Tape Recorder for Dust

寄件者 MArch_Term 02

寄件者 MArch_Term 02

My project become a crossroad, is dust matters? or particle matters?, where should I position my dust in my project, is it just a phenomenon effect a memory dust?, is it important what kind of dust or where does it comes from? Is it the dust falling from a sculpture by Bernini that indicate the motion of the figure? or it is the dust inside the bunker where all the debris covered inside during the wartime. I'm not sure right now, but the warfare and bunker interests me a lot.

This is just a very simple idea, using a tape to trap the dust around the space from different location, as result shown that the dust aggregates around the corner where can trap more dust. I'm thinking of a dust map recorder then can playback like a film, a pattern of displaying the different condition of the dust occupation. But can dust express the events by just looking at the pattern? It seems a way too idealist.

Jean Dupuy-Cone Pyramid

I just found this in a book, "Formless", the artist uses the vibration of the hearbeat as a pulse to trigger the red pigment dust particels to fly inside the box with a light attatched at the bottom. The exactaly the same technology I used in my dust house, but he done it in 1968, and with an interesting narrative as base, what am I doing then? the out come of dust pattern for what?

In a black rectangular box, a window at eye level opens onto a 24' cube which houses the sculpture. The form is created by thrusting dust up into a cone of light. The dust is Lithol Rubine, a brilliant red pigment chosen for its ability to remain suspended in air for long periods. The thrust is achieved by amplified heart-beats from an attached stethoscope or a continuous loop tape recording of heartbeats played on a speaker mounted directly under a tightly stretched rubber membrane upon which the dust sits.

http://www.medienkunstnetz.de/works/hearts-beats-dust/images/2/

"Sand Fountain" of Joseph Cornell

In the simple tumble of sand from the top of Sand Fountain into a broken glass, echo memories of egg timers, of Victorian sand toys, of penny arcades. This work combines fun and fatalism. The finite amount of sand implies a finite amount of time, making Sand Fountain a modern vanitas, a reminder of our mortality. This is emphasised by the fragility of the glass, which stands broken, a cracked vessel incapable of truly capturing the fleeting sands of time. This appears to be a metaphor for life, but it is one in which Cornell asks the viewer to participate. Works such as this bring the importance of the viewer's physical interaction with Cornell's works to the fore. We are required to become involved with this box, to do more than merely view. Cornell designed Sand Fountain to be taken from its place, turned upside down in order to recharge the compartment at the top, and then tipped once more in order for the sand to fall down again. We are meant to contemplate it, but also to play with it. It is no coincidence that Cornell once even had an exhibition of his works that was designed specifically for children. A childlike wonder is at work in this box, as well as a poignant poetry.

Here we truly see the embodiment of Cornell's own description of his boxes:"Perhaps a definition of a box could be as a kind of 'forgotten game,' a philosophical toy of the Victorian era, with poetic or magical 'moving parts', achieving even slight measure of this poetry or magic...that golden age of the toy alone should justify the 'box's' existence" (J. Cornell, quoted in D. Ades, "The Transcendental Surrealism of Joseph Cornell," pp. 15-41, Joseph Cornell, exh. cat., New York, 1980, p. 29).It is only too apt, considering the central theme of time's passage in Sand Fountain, that Cornell has made it so evocative of days of yore. Cornell conjures a deliberately antiquated atmosphere by including opaque, broken glass, which appears frosted with time, and also the antique page of French text that papers the back. This links Sand Fountain to the past, to Cornell's beloved French culture and literature, to travel, to his friend Marcel Duchamp -- in short, to his own personal memories. Sand Fountain therefore comes close to crystallizing and capturing, behind glass like some specimen, the intimate and the ineffable.

Three Standard Stoppages-Marcel Duchamp

Duchamp dropped three threads, each a meter long, on to the same number of Prussian blue cloths/canvas. Then they were stuck to the surfaces without any adjustments to the curves that chance dictated they fell into. He then cut up the cloth and stuck it to glass plates, finally encasing them in a wooden box. A few wooden "rulers," which were cut following the same curves, were added.
The title of this piece is also, in part, the result of chance. Schwarz explains, "[Duchamp] decided upon the title when, during a stroll, he spotted the sign Stoppages ("invisible meaning") over a shop on the rue Claude Bernard, in Paris. From the tailor's use of sewing to his own experiments with the material seemed a natural step" (595).

http://arthist.binghamton.edu/duchamp/Standard%20Stoppages.html

寄件者 MArch_Term 02

This is a reference I looked up today, Phil mentioned about this last week about the ruler.

It can brought to my project, simply using the similar idea, an unit of measurement in my swerved perspective where dust cloud replaces. A "swerved meter" ruler for measuring the fluctuation of the dust trace and the trajectory of the moving object. This component then could be placed on the war bunker, a device for measuring the trajectory of the bullet flying towards the concrete wall. I'm not sure how to make this swerved ruler work now, but it might derive from the idea of the previous exploration. The cotton tread inside the dust vessel.

