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Memory is a paradoxical thing, central to the formation of the self, yet fugitive and difficult to pin down. Memories become attenuated with the passage of time, yet can come rushing back in an instant under certain conditions. From the simple act of marking time to the recording of complex events, The Residue of Memory examines the diverse ways that events can leave their mark, and how objects and experiences can function as physical traces or intangible points of contact to the past. Works in the exhibition span a wide range of media—from sculpture to photography, sound installation to video projection—and were created from the mid-1970s to the present. For his work free fotolab (2009), for example, British artist Phil Collins posted ads in several European cities, offering individuals free processing and prints from their undeveloped rolls of film in exchange for all rights to the images. The resulting nine-minute slideshow—a selection of vacation photos, family gatherings, and other private moments—presents a strangely affecting montage of anonymous appropriate memories. By contrast, American immigration advocacy, women’s rights, and civil rights—and their contemporary manifestations in works such as Promises, Promises (2010). She meticulously redraws images from historical photographs, often editing out the original background and isolating figures from a crowd. By isolating these subjects Bowers moves away from the particulars of the original events and imbues them with a more universal meaning. Whether personal or public, illustrative or evocative, ephemeral or concrete, the works that make up The Residue of Memory collectively engage with and complicate such apparent dichotomies as distance and proximity, loss and remembrance, the individual and the universal. *** Time will continue to move forward. I’ll reside in the past, eventually as a minor memory. As I should. As is comfortable and right. Life is transitory, a medium of flux and transformation.
Memory is a paradoxical thing, central to the formation of the self, yet fugitive and difficult to pin down. Memories become attenuated with the passage of time, yet can come rushing back in an instant under certain conditions. From the simple act of marking time to the recording of complex events, The Residue of Memory examines the diverse ways that events can leave their mark, and how objects and experiences can function as physical traces or intangible points of contact to the past. Works in the exhibition span a wide range of media—from sculpture to photography, sound installation to video projection—and were created from the mid-1970s to the present. For his work free fotolab (2009), for example, British artist Phil Collins posted ads in several European cities, offering individuals free processing and prints from their undeveloped rolls of film in exchange for all rights to the images. The resulting nine-minute slideshow—a selection of vacation photos, family gatherings, and other private moments—presents a strangely affecting montage of anonymous appropriate memories. By contrast, American immigration advocacy, women’s rights, and civil rights—and their contemporary manifestations in works such as Promises, Promises (2010). She meticulously redraws images from historical photographs, often editing out the original background and isolating figures from a crowd. By isolating these subjects Bowers moves away from the particulars of the original events and imbues them with a more universal meaning. Whether personal or public, illustrative or evocative, ephemeral or concrete, the works that make up The Residue of Memory collectively engage with and complicate such apparent dichotomies as distance and proximity, loss and remembrance, the individual and the universal. *** Time will continue to move forward. I’ll reside in the past, eventually as a minor memory. As I should. As is comfortable and right. Life is transitory, a medium of flux and transformation.
Memory is a paradoxical thing, central to the formation of the self, yet fugitive and difficult to pin down. Memories become attenuated with the passage of time, yet can come rushing back in an instant under certain conditions. From the simple act of marking time to the recording of complex events, The Residue of Memory examines the diverse ways that events can leave their mark, and how objects and experiences can function as physical traces or intangible points of contact to the past. Works in the exhibition span a wide range of media—from sculpture to photography, sound installation to video projection—and were created from the mid-1970s to the present. For his work free fotolab (2009), for example, British artist Phil Collins posted ads in several European cities, offering individuals free processing and prints from their undeveloped rolls of film in exchange for all rights to the images. The resulting nine-minute slideshow—a selection of vacation photos, family gatherings, and other private moments—presents a strangely affecting montage of anonymous appropriate memories. By contrast, American immigration advocacy, women’s rights, and civil rights—and their contemporary manifestations in works such as Promises, Promises (2010). She meticulously redraws images from historical photographs, often editing out the original background and isolating figures from a crowd. By isolating these subjects Bowers moves away from the particulars of the original events and imbues them with a more universal meaning. Whether personal or public, illustrative or evocative, ephemeral or concrete, the works that make up The Residue of Memory collectively engage with and complicate such apparent dichotomies as distance and proximity, loss and remembrance, the individual and the universal. *** Time will continue to move forward. I’ll reside in the past, eventually as a minor memory. As I should. As is comfortable and right. Life is transitory, a medium of flux and transformation.
