----------empyre- soft-skinned space----------------------
Thanks, Garrett, Fédérique, Toby, and Dorit, for these insights into the 
conception of your projects for FLEFF.

One aspect of all three projects, and also Luke’s, that intrigues me is that 
they allow audiences to experience them in multiple ways rather than one single 
way. 

What I mean is that Jerusalem, We Are Here invites users to follow one of three 
guides through the city, selecting to read text, view videos, or look at images 
along them way. Exploring the project becomes a kind or archeology. It demands 
users to make comparisons and develop arguments about what they find. They 
can’t just wait for information to be interpreted for them.

Null Island requires users to move through a virtual space, orienting and 
reorienting their experience of hearing and seeing within a somewhat fluid 
space. The experience is particularly disorienting at times since the virtual 
space is rendered as a map with longitudinal and latitudinal coordinates that 
typically suggest stability.

With Best of Luck with the Wall (variant), users do not necessarily need to 
watch for 34 hours without interruption, so that can watch segments over days 
or weeks — or they can dip into the video at various points, moving backward 
and forward. This very act calls attention to the ways that surveillance 
footage can be monitored by humans.

When screened online, The Toby Tatum Guide to Grottoes and Groves also allows 
the option of access images out of sequence without undermining the integrity 
of the immersion within the environment, thus allowing users to spend more time 
in particular grottoes or groves, that is, produce their own mental spaces in 
the curation of their interaction with the film.

For me, all of them moves around conventional assumptions for documentary, 
documenting, and documentation. 

Curious to know your thoughts — and please correct anything that I may have 
misunderstood.

