Cast in the Light of Reason… or… 2012

Cast in the light of reason … or … is an installation consisting of two framed drawings, The Groundless Ground (located in car park opposite gallery) and ⛎ or Ophiuchus or the serpent-bearer, (located in void) and a platonic solid constructed out of blue shipping rope.

relevant [ 12 Spatial Drawing ]

A conversational experiment with Leigh Robb, 2012

A tiny bit of context before the deluge of nonsense:

A 500 to 800 word essay about Benjamin’s practice was commissioned for Primavera 2012. He asked Leigh Robb, both the curator at Perth Institute of Contemporary art as well as a close friend. Over numerous coffees and a few beers they discussed alternate strategies for approaching the essay, wanting to do something experimental but accessible. On the right is one of their experiments which never made it any further than Leigh’s lounge room. The simple premise was to use the statistical algorithms of the work Discourse, but rather than using the source text of Marx or Smith, they would feed it all the words ever written about Benjamin’s practice, and then instead of having a conversation with its own perverted logic, they would open it up to Leigh Robb’s input. This is a brief excerpt of a conversation between Leigh Robb and all of the published words on Benjamin work (as of august 2012).

a conversation between Leigh Robb and all of the published words on Benjamin work, 2012

INPUT: drawing and machines .
OUTPUT: embody that process he said .
INPUT: that process of making visible .
OUTPUT: .
INPUT: or invisible
OUTPUT: more than a semantic content the graphic elements of our natural urban habitat thus constitute an almost imperceptible horizon within which and against which something like communication or representation may happen .
INPUT: so how do communication and representation coexist .
OUTPUT: drawing .
INPUT: so is drawing a form of language
OUTPUT: computer code .
INPUT: computer code is a language .
OUTPUT: code .
INPUT: code is language .
OUTPUT: in a row of gargantuan photographs on the idea of reclaiming these lost stories or objects these earthly physical experiences .
INPUT:
photography isn’t central to your practice .
OUTPUT: automatic .






INPUT: automatic imagery through code
OUTPUT: printers pouring out long ribbons of text one composed of words between karl marx and adam smith s the wealth of nations as the input material .
INPUT: benjamin’s dialogue machines are also drawing machines
OUTPUT: utterly primordial .
INPUT: drawing is primordial and benjamin attempts to program this intuitive process .
OUTPUT: forster is hoping his latest drawing machine that was programmed to draw and has programmed receipt dispensers that discuss marx .
INPUT: benjamin is interested in analogue things
OUTPUT: documented on long white receipt rolls that tumble across the floor in forster s studio were beautifully drawn dog headed masculine bodies which lay beside pictures cut out from health and fitness magazines tentatively underlining the contradiction between the natural male body and the wealth of nations .
INPUT: this was when benjamin was studying cynicism .
OUTPUT: jacques derrida noted more or less in passing that there is a clever conceit and a common view .
INPUT: philosophy in artistic practice .
OUTPUT: forster s art is incisive albeit its incisions are the effect of a work entitled discourse .
INPUT: discursive drawing machines .
OUTPUT: .
INPUT: anti drawing machine .
OUTPUT: that was programmed to draw from observation .
INPUT: but that is incorrect the machine was programmed to draw from code .
OUTPUT: from observation .
INPUT: no from benjamins own system of catelogrizing drawing .
OUTPUT: economics and excess .
INPUT: benjamins recent machines depart from drawing to analysing language and dialogue .
OUTPUT: where to write meant originally to scrape or to scratch on a clay tablet with a contemporary dancer for his project he realised that we are fairly cynical here .

relevant [ Primavera 2012 ]

Active Diagram ( Architecture ›› Drawing ›› Movement )

Drawing is always slipping and fading. Light traces intensities on your retina –
flickering across a network of nerves, leaving a moments residue glowing.

Inscribed (Ko Aye Aung), 2010

This work was created as part of the Amnesty International’s ARTillery Festival as part of the MasterPEACE exhibition. Artist’s involved were asked to make work in response to the story of an unfairly imprisoned individual at risk, people whose right to freedom is currently being campaigned for by Amnesty International.