Memory is a paradoxical thing, central to the formation of the self, yet fugitive and difficult to pin down. Memories become attenuated with the passage of time, yet can come rushing back in an instant under certain conditions. From the simple act of marking time to the recording of complex events, The Residue of Memory examines the diverse ways that events can leave their mark, and how objects and experiences can function as physical traces or intangible points of contact to the past. Works in the exhibition span a wide range of media—from sculpture to photography, sound installation to video projection—and were created from the mid-1970s to the present. For his work free fotolab (2009), for example, British artist Phil Collins posted ads in several European cities, offering individuals free processing and prints from their undeveloped rolls of film in exchange for all rights to the images. The resulting nine-minute slideshow—a selection of vacation photos, family gatherings, and other private moments—presents a strangely affecting montage of anonymous appropriate memories. By contrast, American immigration advocacy, women’s rights, and civil rights—and their contemporary manifestations in works such as Promises, Promises (2010). She meticulously redraws images from historical photographs, often editing out the original background and isolating figures from a crowd. By isolating these subjects Bowers moves away from the particulars of the original events and imbues them with a more universal meaning. Whether personal or public, illustrative or evocative, ephemeral or concrete, the works that make up The Residue of Memory collectively engage with and complicate such apparent dichotomies as distance and proximity, loss and remembrance, the individual and the universal. *** Time will continue to move forward. I’ll reside in the past, eventually as a minor memory. As I should. As is comfortable and right. Life is transitory, a medium of flux and transformation.
Memory is a paradoxical thing, central to the formation of the self, yet fugitive and difficult to pin down. Memories become attenuated with the passage of time, yet can come rushing back in an instant under certain conditions. From the simple act of marking time to the recording of complex events, The Residue of Memory examines the diverse ways that events can leave their mark, and how objects and experiences can function as physical traces or intangible points of contact to the past. Works in the exhibition span a wide range of media—from sculpture to photography, sound installation to video projection—and were created from the mid-1970s to the present. For his work free fotolab (2009), for example, British artist Phil Collins posted ads in several European cities, offering individuals free processing and prints from their undeveloped rolls of film in exchange for all rights to the images. The resulting nine-minute slideshow—a selection of vacation photos, family gatherings, and other private moments—presents a strangely affecting montage of anonymous appropriate memories. By contrast, American immigration advocacy, women’s rights, and civil rights—and their contemporary manifestations in works such as Promises, Promises (2010). She meticulously redraws images from historical photographs, often editing out the original background and isolating figures from a crowd. By isolating these subjects Bowers moves away from the particulars of the original events and imbues them with a more universal meaning. Whether personal or public, illustrative or evocative, ephemeral or concrete, the works that make up The Residue of Memory collectively engage with and complicate such apparent dichotomies as distance and proximity, loss and remembrance, the individual and the universal. *** Time will continue to move forward. I’ll reside in the past, eventually as a minor memory. As I should. As is comfortable and right. Life is transitory, a medium of flux and transformation.
Memory is a paradoxical thing, central to the formation of the self, yet fugitive and difficult to pin down. Memories become attenuated with the passage of time, yet can come rushing back in an instant under certain conditions. From the simple act of marking time to the recording of complex events, The Residue of Memory examines the diverse ways that events can leave their mark, and how objects and experiences can function as physical traces or intangible points of contact to the past. Works in the exhibition span a wide range of media—from sculpture to photography, sound installation to video projection—and were created from the mid-1970s to the present. For his work free fotolab (2009), for example, British artist Phil Collins posted ads in several European cities, offering individuals free processing and prints from their undeveloped rolls of film in exchange for all rights to the images. The resulting nine-minute slideshow—a selection of vacation photos, family gatherings, and other private moments—presents a strangely affecting montage of anonymous appropriate memories. By contrast, American immigration advocacy, women’s rights, and civil rights—and their contemporary manifestations in works such as Promises, Promises (2010). She meticulously redraws images from historical photographs, often editing out the original background and isolating figures from a crowd. By isolating these subjects Bowers moves away from the particulars of the original events and imbues them with a more universal meaning. Whether personal or public, illustrative or evocative, ephemeral or concrete, the works that make up The Residue of Memory collectively engage with and complicate such apparent dichotomies as distance and proximity, loss and remembrance, the individual and the universal. *** Time will continue to move forward. I’ll reside in the past, eventually as a minor memory. As I should. As is comfortable and right. Life is transitory, a medium of flux and transformation.