Diagram

寄件者 MArch_Term 02

寄件者 MArch_Term 02

寄件者 MArch_Term 02

The Art of War

寄件者 MArch_Term 02

孫子兵法-行軍篇第九　
眾樹動者，來也﹔
眾草多障者，疑也﹔
鳥起者，伏也﹔獸駭者，覆也﹔
塵高而銳者，車來也﹔
卑而廣者，徒來也﹔
散而條達者，樵採也﹔
少而往來者，營軍也。

The Art of War, Sun-Tzu
If birds start up, there are ambushers there.
If the animals are frightened, there are attackers there.
If dust rises high and sharp, vehicles are coming;
if it is low and wide, footsoldiers are coming.
Scattered wisps of smoke indicate woodcutters.
Relatively small amounts of dust coming and going indicate setting up camp.

Sound Mirrors

This is an interesting archeology site during the war time, sound mirrors.

“Sound mirrors” were built between the world wars (here pictured on the Kent Coast in the UK) as listening devices to detect incoming enemy airplanes. These reflectors fell into disuse with the advent of radar and remain as historic relics of an auditory past.
The Sound Mirror Project has proposed the revival of these devices for communication across the English Channel: “Visitors to the new mirrors will be able to climb up to a listening platform in front of the mirror in the manner of the orignal listeners at the historic mirrors. Rather than straining for the sound of distant aeroplane engines, people will be listening to the sounds of the sea, as well as for voices speaking to them from across the Channel.
A new advanced acoustic technology will allow transmitted sounds from the other mirror to be audible only at a particular focal point in front of the dish — focused at the small area around the listener’s head. The person standing at the focus point will hear a complete “holographic” binaural sound image which will appear to becoming from the air all around them.”

http://soundandsite.com/archives/category/architecture

The D-Day Memorial Bunker

寄件者 MArch_Term 02

Previous projects are the process of exploring the relationship between the landscape and the object. It is the space where motion object is moving and is changing the geometry of the landscape during the collision on the surface. The collision is the moment when object imprint the mark on the landscape as a trace on the surface. After the collision is the time when dust raise on the air and covering the trace and the object, the partial geometry of a dusted object and the covering dust landscape are created. It is the place where time and location is overlapped and waiting for the next accident to arrive. From this extent, the covered and covering object and landscape can be seen as a series of archeological layers, the overlapping layers of dust that indicate the events happening inside this space.

The issue of time based landscape is brought to an architectural program of a D-day memorial bunker. This is a bunker where stores the past event that happens during the war time, and a memorial dust landscape situated inside as a narrative of a space. War bunker is a pure functioned structure for weapons and soldiers to inhabit. It is the structure without any stylization, its aesthetic and function only meaningful during the war time. During the end of war, the aesthetic and function of the bunker is erased, the meaning of the structure is collapsed, but the mark and the trace of the war accidents still exist. For instance, the hole on the wall remembers the location of the impact of the bullets, the track of the tank squeezing on the surface of the land as trajectory of the movement and the explosion of the bomb that scattered the metal fragments all around the space as a boundary of collision. These are the imprints which left on the surface of a landscape as memorial evidence of accidents. The dust then covered and recovered on these marks over time, the traces of the accidents might partial submerged but not disappeared.

The design can be in several components to discover the narrative of a space through the landscape. The first part of the project is the recording device that acts as a reporter on the field during the war time, the device that is recording the location of a bullet hit on the wall, the vibration of the explosion on the surface, the tracks of soldiers and vehicles on the ground. These are the information of the event happening in the past. When the time passes by, the place of war bunker no longer functioning. The recording device covered with dust that was partial emerged on the ground is still waiting for the new event to come and begin to decay and to rust. It is the death of the bunker but the trace of the accidents still remains but suspended, it is the time when object become a dusted object.

WWII Bunker

寄件者 MArch_Term 02

寄件者 MArch_Term 02

寄件者 MArch_Term 02

I am looking for the programme of my project might head to, it's about motion object, trajectories, shifting landscape. By looking dust as the evidence of object in motion and the landscape of trajectories, the trace that left behind by movement. Accidentally I was looking for the book written by Paul Virilio, to have some idea what the event actually is, since I was using these terminology. I found an interesting article of photos, "Bunker Archeology", it's about the bunker that was build during the WW2, the architecture now was abandoned and left on the site, the pure structure with exposed concrete, and it is build as a shelter for weapons and soldiers.

What I extent here is the pure function is now erased, but the trace of the war time still exist. The mark of the bullet or cannon shell left on the wall, the raised dust that covered on the surface when bomb of explosion occurred. The soldier stepping on the surface of sand, the tank squashing the land and carrying dirt over different destination. It's the geometry of the landscape that is relocating due to the events happening on the site.