Submitted by AliaK on Thu, 23/02/2023 - 22:55
::: via:
https://iview.abc.net.au/show/extinction-with-david-attenborough
Submitted by AliaK on Sun, 29/01/2023 - 20:45
was too humid to write today so I made some gelli prints, exploring different colour combinations and textures
cartridge drawing paper and acrylic paint
Submitted by AliaK on Thu, 29/12/2022 - 21:59
the Hay plains are vast, felt like hours crossing them. they continued as far as the eye could see. patches of water dispersed along the road. gave me an eerie feeling - being in the sublime - I kept thinking it was going to rain, flood and we'd be trapped there in the rising waters, even though this was unlikely
I became a bit obsessed with all the different grasses and mid journey-esque dead tree forms during the drive through outback NSW/VIC/SA. many photos to reference. someone needs to do a photo book on those trees. so beautiful. and the eucalypts with their fractal-like perfection
a colour map / species map of their distribution across the landscape would be cool too. patterns and mixtures abound
drowned trees and power poles in the Murray River
h/t to David Stephenson's "Drowned" / "Drowned Trees" series eg
Submitted by AliaK on Mon, 24/10/2022 - 21:13
specture ::: the topology and conceptual contexts underpinning my specture body of work ::: explorations of interconnectedness and 'evolution' of extinct species on/and the blockchain
::: speculative|species ::: future|architecture ::: https://butiq.art/aliak/specture
specture is a speculative exploration considering the interconnections and abstractions of extinct species (from NSW) on the blockchain, with the underlying idea: what if in the future this is the only place they exist?
The blockchain is an immutable technological system, where data stored on it remains forever (or for as long as the chain exists). I build conglomerations of generative, code-based systems mixed with 3D digital models to create digital drawings and animations as abstractions of the extinct species and their blockchain environment, to garner what the species might see and experience whilst inside the blockchain. These generative drawings imagine whether the species could evolve once in the blockchain, or would they reach their final form once stored there. They also reflect the decentralized entanglement in interconnectedness in both ecology and the blockchain.
Submitted by AliaK on Fri, 19/11/2021 - 16:41
it feels like we're grieving, for the loss of a website/system, though it was more than just a website; it was an idea and some say, a movement. hic et nunc [now a broken link], designed and built by Brazilian developer, Rafael Lima, was|is a generic architecture|system|platform for exploring decentralised blockchain uses that morphed into an art focused obkjt|NFT collection space|lab|dApp on the more eco-friendly Proof of Stake based Tezos blockchain. it came with a warning — This is an experimental dApp, use it at your own risk. Lima's design is an elegant architecture that works on multi levels — the objkt (NFT/art work) level, the platform (single site/front-end) level and the network|multisite|eco system level. hic et nunc brought beauty into the tech; art into the tech; the aesthetic into the tech; art and elegance into the architecture. it felt more feminine than many of the tech-bro developed platforms that surround it in the crypto landscape. the UI design was|is simple and clean, focusing on the art, as a flat plane, that allows the eye to flow across and above and below the page|space viewing art within the webpage frame. there were no popup menus invading|colonising your space|view|frame. everything was within — a plane of immanence (Davis 2021; RainDropUp 2008; Wikipedia 2021), with simple, flat navigation, subtley showing via collections and presentation, that everything is connected to something (Haraway 2016a; Haraway 2016b; Rose 2008; van Dooren 2014*), one art work led to the next, one artist connected to another, links between them all, point to point, peer to peer. there were no leaderboards, no transcendency, everyone and every piece of art was equalised by the immanent design — by the OBJKT and the SUBJKT (RainDropUp 2008).
a wash of emotions this past week, after hearing the news that Rafael had discontinued hicetnunc.xyz on November 11, 2021 (Nov 12 in Australia/Sydney). many articles have been posted about this (plus a few posts for context):
Submitted by AliaK on Sat, 02/01/2021 - 23:49
there was a mention of pataphysics in one of the mu-mesons' videos we've been watching over the holidays. reminded me of Sam Renseiw's spacetwo videoblog. nice to see he's still making them: "the fine art of 'pataphysics in daily life. condensed poetic voodles. A video blog by sam renseiw"
'Pataphysics, an absurdist concept coined by the French writer Alfred Jarry, is a philosophy dedicated to studying what lies beyond the realm of metaphysics. Defined as: "The science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments"
https://patalab02.blogspot.com
::: via:
https://patalab02.blogspot.com
Submitted by AliaK on Wed, 08/06/2016 - 13:34
Submitted by AliaK on Tue, 07/06/2016 - 11:49
week 1 discussion points - basic concepts underlying Western philosophical thought
general questions (any era)
>> ... it would be interesting to hear people's experience of individual artworks--have you ever seen an artwork that moved you, disgusted you, interested you, disinterested you...? If so, why? What was it about that artwork that was effective / ineffective?
an artwork that moved me:
Ben Quilty's "After Afghanistan" series of paintings - example, his Captain S After Afghanistan painting. the pose and expression on the face and application of paint in such thick strokes and the mix of colours and expressive marks/brushstrokes & use of light and dark/shadow evokes strong emotions in me — in both the technique of the painting and the subject and meaning behind it.
