practice to fit an idea into different media. I dont think this has been a very focused inquiry at all EXTRA POINTS Each clip is akwardly long but dumps you in the midlle of the next clip The intent was to frame these ways of subjecting yourself to products and programmes devoted to individual happiness, in a way that presents them in an ambivalent and problematic way, and I didnt want this to be as simple as a reading of the work. So the video presents contradictions, in that there are mindfulness instruction videos, with uncomfortable sqeals over the top links between tdcs and meditation, the way they describe the feeling of tdcs shutting out voices in their head, and for the benefits of productivity Links between tdcs and drones is that they used it to train pilots and videogaming, links between meditiation is more of a juxtaposition, going back to the article 'but you and I are alright' I think to some extent the video is too paranoid I've found it hard to decide how to proceed in my decision making process, I found that my intentions towards making a resolved work can get completely lost within the experimental part of the process. But on the other side of the coin I can let intentions take over and block any thought that happens through making. Its like there was a serious point that I was going to make but it has been shrouded in absurdity that doesen't work to serve the function of the artwork. but what is the function of the artwork again back to a push and pull after the Alison Carlier talk on Monday she won the 2014 Jerwood drawing prize with a piece of found text that described tonal qualities etc, and to the listener it sounded like a drawing because of its label. why is the conspiracy theory a good reference? I feel like there has been a push and pull, between playing and experimentation, that breaks apart my intentions and wanting to reach a resolved intention I think its important to mention that in this project I have tried different methods of reflection, I've tried short handwritten notes on the fly as I'm making, longer hanwritten notes, and in the final stages of the unit, typing notes in the library as a more separated activity to the making process I dont expect the actual links that I have thought about to be comprehensible to the veiwer as they are dumped into the video. is there somthing more than just the message I gathered sounds, and was trying to align the domes, thinking about how they could either be experienced or read, and how this was affecting the speculation between the containers that the sounds embodied Thinking about what speculations can be made about what was on the inside of the dome, and its comparison to the reality of what was inside,

is the jerwood drawing prize down to language as much as sound am I producing waste on my journey to happiness in this work? is this not an attempt at your own recognition ?

