Motion Studies (Critical Points)

This is incomplete and lacking //
Not a perfect mapping.

An experiment capturing and analysing in parallel points of collision and the consequential duration/trajectory. Impact until rest in perpetual motion. Time! Syncopation! Rhythm!

Drawing Machine (Output = Screen)

Film demonstrating the general progression of the screen-based version of Benjamin Forster’s Drawing Machine.

“…a digital environment is an abstract projection supported and sustained by its capacity to propagate the illusion (or call it a working model) of immaterial behavior: identification without ambiguity, transmission without loss, repetition without originality.”

— Kirschenbaum, Mechanisms: New Media and the Forensic Imagination (2008)

relevant [ <09 10 11 12 Drawing Machine ]

Our Written World – An attempt to algorithmically discern written marks, 2011

A prototype text detection algorithm is used to process footage from the suburban streets of Perth. Everything that is not determined a word, is erased. This custom algorithm does not look for known letters, but rather in an attempt to avoid anglocentrism checks for properties common to the written word across all cultures.

Computer Watching Television (Channel Ten 04/02/10 23:12)

Made using a simple algorithmic process that reinterprets video input sourced from a computer’s webcam placed in front of the television. The process mimics the slit-scan method that televisions use to render received signals as perceivable images.

The Process:

// for each new frame of video.

for(int jj=0; jj<4; jj++) {

  int x = ((ix+(jj*4))%w)*dw;

  int y = (iy+(jj*4))*dh;

  for(int i=0; i<dw; i++) {

    for(int j=0; j<dh; j++) {

      int t = (x+i)+((y+j)*width);

      colour(video.pixels[t]);

      draw_point(x+i,y+j);

    }

  }

}

ix++;

if(ix>=16) {

  iy++;

  if(iy>=4) iy =0;

  ix=0;

}

relevant [ 10 Codeworks ]

One hundred and forty three days by my side, 2011

process: This empty industrially printed and bound book was carried by my side for one-hundred and forty-three days. Containing no information, this book is inscribed with a history of fingerprints, dirt and violence. (Information ≠ Meaning)

relevant [ )( 11 ]

According to the Rules of Chance, 2009

Inspired by Jean Arp’s Untitled (Collage with Squares Arranged According to the Laws of Chance). This video work is generated by randomly rearranging and moving image fragments depicting the Belconnen bus interchange (now demolished). Artworks like our built environment are not static they live and breath, come into being and disappear again. All of my digital works rely heavily on notions of chance, although ironically there is no chance within a computer. Everything is deterministic.

relevant [ <09 Codeworks ]

Installation View

Fremantle Arts Centre
25 Mar – 15 Apr 2011

The result of an extended residency through FACAIR, Fremantle Arts Centre’s Artist in Residency Programme, )( continues Forster’s critique of drawing, tracing the boundaries of logic, economy and the role of the artist in art making.

Forster’s curiously titled )( engages in the meaning of construction and the construction of meaning. His work is full of the fun of language puns but also a serious critique of the limitation of language. In )( Forster has erased much of the source material only to find a significant new language in the often overlooked lynch pins of text – punctuation and space. Forster reminds us that translating meaning fundamentally relies on a constant and expected language, however an artist’s practice, and importantly for Forster drawing, relies on and expands from the shortcomings of this same language.

Detailed list of works ( download ).

Catalogue with essay by Liang Luscombe ( download ).






“All the books, no matter how diverse they might be, are made up of the same elements: the space, the period, the comma, the twenty- two letters of the alphabet… In the vast Library there are no two identical books. From these inconvertible premises he deducted that the Library is total and that its shelves register all the possible combinations of the twenty-odd orthographical symbols (a number which, though extremely vast, is not infinite) : In other words, all that is given to express, in all languages.”

— Jorge Luis Borges, The Library of Babel

relevant [ )( ]

Critical Point Studies

diagram_critical

Ageing is the slow transition of multiple stable systems coming to critical points until an eventual fatal shift in form. — death is not a known point — skin flaking — prosthetic insertions — artificial hearts — metal knees. Where is the line between body and not body? Think about the edge of this page — the windows of building and the pores of our skin.


281474976710656: The catalogue of forms iterated over time, 2012

The catalogue of forms is endless: until every shape has found its city, new cities will continue to be born. When the forms exhaust their variety and come apart, the end of cities begins.

––– Italo Calvino. Invisible Cities.


281474976710656: The catalogue of forms iterated over time is a large time-­based sculpture adopting the visual language of digital clocks and the principles of Victorian era ornamentation. Comprising of 48 red light-segments arranged in an ornamental pattern. Each segment has the programmatic potential to be either ‘on’ or ‘off’. Controlled by a custom computer program, the work systematically shifts through every possible combination of light patterns. The system has a total of 281,474,976,710,656 unique combinations/patterns. This is a number that is almost unpronounceable. Moving systematically through every possible combination at one second per state the system will continue to run for approximately 9,151,158 years before repeating.


Installation View


Yonder
8 September – 21 October 2012
Perth Institute of Contemporary Art

Artists: Andy Best, Erin Coates, Heman Chong, Simon Faithfull, Benjamin Forster, Tony Garifalakis and Richard Lewer, Charles Lim Yi Yong, Clare Peake, Perdita Phillips, Helen Smith, Kai Syng Tan, Warren Vance and Jurek Wybraniec
Curator: Jasmin Stephens

Yonder offered a contemporary perspective on the desire that artists have always had to know ‘what’s over there’. With the notion of ‘mobility’ as the exhibition’s central idea, Yonder considered some of the poetic and pragmatic connotations associated with this strategy for investigating, taking action and day dreaming about one’s place in the world.

The artists in the exhibition referenced material, virtual and enquiry-based itineraries that reflect a diversity of approaches to propulsion and apprehension of the world. Whether working with traditional media such as paper and pigment or recent media such as digitised text, their approaches produced the effect of a route, a path or way being taken.

relevant [ Yonder ]