Final

For Nothing : Creating Illusions final, I want to create a site-specific installation.
 

It will be installed at 721 Broadway, Sub-basement, in a dark room.
People will be led down to the basement of the building, then walk down a staircase into the sub-basement, the guts of Tisch.

The room will be entirely dark, only faintly seeing a crack of light shining from a door up a staircase that seems longer than it really is, using optical depth illusions. The light shining through will imitate a sort of infinity.

Design Process
Designing an optical illusion staircase that makes the room seem bigger, longer than it really is.
Designing a light that imitates infinity.

 

Fabrication Process

1
The door, wall, and staircase will be the part where I will fabricate from thick foam cardboard.
Making sure every part is sealed, and light will only come through when the door is opened.
Materials needed: Foam cardboard, door nob, tape,
 

2
The "infinity light" illusion will be created by mixing 2 colors of light, (light blue and light pink), diffused by a silk screen or diffusive sheet, so the audience cannot tell the origin of the light source.
Materials needed: projector or other light source, diffusive sheet

IMG_4182.JPG
 
 
photo taken a home, testing lighting. using 2 Hue to create depth and infinity

photo taken a home, testing lighting.
using 2 Hue to create depth and infinity

Diminish and Ascend

Diminish and Ascend

Diminish and Ascend

Diminish and Ascend

Skyspaces, James Turrell.

Skyspaces, James Turrell.

 

After Aunt Dan And Lemon and A Difficult Evening

In Notes in Justification of Putting the Audience Through a Difficult Evening, Wallace Shawn writer of the play Aunt Dan And Lemon, raises questions on what is the process and reasons that we, the brightest the most enlightened creatures on earth, could possibly not see through evilness when it is right in front of us. Since we already know what evil looks like, acts like, talks like, we also know what righteous looks like and acts like, how could we ever not know what's good or evil when presented in front of us.

As Shawn writes, it's hard to say whether you like some of the people or you don't like them, and in which the things people say are a complex jumble of lies, truth, half-truth, rationality, and irrationality. Exactly this complexity of characteristics and behaviors that constitutes reality, then is it ever possible to characterize reality? 

An excerpt from Bateson:

“We commonly speak as though a single 'thing' could 'have' some characteristic. A stone, we say, is 'hard,' 'small,' 'heavy,' 'yellow,' 'dense,' etc. That is how our language is made: 'The stone is hard.' And so on. And that way of talking is good enough for the marketplace: 'That is a new brand.' 'The potatoes are rotten.' 'The container is damaged.' ... And so on. 

But this way of talking is not good enough in science or epistemology. To think straight, it is advisable to expect all qualities and attributes, adjectives, and so on to refer to at least -two- sets of interactions in time. ...

Language continually asserts by the syntax of subject and predicate that 'things' somehow 'have' qualities and attributes. A more precise way of talking would insist that the 'things' are produced, are seen as separate from other 'things,' and are made 'real' by their internal relations and by their behaviour in relationship with other things and with the speaker. 

It is necessary to be quite clear about the universal truth that whatever 'things' may be in their pleromatic and thingish world, they can only enter the world of communication and meaning by their names, their qualities and their attributes (i.e., by reports of their internal and external relations and interactions).”

Einsteins Dreams

part 20 June 1995
part 22 June 1995
 

Einstein's Dreams by Alan Lightman is a collective of speculative imaginations of the role of time. By conditioning how time exists in the world, rigid as it has been pre=determined forever, or independent as a local phenomenon, people think and act drastically different.

In chapter 20 June 1995, time exists as a local phenomenon, "This world of the locality of time, this world of isolation yields a rich variety of life. For without the blending of cities, life can develop in a thousand different ways. The abundances caused by isolation are stifled by the same isolation.

In chapter 22 June 1995, time is frigid, fixed, as every flight of birds is completely determined forever. In this context, freedom is a faint expression, there's no other options for a person to choose, rather than passively experience what is ahead.

