• • • • • • • • • • • • • •
_afflatus
fashion : hussein chalayan
• • • • • • • • • • • • • •


Today, i decided to return inspiration from textures and material. The added effect of a productive afternoon concludes the day with some experimentations with the outlook.

By blurring out the photograph’s main subject wearer, the focus is on the garment, leaving a reflection of light cast as glare with a hint of colour, changing the entire compositional mood completely.


frompamm
:

+ Inspiration : Hussein Chalayan A/W2014 +

Originally from _FROMPAMM • EVERYDAY

• • • • • • • • • • • • • •_atelierözm - behind the scenesdancing to my setup• • • • • • • • • • • • • •My piece exhibited at the Bargehouse, OXO Tower Wharf. A very constrained view of the progress of work to come merging analog and technology. I build a trajectory of work in my mind and in sketches but the ultimate piece that shows is and will always be, a response to the environment it is being exhibited in,Here, the idea that began was to carry out a floor projection. Simple. However, due to limited resources, i had the privilege of working with Senior Technician (but really, he is just a brilliant saint in the workshop:) Pete Smithson - accomplished artist and technical advisor at Central Saint Martins. We built a structure to house a DVD player and projector, attached a mirror at a 45 degree angle, to act as a self-sufficient storage unit for a 3 day exhibition. (More documentation of the work to come)Settling in a space at the Bargehouse Attic was uneasy and very challenging, it already had so much texture and undulation, character and mystery - to challenge my idea further , i decided to create a contrast of elements with the venue. Dirty ~ Pure,Soft ~ Hard,Dark ~ Light,Still ~ Moving.This vocabulary helped in the mutation of my work, challenging the space and therefore, bringing me to find the paper forest.More to come.+

• • • • • • • • • • • • • •
_atelier
özm - behind the scenes
dancing to my setup
• • • • • • • • • • • • • •

My piece exhibited at the Bargehouse, OXO Tower Wharf. A very constrained view of the progress of work to come merging analog and technology. 

I build a trajectory of work in my mind and in sketches but the ultimate piece that shows is and will always be, a response to the environment it is being exhibited in,

Here, the idea that began was to carry out a floor projection. Simple. However, due to limited resources, i had the privilege of working with Senior Technician (but really, he is just a brilliant saint in the workshop:) Pete Smithson - accomplished artist and technical advisor at Central Saint Martins. 

We built a structure to house a DVD player and projector, attached a mirror at a 45 degree angle, to act as a self-sufficient storage unit for a 3 day exhibition. (More documentation of the work to come)

Settling in a space at the Bargehouse Attic was uneasy and very challenging, it already had so much texture and undulation, character and mystery - to challenge my idea further , i decided to create a contrast of elements with the venue. 

Dirty ~ Pure,
Soft ~ Hard,
Dark ~ Light,
Still ~ Moving.

This vocabulary helped in the mutation of my work, challenging the space and therefore, bringing me to find the paper forest.

More to come.

+


(via frompamm)

View in high-resolution

Source: themagicfilter

Originally from マジックフィルター

The greatest value of a picture is when it forces us to notice what we never expected to see.

Princeton polymath, John W. Tukey, Exploratory Data Analysis (1915–2000) 

• • • • • • • • • • • • • •_ateliermy real life "pinterest" board• • • • • • • • • • • • • •These are the things that make me happy, these are the items that help me be further inspired, these are the pictures that make me excited for work and for my current research of the day.
I am made up of the memories i have been blessed with up till now.My wall consists of :
Photographs from old friends, memories created from my time in New York City 2012. 
A card made up of roses from the reception of my close friends’ marriage. 
Pieces of a Marimekko post form. 
Name and picture cards from Ashes57 & Teklife crew
Flyer to my first gig in Berlin, “Horizon Festival Launch”
Hauschka record release concert 2014, Berlin.
Other gig flyers including, THEM / Contact
Spaces by Nils Frahm
+

• • • • • • • • • • • • • •
_atelier
my real life
"pinterest" board
• • • • • • • • • • • • • •

These are the things that make me happy, these are the items that help me be further inspired, these are the pictures that make me excited for work and for my current research of the day.

