White Cube Portal (Distillery)

Fingerprints and Fractals

The track is a work in progress. Its directions and dynamics are being moulded by both collaboration with textiles and installation artist Agnieszka Golda (exhibition soundscape) and my own sonic explorations of ‘analogue-trace.’ 

I can take heed… I can take heed…

In a good mood one afternoon I heard the distinct trill of an email arrive. I have been on a good roll over the last couple of years with positive progress and feedback. It was about time I got a slap in the face. The email helped me make the decision (’again’) at last. I’m going to leave jet-setting-carbon-foot-printing conferencing aside for a while and target some journals.

Here is what they had to say:

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The abstract suggests some promise for an interesting paper, but is
characterized by a series of disconnected assertions and a heavy use of
jargon. It is not clear what conference thread the paper seeks to join. A
revised abstract should explain how the paper will advance the knowledge
base of the discipline, what the key aims and concepts of the paper are and
how these are innovative. For example, it is insufficient to simply explain
key terms in the paper. You need to explain what analytical role they will
serve in the paper. This conference will attract a general student and
academic audience. You should rise to the challenge of explaining your
ideas in plain language in both your paper title and abstract if you seek
to appeal to and communicate with this audience.

Avoid meaningless strings of words like ‘digital design production
context’.

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 I guess I need to work on compressing a lot into the asked word count while keeping references to Benjamin and Derrida ‘ design cool’

Rebuttal:

Not going to waste my time… will seek an audience that does not need me to tell them how ‘innovative’ my work may or may not be or the analytical potential of use-value.

This paper analyses the phenomenon of a return to the analogue and its value within a digital design production context. The study does so by introducing the coined term and key concept “analogue-trace” as a means to reinvestigate use-value in contemporary digitisation and its association with the qualities of analogue technologies. The term analogue-trace is derived from a combination of two words, one technical in meaning and the other a theoretical referent. The first term, analogue, points to methods of reproduction that are not digital, such as 35mm dark room processed photography or needle and groove phonographic records. The second term, trace, is a post-structuralist concept set out in the writings of Jacques Derrida on deconstruction. The presence and qualitative impact of analogue-trace affords reinvestigation of creative practice and discourse concerning the fluidity between analogue and digital modes of design production.

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Keeping it safe. Making a more formal transition into the context of design practice or modes of design production.

Image from: The Steampunk Workshop

Analogue-trace now has a sub culture reference…the path not taken.

A bit of hands on fun for the latest ¼ Inch Digital Media/ Sound/ Video Art event.
http://www.1-4inch.com

While living in the hills of Figtree Wollongong I would frequent the escarpment via O’Brien’s Road. This piece features textures and associative imagery from a number of contemplative walks.

Unless your daddy is rich or your providing ‘favors’ for the right people how do we maintain such venues. I have friends trying to setup something similar and can only cross my fingers the red tape holds off.

http://www.illawarramercury.com.au/news/local/news/general/red-tape-silences-music-farmers-shows/1345442.aspx

al often works through the night in the bush land of Tomerong constructing elaborate temporary sculptures and schematic scenarios out of found objects and natural materials.