98,84,0,0 Press Conference

The proposal named; 98,84,0,0 is reffering to the CMYK.

On behalf of Sune Rieper, Anders Krogdal & Jakob Ingemansson
from now on referred to as; RAI

Dear friends and members of Überspass.
Friday was held a press conference at 2300 Superior Studios, about the Überspass 3rd subMaterial Congress 2010.

As our workshop in London is approaching, we felt that a common denominator was needed; A umbrella structure that could host and kick-start a range of investigations as well as a theoretical fond.

Since we are 6 people in a very small room during 10 days (/m2/day), we will have to take into consideration that its hard for all of us to be in the room and work at the same time. However we find it most interesting to use the gallery in- and exterior as our main territory. By this meaning to take advantage of the gallery and center the experience of what we do in this place.

Our main idea is not braking news; its about finding a frame in which we will be able to work all of us at the same time with the same main goal, but still retain the possibilities to group up in different constellations and collaborations during the stint. Lets call it THE UMBRELLA STRUCTURE!

As Yves Klein had been discussed on the blog, he came to center a discussion between RAI, on how to frame the investigations. Also since we all are more or less aware of his work, but none of us being an expert, it would also frame a study of his work. On one hand its as simple as blue, on the other hand its dealing with tendencies in the post war/modern society in the 60s. There is a lot of stuff to study.

YK was a part of Nouveau Realisme, a group that he founded with 8 other french artists 2 years before he died (34yo) in 1962. The group was dissolved in 1970. Is there a some group dynamics that we also are a part of there?

Picking up YK, we will have to read some stuff all of us, and maybe even start every morning with introductions prepared individually - nothing like a few well chosen words and a juice to quicken the blood and start the day!

98,84,0,0 is the CMYK code for a color similar to Yves Klein Blue, however YKB is outside the gamut of computer displays (and printers...?). Hereby, already the title of the pressconference is implying that it's not a matter of revisiting Yves Klein, rather to use his work as a starting point of a number of detours referring back and forth.



Yves Klein did through sketches, photography and sculpture investigate what he called Air Architecture, an architecture of the meeting of the elements. Further more he investigated The Void.



Klein's Void is a nirvana-like state that is void of worldly influences; a neutral zone where one is inspired to pay attention to ones own sensibilities, and to "reality" as opposed to "representation". Klein presented his work in forms that were recognized as art—paintings, a book, a musical composition—but then would take away the expected content of that form (paintings without pictures, a book without words, a musical composition without in fact composition) leaving only a shell, as it were. In this way he tried to create for the audience his "Zones of Immaterial Pictorial Sensibility". Instead of representing objects in a subjective, artistic way, Klein wanted his subjects to be represented by their imprint: the image of their absence. Klein's work strongly refers to a theoretical/arthistorical context as well as to philosophy/metaphysics and with his work he aimed to combine these. He tried to make his audience experience a state where an idea could simultaneously be "felt" as well as "understood" http://en.wikipedia.org/wiki/Yves_Klein.

We feel that it is a lot of material and potential for an umbrella structure within this. One example:

The Malmö Experiments
During a few sunny days in Malmö AI developed a tiny first relationship to the YKB. The first prototypes made in Malmö circles around an idea of a bleeding building, and was not from the beginning meant to be related to Yves Klein but rather rather to a kind of Andy Goldsworthy gone URBAN. Later conversations on YK made the link to one of his happenings in an empty gallery - only serving drinks. People were wondering what it was all about, but realized the day after, when discovering their blue urine, that they were porters of the artwork.

“I had left the visible, physical blue at the door, outside, in the street. The real blue was inside, the blue of the profundity of space, the blue of my kingdom, of our kingdom! ... the immaterialisation of blue, the coloured space that cannot be seen but which we impregnate ourselves with ... A space of blue sensibility within the frame of the white walls of the gallery.” - YK



Can we exhibit an empty gallery, but load the rain gutters with blue color that will be released when the first rain hits London? Just like the next day urine that the drinks caused. This is just one idea, and we are sure that we will have many more great ideas, and that we will be able to turn many of the prev posted ideas into a beautiful brick in the 98,84,0,0 framework.