Inscribed (Ko Aye Aung) is an explicit analogy of the process of degradation and loss that has been occurred by Ko Aye Aung. I do not know Ko Aye Aung. If it was not for Amnesty I would not even know his story. All knowledge of him was provided to me as a simple digital profile. Dot pointed and only nine hundred and eighty two words accompanied by a small portrait. His is a story that is singularly unique, however at the same time multiple and all too common. His is a story we never truly know, we never hear about, we are all distant from.

This video is made through a simple process.
Insert Ko Aye Aung’s digital profile, one letter at a time, into and over the code that makes up his JPEG portrait. Each frame of this video is a record of the degradation and loss incurred as each letter is added until at last all his profile is written into the image and his face is lost.

relevant [ 10 Codeworks ]

Archival information. Redundancy. 2011

In search of where others find meaning, 2011

process: Searching through the catacombs of text for any book that could possibly be meaningful. I flip through the pages of random books, tending towards anything that shows signs of wear and tear. Using only the traces left by other travelers as an indication of value, I slowly gather a collection of potentially meaningful books. I take them back to my desk. Sift through the pages and digitally scan any containing marks left by human hands. These are marks of distinction – this is all meaningful. Still cloudy, I try distilling this meaning by erasing all the irrelevant symbols. Leaving only those precious words that are underlined or circled by another’s hand. This is important. There is something here. This is meaning.

relevant [ )( 11 ]

The Process

Step 1: Look at my own drawings.

Step 2: Formulate formal procedures that encapsulate my ideas about drawing.

Step 3: Express formal procedures in computer code.

Step 4: Compare the resulting machine drawings with my own drawings.

Step 5: If machine drawings = my drawings then STOP, else continue to step 6.

Step 6: Refine formal procedures.

Step 7: Goto step 3.

Note: This machine will never produce the same drawing twice.

Drawing Machine (Output = Plotter), 2008-12
Primavera 2012, Museum of Contemporary Art Australia
Photography: Robbie Karmel

Index of all possible forms (65,536) + Every possibility iterated over time, 2011

process: A clock. Changing every second this clock iterates through every possible form within the structure of the LED display. A total of 65,536 forms. From time to time a recognisable structure strikes – An A or a B, a + or a -. These are moments of clarity in a completely determined system of nonsense.

relevant [ )( 11 ]

Discourse (video + transcript)

Discourse, Primavera 2012, Museum of Contemporary Art Australia
Image courtesy Museum of Contemporary Art Australia
Photography: Robbie Karmel

Adam SMITH: to have been always exported by foreigners who gave in exchange for something that had been purchased with it but only to one or other of those four ways are themselves productive labourers.
Karl MARX: several big branches of business.
Adam SMITH: industry or of certain districts of the country could absorb and employ will return upon it almost as fast as they were emptied.
Karl MARX: until after three weeks are up that is to say in the sphere of production.
Adam SMITH: in general idle and poor.
Karl MARX: capitalists.
Adam SMITH: of money being necessarily regulated by what can commonly be given for the use of the loans.
Karl MARX: borrowed land and capital borrowed by the industrial capitalists employ their capital to pay for labour power and thereby to maintain it.
Adam SMITH: increase very considerably the annual produce of the land and labour of any country which is employed in agriculture not only occasion like the workmen in manufactures the reproduction of a value equal to the revenue of all its dealings.

Work in Progress (cia studios 2011)

A selection of documentation from Benjamin and Rhiannon’s three week residency at CIA studios in October 2011. Utilising their own disciplinary frameworks and expertise as initial starting points, they began to construct simple experiments in order deconstruct the boundaries between architecture, drawing and movement, and at once learn about each other’s practice. The aim was to simultaneously develop multiple possible direction’s that can be selected from for future development. Everything is very much still in the stages of becoming, nothing is static.

Below are a selection of the experiments that occurred during this first stage of development.