Best,
Dale




> On Apr 11, 2018, at 22:46, Toby Tatum <tobyjamesta...@yahoo.co.uk> wrote:
> 
> ----------empyre- soft-skinned space----------------------
> Thanks Garrett,
> 
> Ok, for my part:
> 
> I'm trying to create landscapes of the imagination - the geography of mental 
> space. Although there is a profound engagement specific places when I'm out 
> shooting material but during the editing process the filmed material becomes 
> reformed into something reflective of my own inner geography. 
> 
> 
> Toby Tatum
> 
> http://www.tobytatum.com/ <http://www.tobytatum.com/>  
> 
> 
> Toby Tatum's films are distributed by Collectif Jeune Cinéma 
> <http://www.cjcinema.org/pages/fiche_auteur.php?auteur=969>  
> 
> 
> Recent interviews online here 
> <http://theundergroundfilmstudio.co.uk/wp-content/uploads/2017/01/FILM-PANIC-ISSUE-3.pdf>
>  & here 
> <http://www.swedenborg.org.uk/events/swedenborg_film_festival/programme_and_awards_24_march_2016/interview_with_2016_joint_winner_toby_tatum>
> 
> 
> 
> On Wednesday, 11 April 2018, 18:34:43 GMT+1, Garrett Lynch 
> <garr...@asquare.org <mailto:garr...@asquare.org>> wrote:
> 
> 
> Yes gazing through technology is certainly an aspect of some of my works this 
> probably creeps in from my reading around the New Aesthetic but the goals 
> aren't the same.  There is a simpler level/theme (even 'site') that links the 
> works however, networks.  Both Best of Luck with the Wall (variant) and 
> Sculptures for Distant Places both use networks to see spaces in impossible 
> ways.  The former work shifts me more firmly into film because it's a 
> collaborative work and Frédérique's main medium is film.
> 
> We've both (Frédérique and myself) being talking about 
> deterritorialisation/reterritorialisation (sticking more closely with 
> Deleuze's spelling with an s) since it's been mentioned a few times now - 
> trying to unpack a little more how we feel Best of Luck with the Wall 
> (variant) deterritorialises a space.  For us I guess this occurs on two 
> levels; political, how politics is turing the US/Mexico border into a sort of 
> no-mans land, and technological, how the use of technology/seeing through 
> technology transforms the territory/space into something other than 
> geography.  We are not sure what that 'other' is precisely but its scale 
> (rapidly approaching actual scale) makes us think of Alfred Korzybski's 
> map-territory relation and Borges short story On Exactitude in Science.
> 
> There seem to be aspects of deterritorialisation/reterritorialisation in all 
> the works by the artist's this week (to greater and lesser degrees) - would 
> be useful if you could all unpack this for the list.
> 
> 
> 
> On Tue, Apr 10, 2018 at 6:15 PM, Toby Tatum <tobyjamesta...@yahoo.co.uk 
> <mailto:tobyjamesta...@yahoo.co.uk>> wrote:
> Yes, of course! That is why your name was familiar. I can see now how Best of 
> Luck with the Wall (variant) ties in with your installation at Stuttgarter 
> Filmwinter. I can see now that the unrelenting gaze of the surveillance 
> camera or drone is something you're very interested in, as well as the 
> potential for subverting those machines. 
> 
> Best Wishes,
> 
> Toby
> 
> 
> Toby Tatum
> 
> http://www.tobytatum.com/ <http://www.tobytatum.com/>  
> 
> 
> Toby Tatum's films are distributed by Collectif Jeune Cinéma 
> <http://www.cjcinema.org/pages/fiche_auteur.php?auteur=969>  
> 
> 
> Recent interviews online here 
> <http://theundergroundfilmstudio.co.uk/wp-content/uploads/2017/01/FILM-PANIC-ISSUE-3.pdf>
>  & here 
> <http://www.swedenborg.org.uk/events/swedenborg_film_festival/programme_and_awards_24_march_2016/interview_with_2016_joint_winner_toby_tatum>
> 
> -- 
> regards
> Garrett
> _________________
> garr...@asquare.org <mailto:garr...@asquare.org>
> http://www.asquare.org/ <http://www.asquare.org/>
> 
> Current events and soon:
> 
> Real Virtuality The Networked Art of Garrett Lynch:
> http://realvirtuality.peripheralforms.com/ <http://www.filmwinter.de/en>
> 
> A network of people who attended an exhibition and contributed to the 
> creation of this work
> http://asquare.org/work/peoplenetwork/ 
> <http://asquare.org/work/peoplenetwork/>
> 
> Pick up a postcard and participate at any of the following galleries: Aksioma 
> Institute for Contemporary Art (Ljubljana, Slovenia), Bannister Gallery 
> (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de Cultura 
> Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech Republic), Gedok 
> (Stuttgart, Germany), Guest Room (North Carolina, USA), Human Ecosystems 
> (Rome, Italy), Kunst Museum (Stuttgart, Germany), Laboratorio Arte Alameda 
> (Mexico City, Mexico), Le Wonder (Bagnolet, France), MUTE (Lisbon, Portugal), 
> NYU Art Gallery (Abu Dhabi, United Arab Emirates), Open Signal (Portland, 
> USA), Plymouth Arts Centre (Plymouth, England), The Gallery at Plymouth 
> College of Art (Plymouth, England), Transfer Gallery (New York, USA), Upfor 
> Gallery (Portland, USA), Watermans (London, England), Wilhelmspalais 
> (Stuttgart, Germany), WOWA (Riccione, Italy), ZKM | Center for Art and Media 
> (Karlsruhe, Germany)
> 
> Garrett Lynch: A network of people @ Galerie XY (Olomouc, Czech Republic) 9 - 
> 13/04/2018
> https://www.facebook.com/events/177492866199740/ 
> <https://www.facebook.com/events/177492866199740/>
> 
> Best of Luck with the Wall (variant) @ European Media Art Festival, Report - 
> notes from reality (Osnabrueck, Germany) 18/04 - 21/05/2018
> https://www.emaf.de/en/index.html <https://www.emaf.de/en/index.html>
> ----------empyre- soft-skinned space----------------------
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