I am made up of the memories i have been blessed with up till now.

My wall consists of :

  1. Photographs from old friends, memories created from my time in New York City 2012. 
  2. A card made up of roses from the reception of my close friends’ marriage. 
  3. Pieces of a Marimekko post form. 
  4. Name and picture cards from Ashes57 & Teklife crew
  5. Flyer to my first gig in Berlin, “Horizon Festival Launch”
  6. Hauschka record release concert 2014, Berlin.
  7. Other gig flyers including, THEM / Contact
  8. Spaces by Nils Frahm

+


View in high-resolution

Imagine arabesques or various forms of meandering line winding themselves out not on a plane surface but in space, with all that is conveyed to our inner awareness by the deep indeterminate margins of the sky; imagine this interplay of lines carved forward and combined with the most diverse elements, including that of the human face; if that face has particular features of the one which we meet everyday in the street, with its fortuitous, immediate and wholly real truth, you will have the usual combination of a large number of my drawings.

Odilon Redon, Expressionist
"Origins and Development of Kinetic Art", F. Popper, 1968, Studio Vista

• • • • • • • • • • • • • •
_travelogue
central transmediale 
festival 2014 - iiii
• • • • • • • • • • • • • •

10:15

Begin session at Berghain to see Jay Daniel bring a piece of Detroit to Panorama Bar. I loved how he seems too small for the console, but is banging out a huge array of big room sound from Soulful House tracks to dirty Techy bass lines, distorting it with some effects and ending with Dance hall.

14:00

Function in the main room = Liebe, that is all.

15:00

Some brunch and then off to bed.

•••

21:46

CTM day 3 for me, also the closing performance by a somewhat inspiration of mine as well as many others, Robert Henke. Using custom lasers, made in collaboration with specialists, no need for smoke or mirrors, just mathematics and some simple techno beats, to showcase geometric shapes and other manifestos cast in laser. I was quite possibly taken by the shadows it was creating on the ceiling by the reflection of the images, if i had the skills, i would present this work as a holographic intention in the middle of the room, as if an orb was opening a portal to another dimension.

00:00

Drinks at Paloma Bar, with the privilege to meet the young minds of the festival including programmers from all over Europe and inspiration artist, Sougwen Chung. sharing conversations with Sarah Farina too, is priceless to me.

04:00

Ending with a walk back home, not so cold anymore in Berlin as when i first got here on Wednesday.

• • • • • • • • • • • • • •
_travelogue
central transmediale 
festival 2014 - iiii
• • • • • • • • • • • • • •

CTM day 3 - continued

19:00

Left for my second CTM showcase at HAU 2, a simply wonderful venue, to see Rashad Becker and the amazing Thomas Ankersmit. Simply mind blowing with the journey both these artists set out for the audience to cast. The imageries i got from either were elaborately adventurous and right after the show, everyone stood up to geek out at the heavy equipment.

23:00

Off to Stadtbad Wedding for my amazing friend, Sarah Farina, and her debut at CTM! I must say, the last time i was at that venue, i literally got lost - that was exactly a year ago at the CTM as well. This time, the CTM is on it’s 15th year and i feel like they’ve gotten the right to be pricks, the lady at the door was a mean prick who was too arrogant to help me with my guest list - listen lady, i am on the list! Don’t just glance at it one time and pout your lips and shrug your shoulders, please.

00:00

Personal rant aside, Sarah Farina was as usual crazy amazing. I could see her working hard for the idiots who were sitting down - why would you be so rude to come to gig, to sit down in the front of the DJ who is not playing sleepy music at all, that costs 25 Euros, with expensive drinks, and just dis respect the artist like that? Nein man, neon.

