Ideological Anamorphosis or the Dialectic of Ideologies
a series in progress

series subjects – politics – art – science – religion

topic referents i) the first plane impacting on the twin towers new york / american troops fighting insurgents in haifa street (baghdad)

phenomenological experience
each work in the ideological anamorphosis series contains one pair of topics, each topic is represented by a referent (see text above), the title of each referent functions as metadata to the instantiation of the concept within a complex system of relationships, between the spectator’s familiarity with the referent’s signification, the use of computer code, visual kinetics, aesthetics, disrupted temporal flows and acoustic properties, all implicated through the material audio-visual spatial experience, resulting in the spectator’s freedom to construct their own narrative, within the their own space and time of reception, within the multi projection structure of the work – staged within a series of four screening environments, each containing four projections of each of the two referents, two rooms projecting figurative outcomes, and two rooms projecting abstract outcomes
process
the time based work proposed, is one of a series of works currently under construction which use still imagery or video imaging, for data conversion – the recontextualisation of information – here a processing code is used as the constructor of the visual constituents of each piece, to map an optical subject dataset into a new dynamic dataspace employing the experimental utilisation of a forensic search for new visual outcomes based on the digital re-encoding of the referent – the key creative tool being deployed, is the formulation of algorithmic-code, based mainly on a dualist contradictory approach – random/determinate – audio-visual synthesis is applied in all results in this work, via an optical/acoustic dataflow from the referent through the Processing environment which renders the new visual outcome to projection screen, and sound to a linked audio output – all outcomes within each work are designed to run concurrently but asynchronously
figurative overview
via digital deconstruction and reconstruction of the referent images (achieved through the development of algorithms), the visual materiality delivered is designed to produce a displacement within the psychological field by a ‘fracturing’ of the spectator’s original (residual) cognitive reading of the referent image – this fracturing/displacement is compounded further by the multiplicity/visual echoing of projections, expressing the development of different aesthetic, kinetic, and temporal outcomes (re-actualisation) – playthrough via multi projection fields – an asynchronously projected multi screen environment of four figurative outcomes (of the same referent) – and various forms of individual temporal montage, allow the spectator – to take control over his/her own receptive/connotive montage within the extension and truncation of projected documented time and space at the point of the their perception/reception – these reconstructed separate realities (from the same referent), of each asynchronous projection, form consecutive moments in time, depending on the spectators choice of projection field and length of engagement with it

– in individual projection outcomes, overlapping/superimposition of multiple frames within one frame, collapse time, while slow motion in another outcome, extends time – these adjustments of temporal playthrough and montage, contribute to a multi layered ebb and flow of temporal experience and response, fracturing and displacing temporality – the merging of reconstituted-visual-datasets into new fluctuating forms within a continuously shifting temporal aesthetic, enables the spectator to construct his/her own individual narrative – within their intuitive and immediate awareness, framed by their own cognitive, inferential and emotive dispositions – the embodiment of response – it is here, within the catalytic space between the spectators original denotative interpretation of the title of the referent, (functioning as metadata), and their multi layered temporal conative interpretation, that the experience of each individual set of figurative projections lay – on another level here, while the visual syntax is open to development by the spectator, the visual lexia derived from the algorithmically reconstituted-visual-datasets still allows the figurative outcomes to function at the margins of paradocumentary

abstract overview
here the visual materiality delivered – virtually structuralist abstract outcomes – produce a further displacement within the psychological field by another ‘fracturing’ of the spectator’s previous cognitive reading – but now, not only of the original (residual) cognitive reading of the referent image, but also of the figurative outcomes previously experienced – where the original is now concealed within the abstracted images, and eludes location – resemblance is taken out of the indexical/symbolic/iconic, (what could be described here as the problematization of the typology of the sign) but each image is still determined by it’s dynamic object (the referent’s-visual-dataset) and the work’s visual function of signification boarders on an absence of communication, concealing it’s connection to it’s origin within the architecture of kinetic abstraction, but only within the opticality circuit:– within the overall matrix of communication, which still includes the acoustic function, the figurative outcomes previously experienced and the metadata – this now disconcerts the embodiment of response and tests the spectator again – but at his/her most radical level, in requiring a hypostatization of the exigent experience – here we return to the original concept – where the title of each referent functions as metadata to the instantiation of the work within a complex system of relationships, between the spectator’s familiarity with the referent’s signification, the use of code, fluidity of temporal flow, visual kinetics, aesthetics and acoustic properties, all implicated through the spectator’s material audio/visual, spatial experience at the point of his/her embodiment of response
outcome
there are sixteen different outcomes in the twin towers/haifa work – a multi screen projection featuring each conversion, running to view, (a)* four rectangular rooms each with a single projection on each wall or (b)* side by side on two projection planes opposite each other (eight screens facing eight screens) – all outcomes are square format and are designed to be projected at a minimum of 2 meters height/width – there are multi sound tracks for each of the two referents – these audio components to be delivered via headphone sets at seating stations within the centre of the gallery/room, or all played back to back linear/consecutively and looped all day – all projections will be looped to run continuously
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