Memory is a paradoxical thing, central to the formation of the self, yet fugitive and difficult to pin down. Memories become attenuated with the passage of time, yet can come rushing back in an instant under certain conditions. From the simple act of marking time to the recording of complex events, The Residue of Memory examines the diverse ways that events can leave their mark, and how objects and experiences can function as physical traces or intangible points of contact to the past. Works in the exhibition span a wide range of media—from sculpture to photography, sound installation to video projection—and were created from the mid-1970s to the present.

For his work free fotolab (2009), for example, British artist Phil Collins posted ads in several European cities, offering individuals free processing and prints from their undeveloped rolls of film in exchange for all rights to the images. The resulting nine-minute slideshow—a selection of vacation photos, family gatherings, and other private moments—presents a strangely affecting montage of anonymous appropriate memories. By contrast, American immigration advocacy, women’s rights, and civil rights—and their contemporary manifestations in works such as Promises, Promises (2010). She meticulously redraws images from historical photographs, often editing out the original background and isolating figures from a crowd. By isolating these subjects Bowers moves away from the particulars of the original events and imbues them with a more universal meaning.

Whether personal or public, illustrative or evocative, ephemeral or concrete, the works that make up The Residue of Memory collectively engage with and complicate such apparent dichotomies as distance and proximity, loss and remembrance, the individual and the universal.

***

Time will continue to move forward. I’ll reside in the past, eventually as a minor memory. As I should. As is comfortable and right. Life is transitory, a medium of flux and transformation.

Pausing

05/05/2012 - Evening

In love, every thing is beautiful seen from the point of the intellect, or as truth. But all is sour if seen as experience. The sea is lovely, but when we bathe in it, the beauty abandons all near water. Activity, one’s own or that of others, seems to lack inherent value, its value is derivative from unencumbered perception and retrospective meditation.

***

05/06/2012 - Afternoon

It is the raw material out of which the intellect molds its splendid products. A strange process too, this by which experience is converted into smooth material. The fabrication goes forward to all hours.

***

05/07/2012 - Morning

Those blooms of bridal wreath under my window make no reference to former bridal wreath blooms or to better ones, they are for what they are. There is no time in them. There is simply its being, it is perfect in every moment of existence. Man postpones or remembers, they do not live in the present. They cannot be happy and strong until they too live like nature in the present, above time.

***

05/08/2012 - Evening

The actions and events of our childhood and youth, are not matters of calmest observation. They lie like fair pictures in the air. Not so with our recent actions—with the business which we now have in hand. On this we are quite unable to speculate … We no more feel or know it than we feel the feet, or the hand or the brain of our body. The new deed is yet a part of life—remains for a time immersed in our unconscious life. In some contemplative hour it detaches itself from life, to become a thought of the mind. Instantly it is raised, transfigured, the corruptible has put on incorruption.

***

05/09/2012 - Morning

All activity is expression. Self-expression, as exertion, motivated as much by the urge to disclose oneself and one’s life, as by the wish to prove or to get the job done. The attempt to expose or discover one’s secret, one’s real talent, is often displaced or off-center, and therefore a person’s secret may remain a secret even to that person.

It is very hard to find one’s own way; one falls back on conventionally-defined opportunities — all that is safe and convenient. The greater the element of conformity, the greater the chance of avoiding one’s deepest truth. Independent conduct can be perceived as the truth of a person.

One’s only need, one’s only vocation is to be able to interpret being to themselves. We go out of ourselves so that we may enter the world, rather than remaining imprisoned in ourselves.