These imaginations might seem isolated from reality, yet, as time is standardized and globalized today, how each and one of us, singularly experience time could be drastically different, even to say, more closer to the stories in the book. How we perceive time, utilize time, influences how we relate to other beings, how we see the past, the future, the trajectory of life.  

Is time a metric that measures our consciousness and the state of being?

CLASS 002

 

 

 

I remember the first blog post at ITP I wrote was for icm, the assignment was to talk about what artworks or artists we were inspired by, and I chose Irwin as one. Two years ago, when I read the book Seeing Is Forgetting The Name Of The Thing One Sees for the first time, not only it was such a great reading to understand Irwin's works with much more depth, it also provided me confidence in the state of being uncertain of results yet certain and determined to experiment.

Irwin's works to me, is using so subtle, so gentle yet powerful persuasions to let us see or discover "things" that have always existed within the eye frame, yet we normally ignore or unsee by our own unconscious filtering.

"If the doors of perception were cleansed, everything would appear to man as it is, infinite."

A quote from the book of a quote found in another book, James Turrell's notes in the LACMA documentation of the Irwin collaboration.

Irwin's certainty and determination of taking detours, "... until he's finally arrived at what makes sense to him. ... the artist measures from his intuition, his feeling. In other words, he uses himself as the measure.","... it is pursued for no reason whatsoever; it is the project of the passionately curious. The wilderness is stalked by explorers without maps and without any particular goals : their principal compass is their reason.". What is often overseen in Irwin's works, is his scientific approach and methods of experimentation and iteration, over and over, as his works are visually extreme subliminal and beautiful. Irwin's ability to abstract and concentrate on familiar almost trivial elements and put them into a complete different context for the artist himself and the spectators to truly see them again. I say this as also, Irwin's writings and notes often do not follow grammatical norms, exploring the phenomenal aspects of words, allowing us to devour each selected words ever more. (* this an afterthought of Irwin's book Notes Toward A Conditional Art)

The way I see Irwin as a true inspirational source, is to break or turn away from norms and social myths that often play as unnecessary filters and deluding shades, and truly see even the most trivial or mundane things in infinite possibilities.

CLASS 001

 

 

 

 

f for fake

 

 

 

 

for the first class of nothing : creating illusions, i was invited to watch orson welles quasi-documentary f for fake. the film is a labyrinth for “truth” seekers, as it never is honest, yet always honest. the film is a mastery of film editing. scenes are made of a fake set of another fake set, dialogues are created with a dialogue with another dialogue. the film itself, is self-presented to be a documentary essay on "fake" in the art world,  the story of the art forger elmyr de hory and his biographer clifford irving who forged an autobiography of howard hughes. words been taken out of context then collaged with other words been taken out of context, all merged into an artificial context that made sense to the spectator. 

 

what is a fake?
a fake hangs long enough in the museum, it will be come real.
a fake is fake only, if there’s an expert
.

 

what is history, is a piece of history a piece of fact?
in the film, the only fact that is undeniable is the existence of the invisible art market, filled with art dealers, experts, artists of any kind. but the rest, is all debatable. as i am reading jean baudrillard’s simulacra and simulation, baudrillard argues that it is myth that invades cinema as imaginary content. it is not criticizing cinema as an art form, but the illusionary factors that are so immersive can blur the sight to real historical facts.
“history is our lost referential, that is to say our myth. … today, the history that is ‘given back’ to us (precisely because it was taken from us) has no more of a relation to a “historical real” than neofiguration in painting does to the classical figuration of the real. Neofiguration is an invocation of resemblance, but at the same time the flagrant proof of the disappearance of objects in their very representation: hyperreal.”

 

here is a video essay on illusionists and politicians from one of my favorite video writers. a short comment and deep observation of how politicians maneuver and manipulate. in summary, when it comes to the pursuit of truth and realness, the most important is to learn where to look and how to focus in the right context.