04:00

Managed to sneak a peek at Opal Tapes’ Karen Gwyer, behind her machine, producing a perfect tonal ambient setting that seems like it should only be reserved for theatres but she managed to captivate everybody - brilliant!

05:00

Skipped over to Gretchen to see Addison Groove midway through a Dubby Techno set, creeping in to Jungle and ending with a huge bang of tunes from the classic Renegade Hardware crate. Love! 

What made it truly special was having everyone around just having so much fun, seeing friends enjoy the same type of music and loving it as much you do.

07:00

Home for a snooze.

• • • • • • • • • • • • • •
_travelogue
dj-ing at a ping pong
tournament
• • • • • • • • • • • • • •

CTM day 3

13:35
Woke up to play some music at a fun little Ping Pong tournament in Sonnenalle. Organised by a friend, Marcel, who makes very good music as NGHTDRPS


The tournament was held as a homage to the beautiful factory / warehouse spot that will soon be torn down due to gentrification. The big corporations have found this sweet area - located near to an S-Bahn, many buses that bring you straight into Kotti, the works. 



In comparison to the grime-filled brick warehouses of London, this building was as good as new. The water system works, the showers are clean, there is even an office space with fine wood furniture that is still in one piece. 



The fact that all this wonderful space will be broken down and converted into (yet another) big label office head quarter like Mercedes or O2, is very upsetting. Berlin changes its skin so vastly and quickly, it’s unsettling sometimes. This is my haven, i wish things could stay the same forever, i wish people didn’t have to worry about being kicked out of their homes for a railway track to come through, i wish people didn’t have to worry about whether they should spend money and love on decorating their personal spaces only to be given a month’s notice to be evicted. I wish none of these things happened. But that would be truly living in a dream, where nothing progresses, there is no such thing a growth and economy, and where finance doesn’t matter at all.

•••


Spent the beautiful day with kids, Natural Mate (Club Mate without the dangerous stuff), a dog, sun, friendly peeps and tunes with Walter Vinyl. 


I loved it, it was like being in someone else’s idea of a good day, and absolutely loving it. I even got to try out my German on the kid, and it worked! Onwards and upward.


+

Suki


• • • • • • • • • • • • • •
_travelogue
central transmediale 
festival 2014 - ii
• • • • • • • • • • • • • •

Last night’s Akos Rozmann experience was outer body revel, the soundscape he drew went from dark Italo Art House film landscapes to the scales of thriller movie runaway scenes. 

A 135 minutes of imagination while i went through a roller coaster fever from sleeping in a wildy cold room for 2 nights in a row - i supposed you can safely say i was moved in more ways than one, and by the time the night ended, i had gone through fluctuating levels of temperature whilst flying on a magic carpet with this man and his synths.

Following that was a treat for my sickly self, in the negative climate and snow-covered streets of Berlin, celebrating my solidarity with the beginning of my Lunar New Year. I bought myself a deliciously evil döner kebap and decided to stroll home under the super moon, between stale-quiet streets and slippery side walks.

•••

Day two of my CTM experience was going to be a long one. Unfortunately, one of the main acts for my Friday plan had been cancelled due to illness. Though sorely disappointed to be missing out on his exploration on the work of Finnish philosopher Erkki Kurenniemi -

i hope he is ok, these mature musicians living in extreme European weather must all take extra care so i may have more time to be inspired by their continued experiments - bit selfish, but that is my honest opinion.

I decide to forego the exploration for date with my lovely friend, Nany. The funny thing about Berlin is the beautiful way i have made friends and built my own image. Extracting myself from my roots in Singapore has been the best thing i’ve done for myself, now i can finally see my own shadow for the shape it really is and carve out an identity without leaning on anyone else i.e “you are so and so’s girlfriend, or you are her daughter, or she is your colleague etc.” - I’m not sure how many people actually realise how important it is to simply tear yourself away from familiarity in order to find your self as you truly should be, or truly are.

