Blog posts tagged with: City and urban

Posted Aug 14, 2020
By
Connie Brown
Installation Shot: Fiona Amundsen and Tim Corballis, Human Hand, Dowse Art Museum (2020). Photo by Shaun Matthews

"Drawing in equal parts from her spiritual and scholarly background to think about present ecological circumstances – and their psychological contingencies – Macy offers that, “as in all organisms, pain has a purpose: it is a warning signal, desired to trigger remedial action. The problem, therefore, lies not in our pain for the world but in our repression of it”.

Posted Aug 14, 2020
By
Connie Brown
Installation Shot: Fiona Amundsen and Tim Corballis, Human Hand, Dowse Art Museum (2020). Photo by Shaun Matthews

"Drawing in equal parts from her spiritual and scholarly background to think about present ecological circumstances – and their psychological contingencies – Macy offers that, “as in all organisms, pain has a purpose: it is a warning signal, desired to trigger remedial action. The problem, therefore, lies not in our pain for the world but in our repression of it”.

Posted Aug 14, 2020
By
Connie Brown
Installation Shot: Fiona Amundsen and Tim Corballis, Human Hand, Dowse Art Museum (2020). Photo by Shaun Matthews

"Drawing in equal parts from her spiritual and scholarly background to think about present ecological circumstances – and their psychological contingencies – Macy offers that, “as in all organisms, pain has a purpose: it is a warning signal, desired to trigger remedial action. The problem, therefore, lies not in our pain for the world but in our repression of it”.

Posted Aug 14, 2020
By
Connie Brown
Installation Shot: Fiona Amundsen and Tim Corballis, Human Hand, Dowse Art Museum (2020). Photo by Shaun Matthews

"Drawing in equal parts from her spiritual and scholarly background to think about present ecological circumstances – and their psychological contingencies – Macy offers that, “as in all organisms, pain has a purpose: it is a warning signal, desired to trigger remedial action. The problem, therefore, lies not in our pain for the world but in our repression of it”.

Posted Aug 14, 2020
By
Connie Brown
Installation Shot: Fiona Amundsen and Tim Corballis, Human Hand, Dowse Art Museum (2020). Photo by Shaun Matthews

"Drawing in equal parts from her spiritual and scholarly background to think about present ecological circumstances – and their psychological contingencies – Macy offers that, “as in all organisms, pain has a purpose: it is a warning signal, desired to trigger remedial action. The problem, therefore, lies not in our pain for the world but in our repression of it”.

Posted Aug 6, 2020
By
Mark Williams
M D Brown, Falling Out (2004)

In this interview film-maker M D Brown discusses three short films he made between 2000-2004, inspired by the stream of consciousness technique of modernist European writers including James Joyce and Samuel Beckett.

Each film featured the voice of a lone male, ruminating on late night memories of murky events and personal relationships whose character has been shaped by the passage of time. Using a visual technique of fleeting images interrupted by black, Brown sought to evoke the nature of memory as a subjective series of affective images flickering across the mind's eye.

Posted Aug 6, 2020
By
Mark Williams
M D Brown, Falling Out (2004)

In this interview film-maker M D Brown discusses three short films he made between 2000-2004, inspired by the stream of consciousness technique of modernist European writers including James Joyce and Samuel Beckett.

Each film featured the voice of a lone male, ruminating on late night memories of murky events and personal relationships whose character has been shaped by the passage of time. Using a visual technique of fleeting images interrupted by black, Brown sought to evoke the nature of memory as a subjective series of affective images flickering across the mind's eye.

Posted Aug 6, 2020
By
Mark Williams
M D Brown, Falling Out (2004)

In this interview film-maker M D Brown discusses three short films he made between 2000-2004, inspired by the stream of consciousness technique of modernist European writers including James Joyce and Samuel Beckett.

Each film featured the voice of a lone male, ruminating on late night memories of murky events and personal relationships whose character has been shaped by the passage of time. Using a visual technique of fleeting images interrupted by black, Brown sought to evoke the nature of memory as a subjective series of affective images flickering across the mind's eye.

Posted Feb 12, 2014
By
Tim Corballis
Still from War-Fi Cowboys (2010) Peter Wareing

There is a way, suggested by Hito Steyerl, to think about video art. As cinema enters the gallery, no audience can sit out its full duration—instead, it is exploded across multiple channels, so that the wandering viewer is asked to catch limited glimpses of all its parts simultaneously. No final understanding of the work is available, no narrative wound up in tidy conclusion.

Posted Feb 12, 2014
By
Tim Corballis
Still from War-Fi Cowboys (2010) Peter Wareing

There is a way, suggested by Hito Steyerl, to think about video art. As cinema enters the gallery, no audience can sit out its full duration—instead, it is exploded across multiple channels, so that the wandering viewer is asked to catch limited glimpses of all its parts simultaneously. No final understanding of the work is available, no narrative wound up in tidy conclusion.

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