The Universe in a Nutshell

May 26, 2012 § Leave a comment

HAWKING, Stephen : The Universe in a Nutshell. New York/Toronto/London/Sydney/ Auckland : Bantam Books, 2001.

A Brief History of Time ; From the Big Bang to Black Holes

May 26, 2012 § 2 Comments

HAWKING, Stephen : A Brief History of Time ; From the Big Bang to Black Holes. New York : Bantam Dell Publishing Group, 1988.

Piotr Kowalski

May 26, 2012 § Leave a comment

BAILLY, Jean-Christophe : Piotr Kowalski. Paris : Editions Monotypes Hazan, 1988.

L’aventure du mètre

May 26, 2012 § Leave a comment

POMMIER, Aimé, et autres : L’aventure du mètre. catalogue de l’exposition L’aventure du mètre au Musée National des Techniques – CNAM (04.04.1989∼ 30.10.1989), Paris : C.N.A.M. – Musée National des Techniques, 1989.

Piotr Kowalski ; Time Machine + Projects

May 26, 2012 § Leave a comment

BAILLY, Jean-Christophe, Pontus HULTEN et Dominique BOZO : Piotr Kowalski ; Time Machine + Project. catalogue de l’exposition Piotr Kowalski ; Time Machine Project au Centre Pompidou (16.12.1981∼ 06.02.1982), Paris : Centre Pompidou, 1981.

That’s the way I see it

March 1, 2011 § Leave a comment

 David Hockney, That’s the way I see it. London: Thames & Hudson Ltd, 1993

In the Renaissance, the invention of a new way of depictiong space, using the vanishing point, seemed to make the depiction more real.(…)Then a point was reached, perhaps in the nineteenth century, when Renaissance depction space was seen as not all that real. Perceptive people began to realize that space could be rendered in a different way.—p18

One of the most important things, one of the most difficult things, is to learn not to be intimidated, not to be afraid of working through even his forms to find your own way of doing it.—p102

So, what I am talking about is the world, and pointing out that there are different ways of depicting space; one way is a keyhole way, essentially the window idea, the one-point perspective.(…) It took me a long time to realize you could break the edges, and certainly, reversing perspective helps to do it.—p103

Now modernist assumptions about depictions of the world, of course, do not seem to be very different from those assumptions people make about the ‘reality’ of photographic depiction.(…)But the world isn’t just like that. I think it is much more than that: it challenges all the time any static notions we may have of reality and representation. And I think we have become aware of that partly because we are now beginning to see the limitations of photography. We tend to think of the photograph as a perfect record of life. But in fact the photograph is the ultiate Renaissance picture. It is the mechanical formulation of the theories of perspective of the Renaissance, of the invention in fifteen-century Italy of the vanishing point, which many people think was one of the most profound inventions of all the time.—p124

Modernism began by looking outside Europe, by descovering a differenct way of measuring the worldm a different way of seeing.

New way of seeing and depicting reality parallerl scientific discoveries about a new way of measuring the world.

To most people Cubist paintings were not of what they understood be a shared reality, but a private version of reality.

Cubism seemed to many people to be about one person’s subjective perspective of reality. And that was what Einstein’s theories also seemed to be about. (…) Einstein said, This is not the case, they’re not absolute and they depend a great deal upon the observer ; different observers see different events at different times. Such a view also seemed to break up the notion of a shared reality ; it established that we all see something a little bit different. – pp 125~126

The ‘how’ has a great effect on what we see. To say that ‘what we see’ is more important that ‘how we see it’ is to think that ‘how’ has been settled and fixed. – p128 

Most artists, good artists trust their intuition. I trust mine. Sometimes it leads you to make mistakesm but that hardly matters. You don’t see it hat way, you don’t even bother whether it’s right or wrong that way. There is no such thing as failurem you just learn from it and go on. That’s the way I see it. – p131

If the view-point presented in a photograph is not fixed, everything becomes more interesting. Suddenly the world is more interesting to look at and we begin even to doubt what we see. – p132

I have always believed that art should be a deep pleasure. – p133

In art, new ways of seeing mean new ways of feeling ; you can’t divorce the two, as, we are now aware, you cannot have time without space and space without time. – p165

I think it is my responsibility as an artist to be open all the time to new forms of awareness. – p169

I have never been there – because I had decided I shouldn’t go : the point of the exhibition was that it was being sent through the telephone. The work had been dematerialized somewhere and materialized somewhere else, and I thought it would make it more interesting if I didn’t appear. – p199

These painting raise again for me the problem of depiction and abstraction, that these are not – cannot be – two different things. – p238

What is it we are truly seeing in images? This whole nature of depiction itself how real is? And what does it mean to say there is no difference between depiction and abstraction?

The flat surface is interstion to me beacuse that too is a theory – two dimentions is only an ideam it doesn’t exist in reality ; even a piece of paper is three dimentional.

That’s what real space is, it is all made mentally. And I must admit I get carried away with these ideas, which surely imply that you can’t have the material world without consciousness. -p239

standard of space-time

January 26, 2011 § Leave a comment

standard of space-time (prototype), 2008 ; paper roll, print on adhesive ; 3.8 x 280 cm

This time, I addressed the size of the images recorded by the video camera,
whose width to height ratio was 4:3.
To give the visual equivalent of a millisecond,
I defined the width of an image as 2,8 cm,
and put the 25 images on a band of paper
leaving a gap of the same width for each missing millisecond.
I thus obtained a band 28 meters long representing one second,
creating a standard of space-time.

I also made a case for this space-time standard
using the proportions of the screen (4:3 and 16:9).

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