Display - Arturo Casciaro

Display

Theory

•
There are two distinct and separate processes within the practice:
Internal and External. Although separate in nature their co
-
existence is fundamental to an Alter Modernist and Relational
practitioner

•
Internal is concerned with the expression of ideas and concepts
through to varying degrees of development. This can be
introspective and individual or collaborative. There do not need to
be results emerging
-

just
unalienated

work.

•
External is concerned with the provision of an opportunity for
viewer to take a point of departure with the practice as mediator.

•
All available resources are in play including those from the Internal
processes which are there to be exploited and farmed. The sole
objective is to provide the chosen environment for the viewer to
take up the opportunity. This does not need to be
unalienated

labour. It can involve in part or whole, alienated labour.


This Project

•
Extensive work has been done over the last two years on the use of drawing as a
primary vehicle. Therefore the main output is evidenced in individual sheets and
books

•
These drawings have then been compiled into Artists Books which are integral to
the development of the concepts, providing the platform for constant re
-
working
and analysis of the treatment of the thematic content

•
The main theme is a meditation using the
solfeges

within the opera Einstein on the
Beach by Philip Glass and Robert Wilson. There are 5
solfeges
, called Knee Plays.
The main focus has been on Knee Play 1. This choice is not in itself apparently
significant: something had to be chosen, so why not?

•
The song has provided the framework for a narrative concerned with the nature of
data and the time we allow to process it. Once data is de
-
nuded

of the safety
blanket of volume, it has to be examined and dissected. As more time is given over
to a single piece of data: more is revealed and more is hidden deeper.

•
The question then is: if this is what happens when you allow yourself to dwell on a
single piece of data, how do we cope with the deluge which is hurled at hour by
hour in this digital age? Are we better informed through the acquisition of more
detail and context, or are we best left to concentrate on one item and try to work
out as much of the information and knowledge as possible from that single piece?


Knee Play 1

•
The song is what it says on the tin: a choir marks time in between
each of the main sections of the opera. This is done with numeric
sequences which enunciate the
solfege
. It runs dispassionately and
isolated.

•
In addition there are two separate female voices who speak a series
of phrases within the ten second stanzas furnished by the
solfeges
.

•
The phrases are clear but their meaning is on first listen, enigmatic.

•
They are concerned with motion, choice, the elements, money and
industry. Sailboat, Railroad, Workers, Balls, Drivers, Toyota, Banks,
etc.

•
Depending on the assumptions made, the significance or otherwise
of the individual and collective components open up or closes
down. The inter
-
relationships can be identified or inferred. The root
of the words and phrases can be guessed
or verified.

•
Drawings

–
Prints

–
Stop Motion

•
Photographs

–
Stop Motion

Drawings Source

•
Drawings using
indian

ink or gel pens

•
Paper Black card display 220
gsm

high intensity
black 148x210mm (A5) (
Seawhite

of Brighton

•
Pentel

Brush Pen (
Classic GFKP3
-
A brush

fude

pen
with man
-
made bristles. Cartridges contain water
and fade
-
resistant black pigment ink

)

•
Uni
-
Ball UM
-
120AC
Signo

Angelic Colour Pastel
Gel
Rollerball


Drawings Scanning

Lexmark 6300 Series Scanner, Printer, Copier

•
Settings:

–
Send to
Paintshop

Pro

–
Colour Photo

–
300 Dpi

•
Crop approx 5.x8.2 inches (includes one line of
circles which are holes in the paper)

Drawing Image manipulation

Paintshop

Pro 5

•
Jpeg standard used throughout

•
Register Plate

–
Register has copied the line of circles at the opposite end of the page.

–
Registration image therefore has two lines of white circles

•
Individual images

–
New file

–
Crop and copy the drawing

–
Paste onto the Register Plate

–
Adjust colour to get approximation of Black

•
Colours; Adjust; Highlight/
Midtone
/Shadow; Highlight: 78/
Midtone
: 54/Shadow: 40

•
Select Dropper tool and test the black area by selecting from the Black section then
selecting the colour box to check it is in RGB mode with the Red register at 0 0 0 .

•
Check that the drawn lines are viewable. May need to adjust the
Highlight/
Midtone
/Shadow, but always double check that the Black is at Red 0 0 0

–
Check the new image for smudges and dots which were not drawn. Select the
Paintbrush tool using the Black colour to correct

–
Save the adjusted image in the Drawn Sequence

Drawing Prints

•
Identify source:
Chroma

Printing Services

–
Recommended by Mike Blackman

–
Image sent and proof being done

Photo Image manipulation

Picassa

3 image viewer and
Paintshop

Pro 5

•
Photo images sourced from Photo Library

•
Folders created for key generic subjects

•
Images re
-
sized to ensure consistency:

–
Pixel size: Width @ 1000, Height @ 750


Premiere Settings

Adobe Premiere 6.5

VIDEO

Capture
settings

Project settings

Images

Export settings

Mode

Video for
Windows

Microsoft AVI

N/A

Microsoft AVI

Compressor

N/A

Cinepak

Codec
by Radius

N/A

Cinepak

Codec
by Radius

Frame Size

720x576

720x576

1800x2400

720x576

Frame rate

25.00 FPS

25.00 FPS

N/A

25.00 FPS

Depth

N/A

Millions

Millions

Millions

Quality

N/A

100%

100%

100%

Pixel aspect
ratio

N/A

Square pixels
(1.0)

Square pixels
(1.0)

Square pixels
(1.0)

Walls 1 and 2

•
Wall 1: Scroll signifying
historical context.
Suggestion of parchment
and more information
than is being made
available

•
Wall 2: TV1: Relative
motion; suggested
stanzas; and operatic
reference. TV2: Constant
motion; Edit jerks
suggestion of man’s direct
influence; weather
forecast reference to laws
of probability on which
forecasts are founded

Wall 3

•
Intellectual
Cartographs

•
Sequenced printed
signs with registration
points: distancing the
creative process from
the display to dilute
the artists presence;
sequence suggests
continuum and
narrative which is
greater than the parts

Wall 4

•
Specimen jars:
signifying ongoing
or completed
experimentation.
Questioning belief
and convention.
The search for
“could”

Wall 5

•
Markers: signifying
marking time
musically, anticipating
a programmed event
and metaphor for the
continuity of time