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Assessment chat draft 3

I didn't start my project with strong intentions, but a feeling of being drawn to by the topic of tDCS (trans-cranial direct current stimulation). I didn't have clear cut opinions or a particular position on it at the time, but it was something about the strange subculture it generated, and how it was packaged and sold as a simple, easy answer to peoples problems and desires. At first I wanted to try to address this in some way through an object, or fabricate the experience of a bought product that would put the audience into consideration with a tDCS device. I wanted to construct this as a fiction, to perhaps fabricate a story around how its used, or maybe make a fiction around the device and how it works making a point about this interface that had subtle control over thaughts. But as I started to try to materialise this idea I began to adapt my intentions around what I had made, the inquiry shifted its focus away from what I constructed around the object to the object itself and the fictions I could play with the within it. As I was playing with this idea, I got further into experimenting with the sounds that could somehow signify the functioning of the device. I was observing the gaps between the reality of what was on the inside, and how the sound was read in itself when inside a nice aluminium container. What seemed more interesting was that instead of the sound eminating from a speaker it leaked out of the form. So this is where I started gathering sonic material to try to align them to see what speculation or connections could be drawn from the ambiguity of sounds . For example how the noise of flies may be mistaken for whitenoise, my origianal intent was to amplify their buzzing or to somehow perceptually merge fly noises with... But after the Iona Sagar reading group and the british art show, I felt influenced by the article Happiness inc. by Jonathan P Watts and this following article influenced how I chose to resolve the work "As such techniques measures and technologies for combatting stress misery and illness now permiate the workplace, the high street, the home and the human body. Happy, heathly = productive, profitable people." "NOT HAPPY, 2014 by Benedict Drew, signposts a seething nihilistic misanthropy famailier from many of his video installations. Near the end of NOT HAPPY, a characteristically hallucinatory video work screened at the sepentines 'Extinction Marathon: Visions of The Future' last year a morphed remix of Pharrell Williams's 2014 neo-soul track Happy blares over stock images of a clean kitchen, 'WHY ARE YOU SO HAPPY PHARRELL?' reads an intertitle superimposed over a rubberised mask. It is followed by another graver 'WE'RE ALL GOING TO DIE'. Drew told me that the track's pervasiveness made it seem as though some sort of law has been passed that all the loudspeakers in the land had to play the song on a loop every day. The video implicates viewers in an ecological crisis by representing liberal sanctimonious platitudes of 'not me': landfills brim with plastic, but you and I are alright. The waste produced when consuming our way to individual happieness, of having everything, is a problem for everyone 'Happiness,' said the Dali Lama, 'is not something ready made. It comes from your own actions.' If you clap along enough with Pharell you might just find happiness. What structural violence, Drew's video asks, is being obscured when the imperative for happiness lies with the individual rather than the collective" This made me want to go back and see how I could frame tDCS within this context. I applied my approach of aligning sounds to some of the found footage I had looked TEDSEACH at earlier in the project, this time thinking about how the sounds taint the reading or the mood of the image, in the same way the clean shiney domes I had made earlier emmited a disgusting textured noise of flies. What I found interesting when I showed this video to people, was the different levels that people read the video, some people felt an affective response to the intensity of the sound. After the new-materialist reading group, Annabel observed that the video was in some way performative, in that you might join in with the meditation. It could be read as a map of forces, being watched, 'cosmic energy' and electricity. Some people apply an abstract sense of narrative to the video between the clips and the sound that is performed over the top. i used The tin foil influences how the ambiguity is read along with the title DONT LET THEM IN, to me its more in line with a conspiracy theory, or simply keeping some unmentioned force in or out of the computer. I quite  dumps you ...liked the absurdity of the images and by wrapping it in tin foil would bring this out in the work. I saw this as a way of showing it on a laptop without the make of the laptop influencing the work. There are, however, actual links between the bits of found footage, and there are informational clues nestled within the video, for example, tDCS is explained through one of the many youtubers. There is also very brief mention of its effects and sensations with the footage of the girl, then there is the brief mention that 'The military use it to train the pilots' also its 'main intention is for videogaming', This aligns with the drone targeting screen. Also a brief mention of its treatment for depression this example these are some informational clues to suggest