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Which clippings match 'Design Formalism' keyword pg.1 of 22
11 APRIL 2017

This Unruly: a repository of video cut-ups (clips and literature reviews)

This Unruly is an evolving web repository of theory and practice related to recombinatory video appropriation practices involving video re-purposing, re-mixing, collage and cut-up techniques. The site includes examples of YouTube clips as well as a literature review of articles and academic papers, which relate to the subject. Content within the site has been organised using a provisional taxonomy that centres on formal aesthetic, creative and experimental features. In doing so this marks a departure from more conventional approaches, which generally seek to locate works according to established art historical developments and stylistic conventions. The site, which was created by Simon Perkins is an extension to posts about the practice of video cut-ups that were initially made to the Folksonomy.co in 2016.

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advertising hijacking • appropriation practices • cut-up techniquecut-up videosdesign formalismdetournement • detournement publicitaire • DIY medialiterature review • media hijacking • media rerouting • parody rebootparody versionparody video remixespolitical remix video • provisional taxonomy • recombinatory practice • recombinatory video appropriation practices • reinscription through omission • remix video • reorder • Simon PerkinsSimpsonwave aestheticsongifysupercutsupercut mashup • The Reorder Project • ThisUnruly • trackjacking • trailer remix • transformative video remixvaporwave aestheticviddingvideo collage • video cut-up • video cut-up techniques • video hijacking • video re-cut • video re-mixing • video re-purposing • video reinterpretationvideo remixvideo repurposing • web repository • YouTube clips

CONTRIBUTOR

Simon Perkins
04 NOVEMBER 2015

Light projection works by American artist James Turrell

"For over half a century, the American artist James Turrell has worked directly with light and space to create artworks that engage viewers with the limits and wonder of human perception. ...

Turrell often cites the Parable of Plato's Cave to introduce the notion that we are living in a reality of our own creation, subject to our human sensory limitations as well as contextual and cultural norms. This is evident in Turrell's over eighty Skyspaces, chambers with an aperture in the ceiling open to the sky. The simple act of witnessing the sky from within a Turrell Skyspace, notably at dawn and dusk, reveals how we internally create the colors we see and thus, our perceived reality. ...

Turrell's medium is pure light. He says, 'My work has no object, no image and no focus. With no object, no image and no focus, what are you looking at? You are looking at you looking. What is important to me is to create an experience of wordless thought.'"

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aesthetic experienceallegory of the cavechamber • childhood fascination • colour and lightcolour fieldcolour light • colour projection • design formalismflat colourformalist design aestheticsgeometric primitive • high-intensity projector • human sensory limitations • immaterialityimmersive experienceimmersive works • interior and exterior spaces • James Turrelllarge scale worklightlight and spacelight artlight projectionlight works • no focus • no image • no object • non-representationalNorth American artistop art • open sky spaces • perceptual psychology • physical presence of lightpresence • projection pieces • projection works • pure light • sensory form • sky • skyspaces • visual abstraction • wordless thought

CONTRIBUTOR

Simon Perkins
02 NOVEMBER 2015

Hakanaï dance performance 2013

"Hakanaï is a solo choreographic performance that unfolds through a series of images in motion. In Japanese Hakanaï denotes that which is temporary and fragile, evanescent and transient, and in this case something set between dreams and reality. While widely associated with nature, the term is now often used to elicit an intangible aspect of the human condition and its precariousness. It encompasses two elements: that concerning the human being as well as that related to dreams. This symbolic relationship is the foundation of the dance composition in which a dancer gives life to a space somewhere between the borders of imagination and reality, through her interactions with the images she encounters. The images are on-stage animations that move in physical patterns according to the rhythm of the live sounds that they follow. The performance's outcome is the revelation of a digital installation to its audience."

