BLÅTIME SOL 2020

 

BLÅTIME SOL, 2020, 5:50 minutes, single channel video for projection. Film, performance, edit by Rachel Wolfe. Original soundtrack by Mehmet Dogu. Sun video, clay sculpture, and text by Mudi Hachim. This film was made possible by the support of AiR Kjerringøy and Bodø Kommune.

 

 

 

The Sun’s Traveling

As a dream, the screen technology transmits the sun. The process of solar transmission touches the memory of the first moment we see sun in our life. This sun remains within each one of us. The warm light resides within us forever. This traveling project with the sun, transfers the sun through a spiritual ritual derived from Sumerian civilisation. The heat of the sun of Iraq to the cold air of the North, reminds each of us, we move everywhere with this sun inside, and shine this sun from within. The project consists of transmitting light through a video made under the sun of Iraq. By enacting rituals established 8,000 years ago, good energy from the sun is transmuted through the video. The light is refracted from a container, made from paint and clay. The container used in this work contains writing from texts originating from The Epic of Gilgamesh (the sun within you). The texts and container return the memory to the sun within; even in darkness, this warmth remains. The four sections drawn represent stages of the idea, or revelation, of this project from idea to certain, to implementation. In the result, the performance through dance (expressive movements) create forms to represent the process of transmitting light. 

 


 

AFJORDANCE 2019

 

 

AFJORDANCE, 2019, single channel video, soundtrack composed by the digital armature joint movements referencing an open source audio library of wind. The video looks at the new complexities emerging in Artificial Intelligence, the ways humans create mirrored structures, and affordances in the notions of Intelligence itself. Exhibited in California, Norway, and Italy.

February 2020, Corwin Pavilion, University of California Santa Barbara for AWMAS Conference.

March 2020, Arteriet, Kvinnekroppen Utstillingen, Kristiansand, Norway.

October-November 2020, LoosenArt at Millepiani, Rome, Italy.

 
Norwegian: AFJORDANCE, 2019er i enkeltkanals video, med lydspor komponert av de digitale armaturleddbevegelsene som refererer til et lydbibliotek med åpen kildekode for vind. Videoen ser på de nye kompleksitetene som dukker opp i kunstig intelligens, måtene mennesker lager speilvendte strukturer og overkommelige i forestillingene om intelligens i seg selv. )
 

Performance & Edit, Rachel Wolfe www.rachelwolfe.com

Affordance Technologist, Harald de Bondt www.movingmaking.com

Videography, Børge Indergaard www.indergaard.net

 

 

FULL TEXT

AFJORDANCE, 2019, Approximate run time 13:50 minutes, single channel video (with audio).

Affordance is what the environment offers the individual, and refers to all action possibilities depending on users’ physical capabilities. For example, a chair “affords” being “sat on,” “thrown,” “stood on,” and a continuing use of probabilities. James J. Gibson, coined the term “affordance.” The video portrays a dance at the fjord as movement research for technology lab-work.The project developed from the Solfège Souche video performance. The relationship between the human body and the natural world remains full of misunderstandings and spaces for insight. As Artificial Intelligence becomes part of human life, and human relations are increasingly dependent on technological screens and interfaces, the question of what is knowing and the way Intelligence is understood comes into question in the video. The wind sound in Afjordance are from open source libraries. The composition is made by refercing the joints in the wire frame armature. This armature positioned antagonistically opposed to the fully covered body. The body becomes a form without much identity other than it shows the proportions of a female body. The wire frame of the body becomes the composer, making a track of wind sounds as an echo of the movements of the body. The feminine as a figure of the earth or “mother nature” in certain instances is faced with the exorcised image of itself which can scarcely mirror the motions from the limited human body. The video is intended to be projected with sound, to create an immersive experience for viewers to consider the themes of technology, the body, nature elements. The experience provides a multi-sensory meditation on the possible meanings and implications of the emergent technology.

 

 

 

 

 


 

 

ARTISTIC RESEARCH: DRAFT FOR JOURNAL

 

 


 

BOX MIRROR

 

 

Box Mirror, 2018, single channel video.

The video (blatantly) depicts fetishisation modern pop culture made out of nature as a means for marketing to machine assisted generations. In the absence of physical labor, mental and emotional labors are extracted as modes for perpetuating life processes. Audio by Ben Sound