Lee Jung Hwa - I Don't Like

I Don't Like

Lee Jung Hwa

Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's Shin Joong Hyun 1958-1974

[Flash 9 is required to listen to audio.]

I don’t know what Lee Jung Hwa is saying in this song, but I do like it. All songs off Beautiful Rivers and Mountains are produced by guitar virtuoso, singer, and song writer Shin Joong Hyun.

Lifesource

The search is what everyone would undertake if he were not stuck in the everydayness of his own life. To be aware of the possibility of the search is to be onto something. Not to be onto something is to be in despair.

–Walker Percy, The Moviegoer

Irwin installed himself one day  in a small rented cabin and then did not converse with a soul for the next eight months.

“It was a tremendously painful thing to do, especially in the beginning. It’s like in the everyday world you’re just plugged into all the possibilities. Every time you get bored, you plug yourself in somewhere: you call somebody up, you pick up a magazine, a book, you go to a movie, anything. And all of that becomes your identity, the way in which you are alive. You identify yourself in terms of all that. Well, I was pulling all those plugs out, one at a time: books language, social contacts. And what happens at a certain point as you get down to the last plugs, it’s like having no ego: it becomes scary, it’s like maybe you’re going to lose yourself completely. And boredom then becomes extremely painful. You really are bored and alone and vulnerable in the sense of having no outside supports in terms of your own being. But when you get them all pulled out, a little period goes by, and then it’s absolutely serene, it’s terrific. It just becomes really pleasant, because you’re out, you’re all the way out.”

He thought about less and less. Finally he just thought about thinking. No longer calibrating his thoughts in terms of a social reality, in terms of how he would have to square them to the requirements of the world, he almost stopped thinking in terms of language. There was a slow purification of thinking; he speaks of arriving at pure ideas, stripped of any worldly ambitions or motives.

“Ideas, when they get like that, then you can really get into the game of reason. You can really sit down and reason the nature of what you are thinking. When you peel all those layers away and you arrive at just the qualities of the ideas themselves, it becomes very clear and very simple as to why they are what they are and do what they do. Then later when you bring back in the motives and the aspirations and the rationales, you can begin to see how they, in turn, alter the ideas.”

***

“You can romanticize yourself, and you can have all these aspirations and ideas and illusions about what it is you’re doing, but then every once in a while, you might get lucky enough to get a real look at what you’re doing, I mean, just that kind of straight focus which happened at that critical point. And I knew that everything I’d been doing wasn’t worth shit. I spent that evening––it was really a very painful evening—with people telling me how terrific that things were, you know, my friends. But at that moment I just stopped being involved with certain people and I stopped being involved with the things I had been doing. My education, I think, started then.”

“There was a certain point when I realized that if I was going to play, I was going to have to make the commitment necessary to do it. There was no simple shortcut. It was a question of, ‘Do you want to do it, or don’t you?’ And I don’t remember what it was that instigated it, but at one point I decided I really wanted to do it.”

“The big challenge for me, the ‘less is more’ challenge,  was simple, always to try and maximize the energy, the physicality of the piece, and to minimize the imagery. It could all be looked at essentially as turning the entire question upside down: moving away from the literate, conceptual rationale and really reestablishing the inquiry on the perceptual, tactile level … It’s about presence, phenomenal presence. And it’s hard: if you don’t see it, you just don’t see it; it just ain’t there. You can talk yourself blue in the face to somebody, and if they don’t see it, they just don’t see it. But once you start seeing it, it has a level of reality exactly the same as the imagery––no more, but no less. All my work since then has been an exploration of phenomenal presence.”

***

” … As I came to realize, it was for myself. I was still learning, studying, considering the effect of the circumstances, and so forth. And as my researched moved on, I no longer needed to attend to those particular examples. You gradually make a kind of rough compromise with the world which allows you to float and flow. When I drive a car, I can attend to driving the car, and when I think about art, I can think about art in the sense that I’ve established it for myself, without letting art become a victim of the way I drive a car, or vice versa. For a while that was hard. But once you’re able to make that distinction, and once you’ve done it long enough, you’re able to move in the world once again.”

Robert Irwin – Lifesource, Seeing is Forgetting the Name of the Thing One Sees