the connections between the videos. But I didn't want the video to be a mouthpiece I just wanted there to be enough information to suggest further connections between the clips. In retrospect I have noticed how I've chosen to frame only individuals on the screen, this has come out as a more visually coherent than conceptally coherent work I've found it hard to decide how to proceed in my decision making process, and whether I should be observing materials and experimenting with results but I found that my intentions can get completely lost and then I'm just making stuff that I liked based on gut decisions. Or whether I let intentions take over and an intention that has to come through to resolve work. I think future lines of inquiery lie in how to use the ambiguity of the sounds, after the Alison Carlier talk on Monday she won the Jerwood drawing prize with a piece of found text that described tonal qualities etc, and to the listener it sounded like a drawing because of its label. I think this is a clever use of the ambiguity and interpretation of sound that I couldn't quite grasp in my work. Only with retrospective observations I could. but I would like to take this idea as a starting point for my next project 7:30 POINTS TO ADD I became interested in how sound is somehow 'read', As Kim-Cohen describes a non-cochlear sound art, taken directly from the non-retinal idea in conceptual art, "As far as the experience of art is concerned, the revalation of phenomena is not enough." Kim Cohen is commited to a form of sonic idealism, in the sense that works of sound art are not to be made intelligible on the basis of their perceptual properties; rather, perceptual properties are to be made intelligible on the basis of thier conceptual, social, or institutional aspects. Kim-Cohen's sonic idealism is founded on the tradition of the readymade, because:  The intention of the readymade is embodied in the act of nominating the object as art, not the object itself. The aesthetic value is derived, not from the visual or material qualities of the nominated object as it relates to the tradition of art objects, but from the artistic act as it relates to the tradition of artistic acts" [In Presque Rien] sound is not stripped of its meaning, neutralized as sound-in-itself, to be reconstructed as a composition. Instead, its connection to a social reality is left intact. More than that, the social meaning of the sounds play a part in determining their placement and treatment in the composition. To do this Ferrari must approach his sounds not just as a listener...he must approach his sounds as a reader (179) The figure of reading is central to the defense of non-cochlear sound art. "Reading," for Kim-Cohen, means playing with codes, negotiating with signs, or operating with relations. Reading is always social intersubjective and differential. A "non-cochlear" sound art is an art of (and about) reading sounds. [if I mention this there may be too much going on] ['Trickery' is something to explore] [What if I performed over it ten times] Voeglin and sonic Phenomenology Every sensory interaction relates back to us not the object/phenomenon percieved, but that object/phenomenon filtered, shaped and produced by the sense employed in its perception. At the same time this sense outlines and fills the perceiving body, which in its perception shapes and produces his sensory self. Whereby the senses employed are always already ideologically and aesthetically determined, bringing their own influence to perception, the perceptual object and the subject. It is a matter then of accepting the apriori influence while working towards a listening in spite rather than because of it. The task is to suspend, as much as possible, ideas of genre, category, purpose and art historical context, to achieve a hearing that is the material heard, now, contingently and individually. Voeglin's ontology of sound capitalizes on the observation that sounds can be emitted from objects in ways that their look, or visual attributes, cannot  the distinction is how they are listened to  I think the most important points to bring up in the final work and justify with a body of work is all along the lines of this enquiery Sound Image obect, and how they contaminate eachother, I feel as if I've recognised the ambiguity too late, the seems to be abiguity in all the wrong places Theres this tension in my decision making process between observing then acting upon materials and my having ideas in research  intention that has to come through to resolve work. I think future lines of inquiery lie in how to observe more acutley the contamination of objects, images and sounds, between something 2d, 3d and sound based. as in this project its become the finishing point as its come out of more intense retrospective obstervtions that happened in this final week. but I would like to take this idea as a starting point for my next project I suppose it depends on which one you start with first I think that the gaze even the mechanical eye, being watched; as an invisible unnoticable force, we are showering in gazes. Watching or a camera collects light, it is a collection of a certain selected flow of light or in some cases thermal imaging. so it is not a force but it is an unconncentual collection of the perceptible, or maybe the viewpoint is the imperceptible part. Is the birds eye gaze an imperceptible force? a collection of force from an imperceptible angle What is the function sound in your work?