Nany saved me from friends who had abandoned me for Melt Festival in 2010, it was possibly the best thing to happen that year, the pivot point. 

•••

15:00

Nany and i met at Cafe Mano, superbly quaint spot right next to Görlitzer Bahnhof, then we took to Kimchi Princess just down the street for a proper new year feast. I was absolutely stuffed, and chucking a lot of Korean BBQ meat down my greedy stomach.

21:00

Returned home for a quick snooze and packed my gear for a cosy party at Yaam. Plan was to drop my stuff at Yaam, head over to Berghain - which is conveniently close by, return to Yaam and play till closing time (4:00), then return to Berghain for Concrete Fence - Regis and Russell Haswell.

22:35

Followed the boys to Yaam and hopped on a cab towards Ostbahnhof. Walked over with a care package for standing in the Berghain line, which consists of a tiny bottle of vodka, chocolate, chocolate biscuits, mints, water - laugh. 

23:00

The Berghain queue experience is always interesting to me. I don’t like to talk in the queue so i hear so much, sometimes the silly things people presume about it, mostly stupid things - you can then easily weed out the tourists, douches and serious music lovers. I don’t presume that i will always be allowed in, but i like to guess who usually will - that is my Berghain mentality when i go.

00:38

OAKE!!!! I am thrilled to be back in my familiar zone (in my usual spot in the corner of Berghain right next to the bar, with a good view of the DJ) but more thrilled that i am finally seeing Oake “live”! 

Everything horrifying evil and sinister, their live music protrudes their recording, filling the room is a strenuous haunting of wailing vocals, mixing in rolling rhythms once in a while. I also loved that they performed my most favourite tune “Nihnin Ned Bargund” - heart skipped a bit.

02:25

Dasha Rush took to the stage with a seemingly pensive eclectic mix of Techno, House and Ambient music. Unfortunately, i felt it was a little misplaced with the vibe of her music and i was hoping for something harder and more weird, nonetheless, i still loved it.

03:48

Walked back to Yaam to find that i’ve actual been there in 2007 - the first club i visited in Berlin, the coincidences with this city! Played a lovely set with my favourite dude, Walter Vinyl, going back to back with him is just super fun. I also might’ve gotten a little heart murmur from all that Club Mate i had been drinking - gosh, that stuff is horrid!

05:35

Caught the last few minutes of Regis and Haswell as Concrete Fence after i walked Jay Daniel to the nearest train station and showed him the way home. Thought it would’ve been better, to be very frank, maybe that is the irony of their name, “Concrete Fence”, describing a certain promise with the music but stopping it with distortion and heavy note mutation when the tune is actually going somewhere.

08:00

Home at last!

• • • • • • • • • • • • • •
_travelogue
central transmediale
festival 2014 - i

• • • • • • • • • • • • • •

I am back in one of my favourite cities in the world, Berlin (affectionately known to me as B-TOWN) to be part of the electronic explorations of the Central Transmediale Festival (CTM). The theme for 2014 is all about the tension between rupture and continuity, which characterises artistic development processes. After the paradigm of the digital world has permeated almost all areas of life, this year’s program of the CTM will discuss constructive ways of dealing with these changes and the increased need for historical reinsurance - which is turn, is exactly what i’ve written in my research essay and proposal - therefore, the undying connection.

Already it is freezing (-7 degrees) and i have spent the night in a room where it’s wonderfully messy, coins strewn everywhere, bits of cigarette butts decorate floor corners and the heating is (of course) not working. That doesn’t get to me though, as the room is filled with toys, musical instruments, controllers and other fun gadgets that make me smile and take me on fun rides with wire connection!

Tonight, i will be seeing the amazing Akos Rozmann presenting his work, “Images of Dream and Death” at the arts centre, HAU. At the opening of the CTM, Thomas Köner and Asmus Tietchens showcased their new album which deals with the constituent works of electronic music with, Karlheinz Stockhausen’s “microphonic I”, and the 1964 anticipation of sound aesthetics expressed through industrial music.