We hope you like the ideas. We believe that it will give us a good possibility to bring our 10-days group dynamic into something interesting. LET’S HAVE FUN!

Thursday 13 March 1952
A day is space
and so is a year
and an hour
and a second and a life.
Should we live by the year?
or the hour? or the day?
or the second?
I love space
and I feel immense
when I dream
of the infinitely great
and the infinitely small.
Equilibrium doesn’t exist in space
and yet it isn’t chaos!
That’s right,
I feel it,
it’s right
I want space.
- YK

Touching the beam - Laser dream

growing laser beams, indoors aswell as outdoors. dark conditions.

ready to use. harvesting the beam.

no questions asked. consumer crowd.

enjoy the crispy beam.

Collective Multi-hierarchical organization models through Roulette Darwinisme

It would be interesting to put up a list of parameters (for example the weather, number of visitors in the gallery and trains passing) that can control a range of 'actions'.

This list of actions could be compiled collectivly but could for example include cooking, spatial interventions, peformative acts, which tools to use and so on.


The parameters would decide who, how, where and when the actions would be carried out and also how and when to stop. Through creating a script where the context is controling us, I imagine that the we could have a rotating hierarchical scheme, where we build upon each others work and create something that is both connection to the situation of us in the space and the space itself.

CHEAP AND CHEERFUL

At the moment I am zoning/ZOOMing in on on the concept of "Form Follows Finance". I believe that this is the keys issue, and should be well considered of us all, when we invade London in August.
Bumped into this project. It illustrates/demonstrates, the potential of of how a single material can transform its original purpose into different state. The project is made for under 400 Euros...

chicken salad on rye untoasted with a side of potatosalad and a cup of tea

Generation Correction

We are the generation of corrections and filters I am told by the swedish journalist
Jessica Gedin, listening to one of my favourite radio shows; Spanarna.

3 examples of these thesis:

# ClearPlay is a DVD-filter you can download to your player removing all explicit content seamlessly that
"enables your family to enjoy all of the great Hollywood movies you’ve always wanted to watch—without all of the junk you don’t want. You won´t even notice what you have missed, but you will be glad you did."

# The method a soundengineer at Sveriges Radio has come up with to get rid of the sound of all Vuvuzelas beeing played at the World Cup in South Africa.
By adjusting your equalizer on the tv to filter out keynote 233 Bb or Bess and overtone 466, 699, 932 and 1165 Hertz, the sound of Vuvuzelas is almost gone.

# All the new tec you can find in a digital camera; make-up function, anti-shock-function (with a (side)effect making shaking things appear totally still, when filming I might add).

There is of course nothing new with correcting things we not satisfied with and perhaps not so mind-blowing, but when we are trying to automize it and combine it with modern technologies, there can be some really interesting consequences.

I´m thinking how this could be interpretated into a spatial context. How could a mechanism filtering spatial experiences function, and how would the influenced space look like?
What should be filtered? Or can it all be reversed? A mechanism showing everything that is hidden from our perception.

Towards a non-iconic multi-hierarchical society


First, an introductory remark; Due to some business in the far east (I have found myself quite locked-up actually) I´ve been rather absent from the project discussed on the blog, but is thrilled about the same and I hope from now on to be a part of it.































With Jakobs post about a process led by some obstructions in mind, I can´t but bring up the american artist Richard Serra and his "verblist method".

"When I first started, what was very, very important to me was dealing with the nature of process. So what I had done is I'd written a verb list: to roll, to fold, to cut, to dangle, to twist...and I really just worked out pieces in relation to the verb list physically in a space. Now, what happens when you do that is you don't become involved with the psychology of what you're making, nor do you become involved with the after image of what it's going to look like. So, basically it gives you a way of proceeding with material in relation to body movement, in relation to making, that divorces from any notion of metaphor, any notion of easy imagery."

