Thursday, 7 August 2008

In-Between

How can we talk about the in-between concept? Is it possible to find that in-between space? is it possible to get our minds into it? Can we understand how ideas deal with this ‘space’? How art and creation work with it? Here is an attempt to try to find thoughts around these concepts on the post-modern era.


Divided in 5 chapters or verses.












2.1. LIGHT SPEED. The notion of Perspective space tryes to put everything in perfect order, aligned and proyected to a non real focus point. But there are bad news. Perspective and its visual depth ‘field’ had allready collapsed, and so did our comprehention of the world and its representation. We pushed the tension between subject and object up to the limit just to find the reaction of the nucleus of atoms? the answer is yes. That’s why we now live in an afterdeath big crush, and we travel at the speed of light of comunications.

















Ballistic drawings XV century







House being tested in the Desert of the Jornada del Muerto, New Mexico.








2.2.TRINITY 5:29:45 am Mountain War Time on July 16, 1945: Name and precise moment of the first hydrogen bomb test, and thus the name of the last great performance of visual space. The desert turned into a space of simulacra, a huge scenography with objects, people, and cameras ready to record a test. So where do we live now? If it’s not a visual space where do we issualy walk?? Is it all just a simulacrum?

Zod, Urla and Non emprisioned for the eternity in the Phantom Zone.
2.3. FLATTEN EFECT
The explosion is evidence. The sunspension is quiet and silent, but devastating. ‘Everything created’ appears at the same time and catched in one plane, as the 3 bandits of Superman trapped in the Phantom Zone, we float anywhere. Everyone witnessed how perspectival atoms became radiant electrons. And You can still feel its irradiation by the windows of ours screens.



















Salvadir Dali. Face of Mae West Which May Be Used as an Apartment.

2.4. 2 ½ D MAE ( particules or waves???’)

Paranoically, Dali showed on his painting Face of Mae West Which May Be Used as an Apartment, a perspectived front view of a room in an apartment in which furnitures compose the face of Mae West. The uncertainty is the game in-between the idea of seeing a room made of parts of a girl face, or, a face made of parts of a room….



Footage of desert explosions from Michelangelo Antonioni' movie Zabriskie Point.



2.5. ZABRISKIE POINT. There’s only left a space of resonance, an embryonary state of reality, as if we were seeing a frozen, suspended disaster inside of an acuarium full of water, then suddenly, it could come across Marylin's lips, or Elvis heardress, or maybe Le Corbusier glasses, or even the smile of Monalisa. We move in-between, reorganizing pieces and dismantling others, where the only thing necessary is a good script in the Museum of potentiality, experiencing the gigantic wide band where infinits objects-we, 'subjects' included- in a kind of molecular state travel at the speed of light.
Like black holes, we try to understand the chaos by its vibrations and not by the ‘light over the volums’ , not anymore.



Untitled 1. 2001. pastels on paper. 50 x 50.

All is mind

'The primary function of the paranoiac-critical method is to produce images of a startling and authentically unknown nature. The paranoiac mind perceives alternate meanings of individual signs, and interpretations displace one another almost instantaneously. Whether these new relationships are created or merely noticed by the paranoiac is irrelevant. As Dali explained, "It is enough that the delirium of interpretation should have linked together the implications of the images of the different pictures covering a wall for the real existence of this link to be no longer deniable."

All is mind

1.1. Is internet the exercise in advance for a ‘total’ communication.? Or is just an allegory of a primitive state of a constant and natural state of globalization? Do allegories still exist? The representational of the mechanical process, was a constant phenomena in the advent of the modern era. Abstract machines were not comprehended in the beginning, except for philosophy, phsycology and arts. Machine was the very representation of the new understanding of progress. Velocity and mobility in massive scale. a linear process from A to B.
1.2.In this times, the coordination of mind, software and materiality, and a final product, for example a new building, or a car, appear in a continuous process of materialization and performance in real space. A flux of information, supported by history, knowledge, intelligence and different phased decisions, and speed, considering their own specific properties and ways of performing, mainly acquired by statistics, diagrams, data, performed in several programs that functions as simulators of phenomena. The aging of a building does the inversed process? releasing acumulated information in form of mater? to say, Does the theory can work inside these processes,? Or does theory belongs to an other époque of ideological architecture?. What can kind of working styles are implied? The conception of multiple systems broke the limit of their appearances occulted by a mind objectualizaized, rigid and linear. What events happen that changed our minds?
'Anything is probable. The outcome of rejecting permanence and security in a house brief and adding instead curiosity and search could result in a mobile world'.....Man always moved around the natureenvironment, the activity is not new; video mirrors increase our sense of psychological territory via a building up of sensory fragments over a controlled time sequence'
David Greene, Mike Barnard. Archigram