Fig.1 Composed and Directed by Adrien Mondot & Claire Bardainne; Dance (alternating) Akiko Kajihara, Satchie Noro, Virginie Barjonet, Francesca Ziviani; Digital Interpretation (alternating); Adrien Mondot, Claire Bardainne, Jérémy Chartier, Loïs Drouglazet; Sound Design; Christophe Sartori, Loïs Drouglazet, Pierre Xucla; Sound Interpretation Christophe Sartori, Loïs Drouglazet, Jérémy Chartier, Pierre Xucla; Set Design Martin Gautron, Vincent Perreux; Digital Toolset Loïs Drouglazet; Light Design Jérémy Chartier; Outside Viewer Charlotte Farcet; Costume Design Johanna Elaouf; Technical Director Alexis Bergeron; Administrator Marek Vuiton; Booking Charlotte Auché; Production assistant Margaux Létang; Produced by; Adrien M / Claire B; Co-productions, Funding & Support; Les Subsistances, Lyon / Centre Pompidou-Metz; La Ferme du Buisson, Scène nationale de Marne-la-Vallée, Noisiel / Hexagone Scène Nationale Arts Sciences – Meylan / Les Champs Libres, Rennes / Centre des Arts, Enghien-les-Bains / Maison de la Culture de Nevers et de la Nièvre / City of Lille / DICRéAM; The Adrien M / Claire B Company is accredited by DRAC Rhône-Alpes, Rhône-Alpes Region and is supported by the City of Lyon.

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2013 • Adrien Mondot • Akiko Kajihara • Alexis Bergeron • algorithmic composition • algorithmic pattern • art and technology • artistic duo • between dream and reality • black and white • Charlotte Farcet • choreographic performance • Christophe Sartori • Claire Bardainne • computational artscube • dance composition • dance performancedesign formalism • digital backdrop • digital interpretation • digital puppetry • evanescence • fragilityFrancesca Zivianigenerative designgeometric pattern • Hakanai (2013) • immersive worksinteractive installation • Jeremy Chartier • Johanna Elaouf • light projection • Lois Drouglazet • Margaux Letang • Martin Gautron • movement performance • performance installation • Pierre Xucla • projection mappingpuppetryrhythm • Satchie Noro • sensors • snowflake • solo choreographic performance • solo performance • spider web • symbolic relationship • synapsetemporarytransiencetransitory movementtranslucence • translucent veils • Vincent Perreux • Virginie Barjonet • visual journey

CONTRIBUTOR

Simon Perkins
21 MARCH 2015

Inside the White Cube: The Ideology of the Gallery Space

"A gallery is constructed along laws as rigorous as those for build­ing a medieval church. The outside world must not come in, so windows are usually sealed off. Walls are painted white. The ceil­ing becomes the source of light. The wooden floor is polished so that you click along clinically, or carpeted so that you pad soundlessly, resting the feet while the eyes have at the wall. The art is free, as the saying used to go, 'to take on its own life.' The discreet desk may be the only piece of furniture. In this context a standing ashtray becomes almost a sacred object, just as the firehose in a modern museum looks not like a firehose but an esthetic conundrum. Modernism's transposition of perception from life to formal values is complete. This, of course, is one of modernism's fatal diseases."

(Brian O'Doherty, 1986)

Brian O'Doherty (1986). "Inside the White Cube: The Ideology of the Gallery Space", The Lapis Press.

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1976 • aesthetic conundrum • art is free • artistic modernism • Brian O Doherty • clean design • clean white box • design formalismform and function • formal values • functional formgallery spacesideology of the gallery spaceinterior architecturemedieval church • modern museum • modernist aestheticsmodernist design principlesmorphology • neutral gallery space • neutral space • neutral white box • non-placeobjectivity • painted white • polished wooden floor • programmed useregulationsacred spacessingle-minded spacesspatial configurationspatial literacy • structural features • symbolic place • symbolic structures • Thomas McEvilley • transposition of perception • tyranny of modernism • tyranny of modernist aesthetics • white box • white cube • white wa

CONTRIBUTOR

Simon Perkins
30 SEPTEMBER 2014

Christian Leborg: Visual Grammar

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abstract conceptsabstract objectsabstractionChristian Leborg • communicate visually • communication design systemscommunication design theory • complexity of dimensions • coordinate systemdesign formalism • design fundamentals • design principles • empty space • formatgeometric primitivegraphic design • ideal shape • language of design • lineline in spacelinesmodernist design principlespictorial systemsplanepoint • simple planes • surfacethree dimensional objects • transcendent line • typographyvisual design • visual design primer • visual fundamentals • visual grammar • volume • volumeswordless

CONTRIBUTOR

Simon Perkins
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