It could litterary be one of the obstructions or an inspiration to one. Working with these kind of actions leads to a a non-iconic process where the outcome is more likely to be a finding in some sort. A finding derived from the media, place in relation to the actions or in the method itself.

I think a process like this could fit well with our agenda of a non-iconic multi-hierarchical society.



More of Richard Serra in the documetary:`Thinking on your Feet´ directed by Maria Anna Tappeiner

a lazer network

In a completely opposite direction from what JAKOB is proposing, I want to share this drawing I did the other day upon reflecting on my BRIDGE text. Here the site is viewed through the eyes of the train operator as he passes the site. The red line represents a tactical LAZER SYSTEM - which is meant to create and/or enhance the connection between the opposite sides of the platform/transportation-river.

SomeTHING attached to both points of depature for the lazer could attract audiences, thus creating a fleeting event, somehow establishing or re-affirming the connection between people on opposite sides, with opposite travel directions. Trains passing will of course break the connection, and become meaningful again as the river is clear of obstruction. Whether or not this idea encapsulates the ideas presented in the text is unclear and open for debate. EOF.

The chronic uncertainty vs. The perpetual order

It is a bit unclear what this image is doing here, but I like the graphics.

I have an idea, of how to collective formulate a framework. All of us could write one or two obstructions for the working process. This could be done without knowing what the others are proposing, so we collect 5-10 obstructions that create a set of rules on how to work. I would like to emphasize that the obstructions preferably should be process- rather than goal-orientated.

If we do like this I encorrage everyone to think open and wide, the obstructions could involve anything from sleeping hours, what and how to eat, how to commute, dynamic responsability distribution formula, materials/tools to use (or not to use), how (not) to communicate or who and in which way decisions are taken.

This text (I guess it will be a text, right?) could be written in advance, maybe on a specific date/time which will save us time to work while in London. Also, what is interesting is that we will know before we start exactly what we are doing, but in the same way not having any idea at all.

An additional idea is that someone is collecting the obstructions and putting them together in a travel/work_guide.pdf (also including useful adresses and stuff) that everyone can print just before the trip starts. In this way we will not reflect collectivly on the obstructions before we come to London. I like that. The chronic uncertainty vs. The perpetual order.

There are two rather obvious references : Dogme 95 and The Five Obstructions.

DOGME 95.

1. Optagelserne skal ske on location, kulisser og rekvisitter skal forefindes fra starten og må ikke placeres på stedet til optagelserne.

2. Lyden må aldrig produceres adskilt fra optagelserne. Musik er kun tilladt, hvis det spilles direkte under optagelserne, f.eks. i form af et bånd eller en plade, der kører mens scenen skydes.

3. Kameraet skal være håndholdt.

4. Filmen skal være i farver. Speciel lyssætning er forbudt, men hvis der er for lidt lys til optagelserne kan man sætte en enkelt lampe på kameraet.

5. Optiske filtre er forbudt.

6. Filmen må ikke indeholde overfladisk action, f.eks. er mord og våben forbudt.

7. Tidsmæssigt og geografisk må filmen ikke afvige i forhold til virkeligheden. Filmen skal ske her og nu.

8. Genrefilm er forbudt.

9. Filmformatet skal være Academy 35mm film.

10. Instruktøren må ikke krediteres.

The five obstructions

1. Leth must remake the film in Cuba (but with no set) with no shot longer than 12 frames, and he must answer the questions posed in the original film; Leth successfully completes this task.

2. Leth must remake the film in the worst place in the world but not show that place onscreen; additionally, Leth must play the role of "the man". The meal must be included but the woman is not to be included. Leth remakes the film in the red light district of Bombay, only partially hiding it behind a translucent screen.

3. Because Leth failed to complete task 2 perfectly, von Trier punishes him, telling him to either remake the film in any way he chooses, or redo obstruction 2 in Bombay again. Leth chooses the first option and remakes it in Brussels using split-screen effects.

