With the series entitled “Traveling Landscapes”, vignettes of nature are encapsulated within steamer trunks and train cases aged through travel. Displaced elements indicative of natural landscapes are presented in partially opened cases, as to not fully expose the delicateness of what is contained within. Streams and rivers activate the scenes as they course through the landscapes contained within the cases. The illusion of life and growth, illuminated within, reflects the desire to capture a part of nature untouched by humans. Used as a mediation device between the lush pastoral scenes contained within and the harsh actuality of their physical surroundings, the trunks and cases elicit visions of travel, preciousness and possession.
“Traveling Landscapes” by Kathleen Vance
Far Fetched? A few month ago the idea that people would be prevented from traveling to the USA whilst holding the correct credentials would have sounded crazy. Or that people having travelled here legitimately would be detained for no reason and without legal representation. Or that Immigration snatch squads would wait outside schools or public meetings to apprehend people even though their immigration status is currently being processed by the USA government… Not so far fetched now?
– Plastic Jesus
During the campaign, then presidential candidate Donald J. Trump, when asked whether he would have supported the internment of Japanese citizens in 1942, said he didn’t know and refused to say if such actions violated the values of the country. Instead, he said he would have had to be there, ignoring the insight of history and hindsight, and that, in war, tough decisions have to be made. “It’s a tough thing. It’s tough,” he said. “But you know war is tough. And winning is tough. We don’t win anymore. We don’t win wars anymore. We don’t win wars anymore. We’re not a strong country anymore. We’re just so off.”
Apparently, America wins throughout the causal dismissal of the history of the internment of Japanese Americans and the gleeful calls for a ban on all Muslims entering the United States during the campaign. A ban that has twice be enacted during his presidency, under the guise of a security provision and a temporary travel restriction that attempts to legalize his campaign trail rhetoric.
It would be 42 years before the United States would officially apologize and offer reparations to the 110,000-120,000 Japanese Americans who were unjustifiable forced into concentration camps under order 9066. “The internment of the individuals of Japanese ancestry was caused by racial prejudice, war hysteria and a failure of political leadership,” from the Civil Liberties Act, U.S. Congress, 1980.
Prejudice, war hysteria, and a failure of political leadership. All those ingredients are very familiar. Not so far fetched.
I fell in love with geological illustrations when I was taking geology in college. Of all my copious and fast scribbled notes, the illustrations and diagrams I made received the most attention, probably too much. These aren’t my illustrations but they beautifully capture what I loved about trying to encompass and visualize vast, slow and transformative processes happening on a geologic time scale. I found these years ago on the West Virginia University Geology 101 class page.
One of the beautiful aspects of digital video and audio that I fell in love with when first exploring the mediums, was the introduction of a time scale. teamLab’s Time-blossoming Flowers is a wonderful example of this. In none narrative works, in particular, timescale changes the experience of a work. The subtlety in which something can change and transform over time can add a wonderful undercurrent to a work. A traditional video has its limitations in that regards as there is almost always an upper limit on time. With generative and 3d imagery that time limit can be broken. In that space imagery can constantly be changing, never the same.
That’s the beauty of teamLab’s Time-blossoming Flowers – Taiwan. It changes from hour to hour, day to day, all year long. The work has a timeline on a human scale. It allows for a subtlety that would be otherwise hard to create or experience. As an installation piece, it allows people to interact with it and observe it in a way that would be difficult in a traditional viewing space. It seems to be a work that is meant to be lived with as it lives with you, growing and changing throughout the year, catching your eye and bringing you back to it time and time again to experience the differences.
The piece truly is timeless.
From the project page
The appearance of the work changes throughout the day. It grows light with the sunrise, glows with the sunset, and darkens as the night sets in. The artwork is in sync with the actual sunrise and sunset every day at this location.
The flowers of Taiwan bloom one after the other as the seasons change with the passage of time throughout the year. The flowers known as the Four Gentlemen, the orchid, bamboo, chrysanthemum, and plum, are used to represent the four seasons. The flowers sprout, then grow, bud, and bloom. Before long they scatter, wither, and fade away. In this way, the flowers continue their infinite cycle of birth and death.
I’ve been watching the production thread for this Blade Runner inspired short science fiction film over at the Prop Replica Form for the past four years. The beautify of the work is in their use of practical effects, and the detail they put into building miniature and scale models without use of CGI. A true passion product by director Luka Hrgović . Unlike other Blade Runner inspired shorts, Slice of Life truly places you in that world you remember so well.
The documentation on the PRF’s forms has been the real treat of this project. Watching stacks of cardboard, model parts and water jugs turn into the detritus of a neo-noir future. Not only was the project fully documented in wonderful pictures, but behind the scenes videos, production diary and preview clips.