AUTHENTIC DUPLICATES

one hundred years of solitude- more quotes...

“a past whose annihilation, consuming itself from within, ending at every moment but never ending its ending.”


"[Aureliano (II)] saw the epigraph of the parchments perfectly paced in the order of man’s time and space: The first of the line is tied to a tree and the last is being eaten by the ants. . . . Melquíades had not put events in the order of a man’s conventional time, but had concentrated a century of daily episodes in such a way that they coexisted in one instant."


"[Aureliano (II)] had already understood that he would never leave that room, for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth."

AUSTERLITZ - quote on time...

TIME, SAID AUSTERLITZ IN THE OBSERVATION ROOM IN GREENWICH, WAS BY FAR THE MOST ARTIFICIAL OF ALL OUR INVENTIONS, AND IN BEING BOUND TO THE PLANET TURNING ON ITS OWN AXIS WAS NO LESS ARBITRARY THAN WOULD BE, SAY, A CALCULATION BASED ON THE GROWTH OF TREES OR THE DURATION REQUIRED FOR A PIECE OF LIMESTONE TO DISINTEGRATE, QUITE APART FROM THE FACT THAT THE SOLAR DAY WHICH WE TAKE AS OUR GUIDELINE DOES NOT PROVIDE ANY PRECISE MEASUREMENT, SO THAT IN ORDER TO RECON TIME WE HAVE TO DEVISE AN IMAGINARY, AVERAGE SUN WHICH HAS AN INVARIABLE SPEED OF MOVEMENT AND DOES NOT INCLINE TOWARDS THE EQUATOR IN ITS ORBIT. IF NEWTON THOUGHT, SAID AUSTERLITZ, POINTING THROUGH THE WINDOW AND DOWN THE CURVE OF THE WATER AROUND THE ISLE OF DOGS GLISTENING IN THE LAST OF DAY- LIGHT, IF NEWTON REALLY THOUGHT THAT TIME WAS A RIVER LIKE THAMES, THAN WHERE IS ITS SOURCE AND INTO WHAT SEA IT FINALLY FLOW? EVERY RIVER, AS WE KNOW, SO WHERE, SEEN IN THOSE TERMS, WHERE ARE THE BANKS OF TIME? WHAT WOULD BE THIS RIVER’S QUALITIES, QUALITIES PERHAPS CORESPONDING TO THOSE OF WATER, WHICH IS FLIUD, RATHER HEAVY, AND TRANSCULENT? IN WHAT WAY DO OBJECTS IMMERSED IN TIME DIFFER FROM THOSE LEFTUNTOUCHED BY IT? WHY DO WE SHOW THE HOURS OF LIGHT AND DARKNESS IN THE SAME CYCLE? WHY DOES TIME STAND ETERNALLY STILL AND MOTIONLESS IN ONE PLACE, AND RUSH HEADLONG BY IN ANOTHER? COULD WE NOT CLAIM, SAID AUSTERLITZ, THAT TIME ITSELF, HAS BEEN NON-CONCURRENT OVER THE CENTURIES AND THE MILLENNIA? IT IS NOT SO LONG AGO, AFTER ALL, THAT IT BEGAN SPREADING OUT OVER EVERTHING. AND IS NOT HUMAN LIFE IN MANY PARTS OF THE EARTH GOVERNED TO THIS DAY LESS BY THE TIME EHAN BT THE WEATHER, AND THUS BY AN UNQUANTIFIABLE DIMENSION WHICH DISREGARDS LINEAR REGULARITY, DOES NOT PROGRESS CONSTANTLY FORWARD BUT MOVES IN EDDIES, IS MARKED BY EPISODES OF CONGESTION AND IRRUPTION, RECURS IN EVER-CHANGING FORM, AND EVOLVES IN NO ONE KNOWS WHAT DIRECTION?


W.G. SEBALD, AUSTERLITZ, TRANS. A. BELL (LONDON: PENGUIN, 2001), PP. 141F.

Onomatopoeia- work in progress, notes and ideas...

Onomatopoeia- work in progress.

