Rhea Myers

Tag: Uncategorized

  • Device

    Visual device.
    Compositional device.
    Electronic device.

  • Eightiesesque

    Tron’s cyberspace.
    Star Trek ; The Next Generation’s computer displays
    Vector graphics ( Pollock on a Vectrex )
    Low resolution pixmaps ( Mondrian on a VCS )
    Silkscreen gradients
    R2D2’s casing
    Printed circuits

  • Shadows and Light

    Multiple shadows imply multiple light sources which implies artificial light. Or, less literally, epistemic relativism or the absence of God.
    What colour would a white cube be at Arcturus? At Alpha Centauri?

  • Philosophies Are Aesthetics

    What it says.

  • Axiomatic Aesthetics

    What it says.

  • Who?

    “There are now two conditions of the possibility of art: the address to the High Modernist spectator, and the satisfaction of the consumer of transparent images – however dressed up in the literal or the virtual.” – Art & Language, ‘Mother, Father Monday’.

  • Trip Hop Art (Poetics [A Decade On])

    Blur (focus), uneven lighting, dust on the plane, dust in the volume, fading & yellowing of pigments due to ‘age’, creasing & scratching of the support, tearing & crumpling of the support, crak(l)ing/blooming/yellowing of varnish, fading of edges, photographic grain, canvas/paper texture, halftone, digital pixels & quantisation, compression artefacts, water stains, coffee cup rings, lens flare, video blurriness, video generation degredation, black&white reproduction, b&w halftone, bad colour halftoning, 50’s red, 70’s yellow, 80’s green & blue

    The drum track has static and scratches. This is the lowest level of the music suffering the most basic ironisation. Static/scratches on vinyl are also inherently rhythmic.
    Instruments are obvious samples retaining their recording (spatial and temporal) quality, or made too bright/bassy to ensure distance (ironisation).
    The vocals are brought close, their raw qualities emphasised, the edges sent of the top of the meter.
    Gavin Turk’s rusty mirrored cubes.
    Fiona Rae (no noise, though?).

    The noise becomes part of the signal.

  • Opticality…

    Space, depth, perspective.
    Colour, form.

  • Transparency and Shadow

    “The quintessentially modernist ideal of a transparent, shadowless work” – ‘States of Secrecy’, Michael Gauthier in ”Too Dark To Read.

    “…the replacement of ‘visual art’ by texts was being celebrated as the driving out of allusion and shadow by transparency – a direct channel thereby being opened to the ‘meanings’ and ‘intentions’ of the artist” – ‘Almost Too dark To See’, Charles Harrison ibid.

  • The Participant Renders

    The beholder gazes at the artwork, disinterested, finding immanent and unmediated emotional experience contained within it.
    The consumer views the artwork, their discourse unreflectingly illustrated by it.
    The participant renders the artwork, engaging with it to generate the experience of it. Canvases are scene-graph scripts or interactors.