4. Leth must remake the film as an animation. He does so with the aid of Bob Sabiston, a specialist in rotoscoping, who creates animated versions of shots from the previous films.

5. The fifth obstruction is that von Trier has already made the fifth version, but it must be credited as Leth's, and Leth must read a voice-over narration ostensibly from his own perspective but in fact written by von Trier.

Post-post thoughts: The obstructions could also be assembled for the first time when we meet on site.

Arrival - Departure [Update1[3persons]]

It is with great honor and pride, that I in person can announce and confirm the two first bookings to London.

Logistikmesteren aka the man that knows all about logistics

has send me this information:

18. aug 2010
18:20 København
19:20 London-Gatwick
Varighed: 2:00

31. aug 2010
08:45 London-Gatwick
11:40 København
Varighed: 1:55

Logistikmesteren is planning to spend the whole of the 19th of august to drink WHEAT GRASS JUICE, TO UPTAIN THE RIGHT BODY BALANCE, BEFORE THE SHOW BEGINS

Advokaten ( The Lawyer) aka the Advocado

has send this information:

We are all looking forward to the rest of the bookings. when are people coming and when are they leaving.......

Hejsan

The canonmakers son has made a move. He has finally decided to leave the idyllic south of Sweden, to join the 3rd Sub-material Congress. Lately he has been touring the Asian area. We are looking forward to read his report.
Welcome to London

Drawtoy

As a gadget. Eyecandy and Drawtoy. In contradiction to your highly intellectual and beautiful bizarre posts, I am sending you an uberkaleidoscopicheart..... this is a fantatstic tool - try me

Static and Dynamic Forces [SDF]

Two phenomenons are represented on the site.
The platform together with the gallery can be seen as the static part of the site.




The dynamic part, the ephemeral, are the trains.
They both live of/on each other. The platform would not be anything without the trains, and the platform without its train would then not be a platform anymore.


The place is interesting, because it is undergoing a process of change. A change from only being a place for transfer, to a place of pause. A platform is in my eyes ephemeral architecture in its purest form. People getting on, people getting of, changing direction, getting lost etc. these procedures are supported with a plateau(architecture), which gives the users a space to do their Ephemeralization in the time inbetween. This time is the ephemeral pause, which break, connects and redirects back to reality...

Suggestions have already been made to embrace these "forces" which are naturally present at the site, the kaleidoscope.


Recommendable film: Robert Aldrich - Emperor of the North Pole (1973) IMDB

PRACTICAL / TAGS

_BRUGEN AF TAGS_

Jeg tror det ville hjælpe hvis vi virkelig dyrkede vores tags i det post som vi laver. Dermed mener jeg, at de skaber visse genrer som i et fremtidigt perspektiv, ville gøre det meget nemmere, at sortere i vores info.

The Bridge

The purpose of symbolization is to free the meaning from the immediate situation, whereby it becomes a "cultural object", which may form part of more complex situation, or be moved to another place. All the three relationships imply that man gather the experienced meanings to create for himself an imago mundi or microcosmos which concretizes his world: Gathering evidently depends on symbolization, and implies a transposition of meanings to another place, which thereby becomes an existential "centre".

Visualization, complementation and symbolization are as aspects of the general processes of settling; and dwelling, in the existential sense of the word, depends on these functions. Heidegger illustrates the problem by means of the bridge a "building" which visualizes, symbolizes and gathers, and makes the environment become a unified whole. Thus he says: "The bridge swings over the stream with case and power. It does not just connect banks that are already there, the banks emerge as banks only as the bridge crosses the stream. The bridge designedly causes them to lie across from each other. One side is set off against the other by the bridge. Nor do the banks stretch along the stream as indifferent border strips of the dry land. With the banks, the bridge brings to the stream the one and the other expanse of the landscape lying behind them. It brings stream and bank and land into each other's neighborhood. The bridge gathers the earth as landscape around the stream. Heidegger also describes what the bridge gathers and thereby uncovers its value as a symbol. We cannot here enter into these details, but want to emphasize that the landscape as such gets its value through the bridge. Before, the meaning of the landscape was "hidden", and the building of the bridge brings it out into the open. "The bridge gathers Being into a certain "location" that we may call a "place." This "place", however, did not exist as an entity before the bridge (although there were always many "sites" along the river-bank where it could arise), but comes-to-presence with and as the bridge. The existential purpose of building (architecture) is therefore to make a site become a place, that is, to uncover the meanings potentially present in the given environment.