The initial idea of presenting multiple projection of the “sounds” has evolved slightly…I looked at the material I managed to record and it wasn’t satisfying. Presentation of memorized sounds doesn’t emphasize the issues I would like to raise. I will try to extend the time of the performance itself.
I wanted to combine the video with the book of Gabriel Garcia Marquez “One Hundred Years of Solitude”. The issues I want to raise overlap with the book perfectly… The question is how to link all the subjects and elements in ability to present a gently flowing experience.
The calendars, which are included to all mobile phones and computer systems, can “go back” one hundred years in fifteen minutes. I want to combine my sound memorizing performance with the video of the mobile phone scrolling “back in time”. Starting from the date of the exhibition evening, and finishing exactly one hundred years before… Now, the book has to be linked as well. I was considering the huge print of Buendias family tree hanging next to the screen, however still have to experiment with all the elements coexisting next to each other…I’m not sure if including so obvious elements like family tree, doesn’t push the boundaries too much. It’s like stretching the subject to its extreme instead of experiencing it as a gentle flow…

One Hundred Years of Solitude- some quotes about/from the book

Mark Frisch, Duquesne University;

"Two types of time govern One Hundred Years of Solitude: the historical time with its births and deaths, beginnings and endings, and its stress on memory; and the mythical time of creation with its emphasis on the frozen moment in which past, present, and future coalesce. Ultimately, the latter predominates (Vargas Llosa 547). The opening line of the work sets the pattern for time throughout: "Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice" (1). Present time lies between the moment when he will face the firing squad and the moment when he first discovered ice. The future, the present, and the past are contained within the same instant. The narration here and in other parts of the novel then moves back to the past and flows toward that future moment. These concentric circles emphasize reality as myth, legend, fiction, and history."

some quotes from the book;

…the history of the family was a machine with unavoidable repetitions, a turning wheel that would have gone on spilling into eternity were it not for the progressive and irremediable wearing of the axle."

Many years later, as he faced the firing squad, General Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice.

They felt that they had been the victims of some new and showy gypsy business and they decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings.

At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point.

ONOMATOPOEIA - within the present future equals past

ONOMATOPEYA
ONOMATOPOEIA
ONOMATOPEIA
ONOMATOPEJA


This is a piece, on which I’ve been recently working. It’s rather a paper version at the moment, than a completed video piece. The video is going to be a probably a multiple screen projection, with about twelve screens. My basic idea was to record close ups of the face, so it would be possible to analyze the way the mussels work in ability to produce the facial expression. However it wouldn’t say anything else except how the face “language” works.
It isn’t satisfying.

Since making the clapping video I’ve become interested in this gestalt language, which is recognizable everywhere in the world, as a non-verbal opportunity to communicate. It hasn’t really changed. It’s like a constant within time, and I kind of love this sentence itself because of its paradoxical appearance. “Panta rhei” as Heraclitus spoke it, doesn’t work with the clapping for example and possibly with some other human made signs, or sounds.

As a material for my video piece I used all kind of human made sounds, the ones, which we make, when being amazed- ‘wow”, when we understanding- “aaaahhhh”, when we agreeing- “mhm”, and so one. What I find interesting is the fact that even without them being words, they do communicate, also the way they last unchanged.

The question is how am I going to make them work in the context of time. In the more general understanding of time, they represent the constant; I would say that within the present, future equals past. The sound last unchanged.

How does the gesture repeat itself in terms of memory? In general we memorize the sound, as it’s always pronounced more less the same, however within the constant repetition it looses its impact. It’s like within Bresson movies, where acting is repeated to the point when it becomes completely mechanical. And these are the mechanics within the human gestures, which interest me. Because of repeating the sound it completely looses it’s impact even if memorized so well.

spaces within spaces

this is an accidental video, which I took with my mobile,a quick thought of distortion of the space only by looking at it in a slightly different angle...

More clapping to come…

Clapping within the clapping, or maybe individual group clapping or authentic duplicates…it all applies to another video piece, which is a continuation of “the clapping exercise with the use of capital letters and the lion king as a background”.
The piece itself is paradoxical in a way. The clapping is almost never performed on its own. It’s mainly placed in the context of the group experience. The repetitiveness of the gesture, in the physical and historical context allows me to extend the process of repetition in the way where the gesture is repeated within the gesture. After performing it once and recording it, I recreated the exercise few more times and recorded every single performance.

Another idea of using the clapping is developed in another piece in which the actual physical clapping was performed once only. After making the first video I simply reproduced it by recording it from the TV screening. Than I produced another video, which was based on the piece recorded from TV. And so it goes. All together I made 12 pieces, where the only one was actually performed. The rest of them are records of records.

More clapping videos to come…

manifesto- temporarily final version...

ESTO-MAN-IF-MAN-ESTO-IF-ESTO-IF-MAN

(man-if-esto)

(if-man-esto)

(esto-man-if)

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CLAPPING EXERCISE-VIDEO

There is no other way of showing approval than clapping. It is one of those universal signs, which must have evolved somewhere in the past and last for all those ages, the notes about clapping can be found in the Bible, for example. It also finds its function in music as a simplest method of keeping the rhythm correct.
What interests me about it is the repetitiveness and the fact it’s one of those gestures, which can be recognized everywhere in the world.
I combined it with the “lion king”, an invented by the people term, and capital letters, which are generally used to emphasize the meaning.

And here it is…a joke really…