Borges: “we are our memory… that chimerical museum of shifting shapes, that pile of broken mirrors.”
So let’s also look back and connect some dots like Steve Jobs says.
The problem is the quantity here.
Organization and archiving. Photos is mostly done already. Videos Might be worth the trouble.
The images are moments on the timeline and locations on the globe.
Zoom out and see it on a planetary level. Zoom in and see it from my eyes.I am not an exceptional photographer or videographer.
A set of eyes moving through time and space. Another set of eyes, sheeesh. 16 billion eyes. What if you coumt the animals. How many eyes? You don’t see me.
How many brains? Getting carried away here. Looking back. Its the past were talking about. History. What about history independent of me?
History of form language. Reading goalssss.
Fill up the glass like a liquid. That could also be an approach. Hunt and gather bits and pieces that will fall into place with other bits.
So the pieces have to be placed in the idea matrix somehow.
The idea to disregard years of capturing is strange, to leave it up to Lua to deal with it. I’d rather not bruden her with that. If all we are is our past, maybe we should all take care of it.
I could start with a random approach.
video or photo becomes a work.
2 network of memories. Web.
3 combinations of memory.
4 transformation of memory
So How to organize my curiosity about my past and memories. Since when do I feel this strong need to reflect? Is it because I see no future. Maybe you never do and the past is all we have.
MY FATHERS BRAIN
I interviewed dad about his past a few years ago. 7 hours.
He recently mentioned film archives from Hong Kong that are on youtube. Ask him.
Do the questions thing by talking with him while we work. Maybe even micing him up. because there will be a lot of surround noise. This should really be done together with Barend. The questions thing being: Phrasing and rephrasing good questions.
50+ hours of unedited video
Option to save everything to harddrives. Costs money and lots of time. Otherwise risk damage to the tapes.
I could predict possible outcomes of works but better to describe experiments or excersizes first. The organising or image generating factor is an action.
- Find footage with similar compositions and create sequences, overlaps or combinations
- connect sources to a videomixer and make combinations realtime.
- Question: feelings about videowork and how annoying most of it is. Why? The time factor is oppressive, everyone is on their own time. Slow motion works but it has to be very slow. Look into AI slow motion frame generators.
But then do I go deep into this video past... just because I can? Or can I define a reason or objective?
The answer to another question might lie within this video idea.
Slow and soothing.
KEEP VIDEO VIDEO
(FUCK VIDEO ART)
sit down and watch
Hanging from the ceiling?
Again, you can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something — your gut, destiny, life, karma, whatever.
BODY OF AFFECTION
In every career, your job is to make and tell stories, of course. You will build a body of work, but you will also build a body of affection, with the people you’ve helped who’ve helped you back. This is the era of Friends in Low Places. The ones you meet now, who will notice you, challenge you, work with you, and watch your back. Maybe they will be your strength.
Jim Coudal, one of my big creative and curatorial heroes, once said:
Our number one value isn’t in any of the skills we have. It’s that we’re essentially curious.
But curiosity without direction can be a taxing and ultimately unproductive endeavor. Choice is how we tame and channel and direct our curiosity.
Above reminds me of favela painting.
My Childhood dream and why I cannot live it?
The kind of painter I wanted to be.
Autobiographical. Maybe this is interesting. I should think less about the results in an exhibition or installation seting and more of where my curiosity takes me.
Information discovery plays a central role in how we fuel our creativity and thus in our creative output. Information discovery is a form of creative labor in and of itself.
So if information discovery plays such a central role in how we fuel our creativity and thus in our creative output, then information discovery is a form of creative labor in and of itself. And yet our current code of ethics for respecting and crediting this kind of labor is completely inadequate. We have clearly defined systems for what’s right or wrong in terms of crediting creative products across text, image, video, and different media, from image rights to literary citations. But we don’t have the same ethical principles for sources of discovery. And yet, in a culture of exponentially increasing overload, it’s through these nodes in the information ecosystem, these human sensemakers, human synapses if you will, that this very text or image or video finds its way into our mental pool of resources.
The RASHOMON effect.
different versions of the same story.
Marshall McLuhan said we navigate our way into the future like someone driving who uses only the rear-view mirror to tell them where they’re going.
We have, each of us, a life-story, an inner narrative — whose continuity, whose sense, is our lives. It might be said that each of us constructs and lives, a “narrative,” and that this narrative is us, our identities.
If we wish to know about a man, we ask “what is his story — his real, inmost story?” — for each of us is a biography, a story. Each of us is a singular narrative, which is constructed, continually, unconsciously, by, through, and in us — through our perceptions, our feelings, our thoughts, our actions; and, not least, our discourse, our spoken narrations. Biologically, physiologically, we are not so different from each other; historically, as narratives — we are each of us unique.
Emily Dickinson: “I’m Nobody! Who are you?”