- in genius loci towards a phenomenology of architecture

Is there potential in studying this idea concretezised in an installation, using the train-tracks and its banks (platforms) as an analogy for the stream. But...! WHAT is the BRIDGE?

Kaleidoscope capturing the trains

What about somehow mirroring in the passing trains into the gallery space and creating a spatial kaleidoscopic piece of architecture?

I will develop this sketch later, but feel free to do it yourself as well.

This could be done either live with mirrors (through the windows? - magnus comment. I agree), or with videorecordings (with delays?) or a combination of those. The same principle could be used for sounds (echo?)...

http://www.ikea.com/gb/en/catalog/products/15302600

My trigger in this is to "frame" (and also exploding the frame through the kaleidoscope, and the mirrors maybe also has to leave the gallery and enter the street on the other side of the building) view on the city and its infrastructure as an ecosystem, which has its cycles and rythms of it's own.

Reference video (never mind the title) and further reading (swedish)

Caspar David Friedrich - Wanderer above the Sea of Fog (1818)

Things To Get

Archive #1. (sub)material virtual library

I came to the conclusion that if we, and i see no reason why we should not, accept our colonel and attorney's prerogative, with it a formula for action. The next logical step would be to add a post that which collects, archives and synthesize our ideas.

In layman terms; a material library, a theoretical reference library, and on the top of my head, an entry concerning speculations on/of/in/under "site", THE GENIUS LOCI. Another entry could discuss mediatopes, however this might not the appropriate at this time.

As such, i proclaim this post as the breeding ground for suggested materials we find interesting/relevant/practical/fun/cheap/expensive.

so far the list reads

1) first aid kits
2) pvc-hoses
3) thinlights.se

one proposal suggests a mapping of the local environment in efforts to limit our selections within the site's broader radius. i find this welcome, potentially fruitful, potentially useless.

I hope more will be added in the comments as im fresh out of ideas.

Who's in?

As I am about to move my focus to Ü3SC I begin to wonder, who's in? Thais, Anders, Sune, Magnus and me has more or less clearly stated their interest, but what about the rest? Or is it us? It's not like I need to know it now, I'm just curious.

Off topic - On topic

Even if this is off topic - it is not about the content of uberspass 3rd submaterial congress - it is very much related.

While we are in London, Monsieur Francis Alys, is doing an exhibition at Tate Modern that we must experience.

Francis Alys is educated as an architect, but while working on a project in Mexico City he started to stroll the streets, and producing works by interacting, stirring, emphasing and opposing everyday life. Most of his works takes place in public space, where he formulates poetic interactions often emphasizing interactive, ephemeral and collaborative processes.

More info about the exhibition at Tate Modern
Work samples:
When faith moves a mountain (2002)
Francis Alÿs - Zocalo, Mexico D.F., 14 nov. 1998

/ directors / cut /

Good morning from a sunny side, on the upside.

Went to some sort of concert last night, ran into Merlin, the man, with the plan{s}. We chatted and i told him the full story, the true überspaß story(all the way). He agreed and found it interesting. Only issue is that we might have to contact the local authorities for outside planning-permission. Otherwise, he is on our side.
I am going away in the field and document the place, photos, nice handsketches and bla bla, also known as WHATEVER....
Until then boys, keep or should i say, start posting ideas and everything you have in mind.

yours truly

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