----------empyre- soft-skinned space----------------------
Thanks for your observations Dale and for taking the time to moderate this 
discussion. I'd be curious to hear Luke's observations of Invisible Geographies 
in relation to his project. I've just been revisiting Null Island and have the 
impression of being in a crashed game but instead of a frozen glitch I've 
arrived a strange quietus. There is something strangely calming about this 
secluded island, it makes me feel like a online Crusoe cast up by the digital 
sea. 

In terms of your take on my own piece Dale - I consider your take totally 
valid, immerse yourself as you see fit. 

Regards,
Toby
 
Toby Tatum

http://www.tobytatum.com/  



Toby Tatum's films are distributed by Collectif Jeune Cinéma  



Recent interviews online here & here

 

    On Thursday, 12 April 2018, 21:40:05 GMT+1, Dale Hudson <dmh2...@nyu.edu> 
wrote:  
 
 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/  



Toby Tatum's films are distributed by Collectif Jeune Cinéma  



Recent interviews online here & here



On Wednesday, 11 April 2018, 18:34:43 GMT+1, Garrett Lynch 
<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> 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/  



Toby Tatum's films are distributed by Collectif Jeune Cinéma  



Recent interviews online here & here


-- 
regards
Garrett
_________________
garr...@asquare.org
http://www.asquare.org/
Current events and soon:
Real Virtuality The Networked Art of Garrett 
Lynch:http://realvirtuality.peripheralforms.com/
A network of people who attended an exhibition and contributed to the creation 
of this work
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/
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
----------empyre- soft-skinned 
space----------------------_______________________________________________
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu_______________________________________________
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu

----------empyre- soft-skinned 
space----------------------_______________________________________________
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu  
_______________________________________________
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu

Reply via email to