This collaboration between the label, Editions Mego, and the legendary, Groupe de Recherches Musicales in Paris, brings to us an evening of the 50th anniversary of the Elektronmusikstudion EMS in Stockholm and acts as a tribute to the recently deceased Dutch electronics pioneer, Dick Raaijmaakers, as well as the beginnings of the electronic Music in the Netherlands in collaboration with the Institute of Sonology in The Hague.

•••


This recording is the 4th version of, “Images of the Dream and Death”, revised at EMS/Elektronmusikstudion. Performed in 2001, Stockholm, in Essen.

The 1st version was realized with Buchla synthesizer at the State Academy of Music, EMS/Elektronmusikstudion, Stockholm 1974-77 (released on Phono Suecia as PS 27, 1986); the 3rd version in April 1990 (released on Phono Suecia as PSCD 27, 1991).

•••

The relationship between my research in sound and matter have grown and is slowly meandering in various by-products of imagination. The challenge for me, is always to portray this relevance in visual art and conducting a stable platform for this expression. I really hope to streamline all this experience into a rich context, allowing people to understand my methodology and know that i am not a one dimensional artist.

To prove this will take time, therefore the reasons why it is progressing slowly, but nonetheless, still progressing.

To reiterate this attempt is the sole reason for keeping this journal, and i hope readers will be allured into my incoherence through the essence of my curiosity on the subject matter, sound/music/noise/visual art.

• • • • • • • • • • • • • •
_atelier
generative instruments
communicative product
• • • • • • • • • • • • • •

What happens when you use non-linear ways to create an imagery of statistics? What would be the point and why would you put so much effort into translating a sequence of numbers into a separate form? 

Last evening i decided to play around with the core script of informational ISOcountours - a spatial alignment of studies that is acceptable, or to overlay the location of an anatomical structure in the fusion image, or giving you an output of images with quantitive measurements.

I’m not sure the brain size of my capacity is able to fully understand the working values that go into using this mathematical principle of output, but i wanted to engage in its popular use in media art today, so as to achieve a level of comprehension for my own understanding. 

The images above were built with the help of a sample library, this is shared by a collective of computing students at Columbia University.

What makes a shape reveal its form, as it is, to our eyes? What makes seeing these shapes register as a “shape” to humans? How does the translation of numbers compute within the understanding of humans and does everyone see this information the same way? Do animals see these images?

•••

The colours were aesthetically derived from a hex code, simple. The graphical components (thickness of line, length of line, curvatures etc.) were curated in a muted palette - the winter had been unfriendly over the weekend.

+
Suki

Originally from _FROMPAMM • EVERYDAY

• • • • • • • • • • • • • •_atelierpermutations - iii• • • • • • • • • • • • • •Sunday evening with Henrik Schwarz on the ringer.

• • • • • • • • • • • • • •
_atelier
permutations - iii
• • • • • • • • • • • • • •

Sunday evening with Henrik Schwarz on the ringer.

• • • • • • • • • • • • • •
_atelier
basics
processing - ii
• • • • • • • • • • • • • •

Let’s pick up where we left off at the last coding session. I’ve given up trying to understand each block individually, perhaps the key here for me to learn things, is to just edit - like how i’ve marginally learnt CSS / html.

This code can be easily found on the Processing > Library page, the source content comes from mouse-click interaction and reaction. This relates to my work by being a reactive solution, through creative coding.

- 1 -
The way i would do this by means of creating a physical experiment, is use a drop of paint and blowing on it with a straw - a typical method for making branch-like formations.

- 2 -
Another method would be to introduce wax or oil into the context (paper, metal sheet etc) and have the same straw-blown system on a drop of oil that is infused with paint.

•••
The base code is a sample using “growth” to create hexagonal, branch-like structures for a mouse-over response.

