bLOGOS/HA HA

David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

05 November 2008

At last, the PROJECTION

Viewed first to imaginary line

04 November 2008

Melbourne Cup - The Race that Stops a Nation : our mug punter confidently predicts ...

At the Hepburn Springs General Store the annual Cup Day poems have been drawn and may be VIEWED in the front windows. May your horse win!

(Prediction above posted at 2.45 pm.
And the winner is ... VIEWED)

03 November 2008

SOCIALISTICKA FOTOGRAFIE

01 November 2008

Public Projection-Space Launched

31 October 2008

diaLOGOS/HA HA : "merging interactivity and dialogism"

.
"Clark's Dialogue Goggles from 1968, for instance, restrict the visual field of the two participants to an eye-to-eye exchange, merging interactivity and dialogism, two of the central concerns in Clark's work."

.Diálogo: Óculos
.1968
.Lygia Clark

Lygia Clark and Hélio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future
Simone Osthoff

"This essay discusses the artistic legacies of Brazilian artists Lygia Clark (1920-1988) and Hélio Oiticica (1937-1980), focusing on the interactive vocabularies developed from their participatory creations of the 1960s and 1970s and pointing to the practical and conceptual relevance of these vocabularies for artists working with digital communications technology. The article also explores the critical and original way Clark and Oiticica, working at the margins of capitalism, reframed modernist aesthetic issues by translating them directly into life and the body. The author concludes with an examination of the artists' interactive non-electronic works, which share common conceptual ground with the works of Australian artist Stelarc, the New York-based X-Art Foundation and British artist Roy Ascott."

(Full article ...)

This all via wood s lot

30 October 2008

Out of Bounds

Paul Ramirez Jonas and a moment of regard from the conference Out of Bounds : Art, Faith & Religiosity held earlier this year at Monash University (Faculty of Art & Design). The object of Paul's attention derives from the keynote paper by Janine Antoni: When the Object Looks Back.

(Abstracts ...)

29 October 2008

Pict-O-Screen : when your projector is ready

"Movie screen in the parlor need no longer be a problem with this new device known as the Pict-O-Screen. Concealed within the frame of a lithograph print, it can be pulled into place with a cord whenever your projector is ready. When the show is over, just tug the cord again and the screen disappears. It’s made by Radiant Mfg. Co., Chicago."
Mechanix Illustrated
March 1947

28 October 2008

projection-space : where the forecast error is the difference between the actual value and the forecast value for the corresponding period

The forecast error is the difference between the actual value and the forecast value for the corresponding period.

where E is the forecast error at period t, Y is the actual value at period t, and F is the forecast for period t.

Measures of aggregate error:

Mean Absolute Error (MAE)