[charliepritchardart-blog]

5-10min assessment chat

1. How did you come to realise your intentions and is the work achieving those intentions?

2. Identify the theoretical commentaries and cultural pratices that relate to your work and evaluate their relevance (briefly) 3. Identify the strengths and weaknessess of your work what would improve it and where promising future lines of inquiry lie My practice has been a journey of distractions, so I think its important to mention that my intentions during the proposal "I want to try and find ways of using the narrative connotations in what I make, and to play out scenarios that could explore the questions raised by tDCS". So I stared this inquiry investigating ways of making an object to construct a narrative to put the audience into a position to be affected by or consider tDCS, or something more specific about the niche topic. One particular part of tDCS I was drawn to was this alluring new interface that it had, and how, initially I felt as if this new technology was in some was invading the body and brain. So I wanted to make this object that could address an ambiguity about the rewards this new technology offers. But as I got involved in these slow mould making processess, my intentions started to follow the materials, and in trying to make a system for the device to make sound there was the realisation, that I was trying to impose this idea of what one of these devices would look like, especially as the audience probably has not seen one of these devices. So as I was coming to realise this, other questions started to emerge out of my experiments with the domes, I started to see them as a way of concealing systems and the act of concealing nosies made a more intriguing encounter with the work. I was particularly interested in trying to subvert the meaning attatched to say the sound of flies to try to play with peoples expectations in the encounter with the work. Identifying my practice as a kind of play after Simóns tutorial and how certain sounds could align to provoke a dialogue between sounds. I was also paying with connections between the sounds of insects and bugs, in relation to the telephone pickup coil another kind of bug and aligning the noises they make. However after the Iona Sagar workshop on the  about re-reading some of the research I had given me a new frame of reference for tDCS "As such techniques measures and technologies for combatting stress misery and illness now permiate the workplace, the high street, the home and the human body. Happy, heathly = productive, profitable people." "NOT HAPPY, 2014 by Benedict Drew, signposts a seething nihilistic misanthropy famailier from many of his video installations. Near the end of NOT HAPPY, a characteristically hallucinatory video work screened at the sepentines 'Extinction Marathon: Visions of The Future' last year a morphed remix of Pharrell Williams's 2014 neo-soul track Happy blares over stock images of a clean kitchen, 'WHY ARE YOU SO HAPPY PHARRELL?' reads an intertitle superimposed over a rubberised mask. It is followed by another graver 'WE'RE ALL GOING TO DIE'. Drew told me that the track's pervasiveness made it seem as though some sort of law has been passed that all the loudspeakers in the land had to play the song on a loop every day. The video implicates viewers in an ecological crisis by representing liberal sanctimonious platitudes of 'not me': landfills brim with plastic, but you and I are alright. The waste produced when consuming our way to individual happieness, of having everything, is a problem for everyone 'Happiness,' said the Dali Lama, 'is not something ready made. It comes from your own actions.' If you clap along enough with Pharell you might just find happiness. What structural violence, Drew's video asks, is being obscured when the imperative for happiness lies with the individual rather than the collective" This led me to reinterpret my origional ideas with new intentions, and I wanted a way to stage the connections that I had dicovered in my research, and I wanted to see where tDCS fitted into this context but this also meant trying to stage these elements with a position in mind so in the same way I was using objects and sounds, I took elements of my object based inquiery to the screen and started aligning found footage and recorded sounds that could in some way taint their mood. I wanted the veiwer to be able to in some way oscillate between reading the work and the visual and literal connections, and the affective and performative response to the work. being aware of the forces that run through you, also refering to the desires of the individual to for transformation. I think where the video falls down is how a message may be taken from it. There is cynicism in the video but I wonder how the audience. Its a fine line between being informative and non-sensical and I can't tell whether the video is operating as I want it to. I dont want it to come across as a question about thier validity, but more about framing them with other elements. What does the foil do to the message of the video? what does wrapping the plinth with the speaker inside it do to the work ? I like the idea of the sound emanating from the plinth In what way does this work relate to the ambiguity of DON'T LET THEM IN, this is a playful title it could be refering to many of the elements of the installation, this plays on the audiences imagination. So the ambiguity of the There is ambiguity about how the sound plays on the image, as the sound is performed over the top much like a foley would over a film, so does the associations of sound attatch themselves to the video. the artist has dubbed over the sound it seems very deliberate. I did not plan the interpretation of the image into sound there where many rehersals and redoings of it, but I've tried to structure the video with this permenant building and calming tension that never quite pays off, there are intense moments in the video that work on a different register to the rest of the video there was a rule in the editing process where I have collected shots that only include singular subjects, the shots themselves have a definite subject is this work ambivalent or ambiguous another source of ambiguity is whether or not it works what are some of the other readings of the work? the loss of control and distraction has played a big part in influencing my thinking the problem I'm having with explaining the work is justifying my intentions, I think im on the right track with wittling down an explaination but it may require I havent addressed the topic of annoyance, and distraction, this has somehow come through in the video especially in the more frantic parts of the video whould wrapping the whole thing in tin foil be too much, surly there is a coherence in only wrappong the electrical things is bringing in tin foil too cynical? does it taint the intention of the video the video has its own meditative breaks in it, but displays them in a way that seems arduous, the footage taken out of context grants it a certain absurdity

QUESTIONS

Does your work involve memory? How are memory associations constructed, expressed or triggered through drawing? If drawing supports memory, and memory supports drawing, what are the implications for teaching and learning across the curriculum? Is a large store of memories of previous designs necessary for you to be an effective designer? How are memorizing and recall conditioned by emotion? How do visual memories relate to smell, touch, taste or sound? Does your work involve the mapping of space, or thought or time? What are the 'mappings' between visual reality and mental representations? What are the current theories concerning mental representation of visual experience?

QUESTIONS

What is interesting or unusual about your own working processes? How do accident, loss of control and the properties of the medium influence thinking? What happens during the making of drawings? How does the physical development of a drawing through time impact upon future action, and how does the simultaneity of thinking and iterative action work in the process of making drawings? To what extent can drawing reveal thinking processes? How much can a finished drawing tell us about its evolution? What is the role of strategy in drawing?

QUESTIONS

What role does ambiguity, or uncertainty, play in your work? Is there art without ambiguity? What is it about 'loose' sketching that makes it so good for working out ideas? Edward Hill (The Language of Drawing, 1966) spoke of : "…half-resolved forms which in their ambiguous state provoke alternate possibilities…". Is ambiguity therefore a stimulus to creativity? How does drawing express ambiguity and what is the relation to memory and imagination? What is the role of recognition in the reading of drawings? Are there any certainties in the teaching of drawing? How does ambiguity in art relate to scientific notions of uncertainty or 'fuzziness'?

Criticism à Critique à Criticality • Criticism: an act of judgment addressed to a clear-cut object of criticism • Critique: examining the underlying assumptions that might allow something to appear as a convincing logic • Criticality: operating on uncertain ground, which builds on critique, but wants to inhabit culture beyond critical analysis... a cultural inhabitation that involves risking one’s position