•••


float theta = 0;

float seed = 0;

void setup() {

  size(600, 600);

}

void draw() {

  fill(200,200);

  rect(0,0,width,height);

//  randomSeed(seed);

//  background(200);

  seed = map(mouseY,height,0,0,1);

  translate(width/2, height);

  theta = map(constrain(mouseX,0,width),0,width,0,PI);

  branch(height/4);

}

void mouseClicked() {

//  seed++;

//  seed+=0.1;

}

void branch(float len) {

  strokeWeight(len/10);

  line(0, 0, 0, -len);

  translate(0, -len);

  len *= .67;

  if ( len > 2 ) {

//    theta += random(-PI/122.0,PI/122.0);

    theta += map(noise(seed),0,1,-PI/200,PI/200);

    pushMatrix();

      rotate(theta);

      branch(len);

    popMatrix();

//    theta += random(-PI/12.0,PI/12.0);

    pushMatrix();

      rotate(-theta);

      branch(len);

    popMatrix();

  }

}

•••

Generated images are pictured above.

• • • • • • • • • • • • • •
_afflatus
marey in film collection
• • • • • • • • • • • • • •

Today’s treat is a collection of moving images from my current inspiration, Etienne-Jules Marey.

Directors : Maxime Guerin-Catelain, Etienne-Jules Marey
Dated : 1895 - 1898
Subject : Stationary Physiology

Aesthetics / Observations

The image collection contains a sense of time-reversal, due to the age of the film and the quality of the film processing of the day (late 1800s).

The array of images captured were mostly in animals, as their thesis prevails interest in, but the character of these animals seem to come across as vehicles rather than living organisms, thanks to the display of image.

The duotone seem to capture a sense of seriousness as well as comedy, in relation to the pace and subject area of observation.

The textures derived from each reel is a soft peel of greytone with scratches on several pieces of film as well as light leaks, creases and sprocket marks - these are all elements that excite me in the rawness and approach to first hand creations.

I appreciate the character of each film setting, the manner in which the animal is treated - with some form of care and respect, the attire of each rider - formal top hats and suits, as formal riding wear, and the variation between horse breed and colour tone.


Thoughts / Musings

What this collection of film shows me is a method of presentation as well as setting a tone for showcasing work describing movement.

The basis of this collection is a study on the physical movements - the stride, the run, the gestural contact of a horse’s feet with the ground. On a side note, perhaps the relationship between rider / handler and animal.

•••

Marey’s films were always captured in a unique way, whether through custom made cameras or sequential devices that allow the capturing of subsequent movements within a split  second time span.

The subject matter, Physiology, ties in very much with my research on Cymatics. The growing interest in particle physics is expanding like a virus into broader regions of physics and chemistry. This is a natural progression for me, by meandering and wavering through the dozen aspects of my primary subject matter, it helps engage new ideas from each one, hopefully educating my answers through its course.

+


• • • • • • • • • • • • • •
_afflatus
create a slit-scan
camera
• • • • • • • • • • • • • •

You can make your own slit camera out of any video capable digital camera with a regular sensor and a regular lens. All you need to do is the following:

  1. Record a video of your action
  2. Extract each frame as an individual image (the opposite to what you would do for a time lapse)
  3. Extract a vertical single pixel wide line from each image (for example a line from the centre)
  4. Stack those lines horizontally from left to right to form an actual “slit scan” image

Using automated by tools like ImageMagick means the longer your initial video was, the wider your image will be. The width of your slit scan image will have exactly the same amount of pixels as your initial video’s frame number.

Now, to go one step further you can proceed for all the other vertical lines of your images and create one slit scan image for each particular set of vertical lines. This will give you a set of as many slit scan images as your initial video was wide in pixels. Combining that set of slit scan images to a video (this time exactly as in a time lapse) your result can look like this.


•••

Extra perk : Search for grocery scanners and use the technology to produce the same effect, further warped. Now, where can i get a throw-away grocery gun?