JED X
Posts by JED X:
“In the fading light v.03” on FRM.FM
New series offered straight on a real-time platform. Requires a frame/media player from frm.fm
“In the fading light v.02” on FRM.FM
New series offered straight on a real-time platform. Requires a frame/media player from frm.fm
“Thrown” at BAU through April 30
Installation at Beacon Artist Union in Beacon, NY titled Thrown. Includes a scene from Aground, “ZongLocLondon.10.06.2007” on Apple TV, bench and a cargo net that prevents entering installation.
From statement:
A sailing vessel appears held in suspension, cut off from foreground and background. Current weather and historic data specific to the Atlantic passage further shapes the scene. Not a video game, Thrown is slow cinema or tv: nothing happens in the sense of plot or an open gaming narrative. Instead, the screen frames a middle ground with subtle shifts in color and motion. Sparked by J.M.W. Turner’s The Slave Ship, Thrown is as much about politics as aesthetics, and how they occupy the same space.
Thrown is evidentiary realism: scenes are created and set in motion with a list of rules; the machine views and captures evidence of itself in and through the loops; video results are to be enjoyed first for their formal qualities, then relevance to context, both current and historical. Obvious to the eye, not so much to the mind.
Aground out
[Similar to Aground app, intended for outdoor projection.]
A sailing vessel appears held in suspension, cut off from foreground and background. Current weather and historic data specific to the Atlantic passage further shapes the scene. Not a video game, the Aground Series is slow cinema or tv: nothing happens in the sense of plot or an open gaming narrative. Instead, the screen frames a middle ground with subtle shifts in color and motion. Sparked by J.M.W. Turner’s The Slave Ship, the Aground Series is as much about politics as aesthetics, and how they occupy the same space.
Aground is evidentiary realism: scenes are created and set in motion with a list of rules; machine/computer views and captures evidence of itself through the loops; video results are to be enjoyed first for their formal qualities, then relevance to context, both current and historical. Obvious to the eye, not so much to the mind.
Apple TV generation 4 required; send me an email for App Store review code.
aground v.1.01
Not a video game, Aground is slow cinema or tv: nothing happens in the sense of plot or an open gaming narrative. Instead, the screen frames an experience.
A sailing ship is held in suspension, snow or ash drifts through a landscape cut off from foreground and background. The work explores delusion, between the impression of reality and the physical sense of place; current weather from specific locations draw on associations of mobility and paralysis, connectedness and isolation. The landscapes remain pristine, yet haunted by the same electro-chemical morbidity as human physiology; all rendered live, each sliver of a moment unique.
This app is part of a series, and designed specifically for a social space with large monitors or projection rather than personal devices. It is a live app, not video, running at 60 fps. Live weather data is specific to locations in the Atlantic passage (as noted in titles), affecting the \”climate\” in-scene.
/ Work
Brett Phares reveals our relations to media, how different elements accumulate into unpredictable associations—at once to be viewed as discrete lyrical objects in which historical, institutional and personal memory converge, and within a larger corpus predicated on the simultaneous avowal and disavowal of narrative unity—and tamed into coherent packets of information.
His art sheds light on the intellectual and bodily disorientation, the surrender to ethical perdition of lives spent traveling through media domains seemingly at the extreme limits of imaginable experience, suspended in a space where the bounds between reality and illusion are confused. The key question to address is not what Brett Phares’ artifacts are about, but rather what position they adopt in the fluidity of perception they depict.
onX + mediaDrift
This work comes out of some ideas regarding teleprompter as media.
bxd: exec summary
A mini-game that enforces the significance of a loop onto a workspace.
Artist Statement 2010
I create visualizations, glimpses into how information/data is framed to state a proposition. These personal visualizations take on interrogations of attention, deficits and surpluses, and the effects of losing one’s senses, literally and figuratively, through shifts of representation in media, identity and context.
Falling: suicide and the sidewalk
Art Gallery Selection, SIGGRAPH Asia (Singapore) 2008; created in Unreal Tournament.
Screencast of mini-game "Falling"
The work comprises a video sequence shot from my sixth-floor apartment window to the sidewalk below and composed inside a digital-game environment. The intention is to empty the video of narrative, reduce it to an image string. Exploring the space, flying over and through the image sequence, the effect turns unsettling and a new narrative emerges.
The snow man
One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;
And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter
Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,
Which is the sound of the land
Full of the same wind
That is blowing in the same bare place
For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.
-Wallace Stevens