Morgan Garwood answered:
> A UFO
> tries to orient to this grid, become disoriented, crashes and explodes,
> destroying humanity's last chance for salvation. Now a word from our
> sponsor.....
I will answer you with a non-liniair concept "World wide arts" (1985) to
proof that
the internet can be is a universal tool and not a labyrinth for the
danger of
discursive and immanent phantasmagoria. Earlier dispersed by telix.
Beyond economics.
ORBITING SCULPTURE, 1985
horizonless concepts in real space
A LINE IN OUTER SPACE
A LINE IN OUTER SPACE
VISIBLE FROM EARTH
WITH THE NAKED EYE
AT CLEAR NIGHTS
Devices:
a certain amount of highly reflective grit, piggyback space-transport
facility
Arrangement:
the grit is lauched into space using standard piggyback payload
technology, and
brought into a sun-synchronous, 30.000 kph orbit at a height of 200
kilometers;
the grit is then spread out over a 100 meter long and 1 meter wide
area so that a
clearly recognizible line will be visible with the naked eye at clear
nights during 15
minute intervals at every point on earth
Motivation:
thus far, space has been populated solely by objects and artefacts,
small moving
points of light which can only be differentiated between by their
apparent orbital
speed; a line in outer space would be a dramatic and logical extension
of the
manmade satellite, clearcut proof that outer space is within reach: it
is the new
cavewall to be drawn upon
MERGING 18th and 20th CENTURY STYLES, 1991
installations for 18th and 20th century style chambers
INSTALLATION no 1
Devices:
two cameras and two CRTs
Arrangement:
18th Century style chamber: the camera shows an overview of the room;
this
camera is connected to the CRT in the 20th century room.
20th Century style chamber: the camera shows an overview of the room;
this
camera is connected to the CRT in the 18th century room.
Motivation:
this simulation is a history-less connection between two spaces that
are separated
hundreds of years style-wise in real space/time; using the speed of
modern day
electronics, this space/time vanishes and the images can be
integrated; thus, the
real space/time distance between the two spaces disappears.
INSTALLATION no 2
Devices:
satellite receiver and converter, parabolic dish antenna receiving
Meteosat, CRT
(the antenna should be mounted with a 36º elevation, such that an
unobstructed
sightline to the East is available)
Arrangement:
the satellite receiver and monitor are placed in an 18th century style
chamber and
connected to the antenna establishing a realtime connection with
Meteosat,
sending images of the Earth from a 36,000 km distance; while receiving
these
images, a 300hz tone combined with different sync tones, which are
being sent by
the satellite, can be heard in the direct surroundings of the 18th
century style
chamber
Motivation:
an image of the Earth, unknown in the 18th century, is shown in an
18th century
style chamber so that historic space merges with a current Earth
image; thus, the
room is drawn into a contemporary perspective by juxtaposing 18th
century
zeitgeist with high-tech imagery so as to dispose of romantic
ressentiments of
nostalgia
INSTALLATION no 3
Devices:
satellite receiver, dish antenna, CRT, down converter, cabling,
stabilised power
supply, computer, monitor
Arrangement:
a dish antenna is placed outside the building and pointed in a
southern direction,
the devices are connected and arranged in the centre of an 18th
century style
chamber; the satellite receiver inside is connected to the dish
antenna outside;
the CRT shows a continuous Meteosat image of Earth, the computer
monitor
shows a slowly rotating empty square
Motivation:
Empty square tries to be to Contemporary Art what Malevitch's Black
Square
was to Modern Art: a caesura between figuration and abstraction;
thus Empty
Square is an attempt to bridge the abyss between enclosed and
disclosed space.
INSTALLATION no 4
Devices:
a camera and a CRT
Arrangement:
the camera is positioned in an 18th century style chamber while the
monitor is
positioned in a 20th century style chamber, adorned with pieces by
Lizzitsky and
Mondriaan; the more sober the room, the better.
ADMONITION: no-one should be seen by the camera while the
installation is in
place; visitors should therefore refrain from entering the viewing
angle of the
camera lens.
Motivation:
this installation is a refinement of INSTALLATION no 1; the CRT
shows a realtime
view of the classical style chamber in the modern day style chamber,
thus unifying
disclosed and enclosed space by cleaving through space/time.
HUMANIZING THE VOID, 1991
horizonless concepts in virtual space
HANDSHAKE no 1
Devices:
two VR systems comprised of a reality engine, two dataGloves equipped
with
tactile feedback devices, two Polhemus position trackers for both
hand and
head, two headmounted displays equipped with headphones, two CRT
displays,
a fast interNet connection
Arrangement:
two reality engines are situated in two different physical locations,
separated by a
minimum distance of 1000 km. In the black void of their shared
virtual space two
disembodied hands float: one is controlled through the local VR
system, the other
recieves its input from the remote system; both systems contain
devices that
simulate the tactile experience of the actual 'act' of 'touching' and
'shaking'. At a
previously agreed moment in time the systems are activated and
connected
through the global data network and the `handshake at a distance'
occurs
Motivation:
Handshake no 1 is intended to humanize the void, not by populating it
with
familiar everyday objects but rather by severing man's most familiar
appendage
from his body and thus infusing the void with 'human-ness'
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Do you like to follow as a sponsor?
Martin Sjardijn, The Hague/Amsterdam september 1997
-------------------------------------------------------------
a forum on spatial articulations, perspectives, and procedures
texts are the property of individual authors
for information, email majordomo@forum.documenta.de with
the following line in the message body: info blast
archive at http://www.documenta.de/english/blasta.htm
or http://www.documenta.de/deutsch/blasta.htm
documenta X Kassel and http://www.documenta.de 1997
-------------------------------------------------------------