Ben Quilty. Captain S After Afghanistan. 2012. Oil on linen. Archibald Prize, Art Gallery of NSW. https://www.artgallery.nsw.gov.au/prizes/archibald/2012/29238.
Submitted by AliaK on Tue, 23/02/2016 - 12:14
Submitted by AliaK on Sat, 05/12/2015 - 11:47
at the "Second Skin" workshop with India Flint (held at Beautiful Silks in November), we learned how to make string from strips of fabric. then we used these as measuring tape measures for our body measurements. it was so relaxing to twist and turn the fabric into string, even though part of mine did unravel a bit when I lost concentration and must have twisted or flipped in the wrong direction - serves me right for trying to speed up.
these are the strings from everyone in the workshop - mine's at the bottom left - I put it down too quickly at the end, so it's not in a perfect circle like some of the others, though I like the colours, and since the photo I've fixed the unraveling and added red stitching to keep that section in place.
Submitted by AliaK on Wed, 15/04/2015 - 22:19
"...wind and breath are intimately related in the continuous movement of inhalation and exhalation that is fundamental to life and being. Inhalation is wind becoming breath, exhalation is breath becoming wind. --Tim Ingold, Being Alive" via Debbie Lyddon's "Aeolian Pipes and Air-Songs" booklet on her textiles (felt, wax, resin & wire) sculptures at the beach https://debbielyddon.files.wordpress.com/2014/10/aeolian-pipes-and-air-s... (pdf)
having recently had an appendectomy operation in which the recovery left me with reduced lung capacity (bilateral pleural effusion with lower lobe collapse), these words rang true for breathing and learning to breath through my tummy/diaphragm rather than chest.
Submitted by AliaK on Fri, 27/03/2015 - 09:43
with all the talk of data retention and vintage (clothes) stores & work stuff this week, I had a great dream about an encryption dress this morning. I couldn't find anything in the store that I liked, then finally chose a dress & said this'll do. turns out it had an encryption chip in it. we couldn't find the pricelist card for it — flat, vertical cards covered in plastic frames — sort of like house listings in the window of the real estate offices. had to scan through heaps of them - layers and layers. & seems to be waterproof also as the dress becomes swimwear/togs too (changes). lots of dream spent on adventure looking for it. turns out it cost $100K due to software licence. but they waived it & I got to keep the dress & encrypted all communications from then on. I was trying to work out how it worked without a keyboard to enter passphrase. but it was new tech. touch was all that was needed. I was also worried about the chip being so close to my heart (physical location) but it was proven to be safe to wear. good dream. chip was like a square button, sewn into the fabric. gather & press to activate. the encryption dress and chip were waterproof too because at some points in the dream it turned into togs/swimmers and I was in the water, I think when I was looking for the pricecards.
maybe it means I should get back to working on the flora gps test - flora's working, & gps arrived recently
#dream
Submitted by AliaK on Sat, 17/01/2015 - 06:27
on haptic human website, I'll be exploring the human touch in handmade objects, using the idea (feeling? what-if question?) that there's a transfer of atoms when objects are made, and when they are hand-made I think the *human* atoms get blended (even in a slight way) with the object's atoms, and it makes us relate to them more - we 'feel' the humanity, or the soul perhaps (our common atoms/frequencies). this will allow me to research across different topics and disciplines, and to apply "what-if" questions to try answer and explore.
this idea is based on my reply to a discussion on haptics on my textiles class forum, and some earlier thoughts about analog audio vs digital audio recordings (see below & attached)
note that there'll mostly be rough notes/stream of consciousness ideas here for a bit of fun, so nothing really to see here - move along
Submitted by AliaK on Wed, 07/01/2015 - 20:41
Submitted by AliaK on Tue, 01/07/2014 - 05:30
inspired by jude's opening post, I started a mind map to begin my "considering weave" class workbook.
I've been working on my fabric loom tonight - the invisible basting is done, next up loading the warp & weft. I looked up one of jude's videos from the hearts class to remind me how to do it - a great resource!
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