Trust Magazine Issue 1 – Flexibility: Artworks

 

Trust Magazine Issue 1 – Flexibility: Artworks 

1. Rózsa Zita Farkas, Co-Founder of Arcadia Missa.

Mantra Against Flexibility
Japanese translation: フレキシビリティーに対するマントラ

All we know to do is adapt, suck it up, compromise –
resilience is army into social ontology that says ‘absorb force’.
As put by Sarah Ahmed, when we absorb force
“different acts of willing are reduced to a battle between an arm and a rod […].
The rod could be thought of as an embodiment of will,
where the sovereignty of will is the right to command.”
“Flexibility”.
“Resilience”.

Perhaps function as permission for the imprints of rods into our arms.
The force that makes one feel the need to be flexible is a certain force of homogeneity.
Weariness of ones’ own rod-like willfulness is of importance, but so too is the personal and steadfast rigidity that says:
“Do not imprint on me, do not seduce me to become only via flexibility, to encourage pseudo-transcendental motifs of water, air, free market economics, and all other systems, representations and identities that permit the moulding of self into pure fluid subject under capital.

You can make a duck think you’re its mother,
you can think if you adjust you might be loved.
You can refuse love when it is doled out through a rod.

2. James Ferraro, Artist.

3. Rafaël Rozendaal, Artist.

4. Riyo Nemeth, Artist.

dentfinal

5. Beatrice De Giacomo, Photographer.

6. Amalia Ulman and Nina Cristante, Artists.


Japanese version:

7. Robert Thomas Heppell and Mitch Posada, Artists.

Mitch Posada’s set


Mitch Posada vs. Robert Thomas Heppell’s set 


Idea Germination

I

This viewpoint- that physical systems are to be regarded as merely computational entities- stems partly from the powerful and increasing role that computational simulations play in twentieth-century science, and also partly from a belief that physical objects are themselves merely ‘patterns of information’ that are subject to computational mathematical laws. Most of the material of our bodies and brains, after all, is being continuously replaced, and it is just its pattern that persists. Matter itself seems to have merely a transient existence since it can be converted from one form to another. Even the mass of a material body, which provides a precise physical measure of the quantity of matter that the body contains, can in appropriate circumstances be converted into pure energy- so even material substance seems to be able to convert itself into something with a mere theoretical mathematical actuality. Furthermore, quantum theory seems to tell us that material particles are merely ‘waves’ of information. Thus matter itself is nebulous and transient; and it is not at all unreasonable to suppose that the persistence of ‘self’ might have more to do with the preservation of patterns than of actual material particles.

Roger Penrose, Shadows of the Mind, p14

In that empire, the Art of Cartography attained such perfection that the map of a single Province occupied the entirety of a city and the map of the empire, the entirety of a province. In time those Unconscionable maps no longer satisfied, and the cartographers guilds stuck a map of the empire whose size was that of the empire, and which coincided point for point with it. The following generations, who were not so fond of the study of cartography as their forebears had been, saw that that vast map was useless, and not without some pitilessness was it, that they delivered it up to the inclemencies of sun and winters. In the deserts of the west, still today, there are tattered ruins of that map, inhabited by animals and beggars, in all the land there is no other relic of the disciplines of geography.

Jorge Luis Borges, On Exactitude in Science.

II

Robert:
The Central idea of flexibility is open to interpretation; we’ve got a wide range of different ways that it’s being used… like we have Francoise Gamma who uses flexibility of the body in a really direct way through animation and mutation but its involved in other people’s work in a more abstract or process way…

Mitch:
Oh o.k. so it’s open to interpretation interesting

Robert:
Your casual 3d method relies on an interesting kind of flexibility in a number of ways… so maybe we should do something like that?

Mitch:
So the flexibility of allowing oneself to work in a casual state of creation because the rough sketch can hold more substance than a final draft…just thinking

Robert:
Yes exactly… and the process of flexibility and repeated transformation/ metamorphosis are integral parts of how making 3d art often works… like if you just shift the camera angle 3 degrees to the right you often have a totally different picture

Mitch:
But the idea of dream imagery as fluid fragments conceptualizing very diff ideas for people
yeah, the polygon becomes a 3d shape
“atom array”
nebulas states are flexible like stem cells or 3d printers

robertmitchRobert:
Geometry and repetition have something sort of inherently sublime about them…

Mitch:
A large object with smaller networked components can be flexible but a singular large object cannot

Robert:
That’s the very center of the polygon concept… have you seen the Ed Catmull hand video?He’s the guy who more or less invented the polygon concept
http://www.youtube.com/watch?v=wdedV81UQ5k
He did it by building a plaster-cast of his hand, and then drawing triangles onto it, then mapping that manually into a computer program that he built… he’s also now the head of pixar

Mitch:
Patterns that mutate/variate but are still infinite: penrose tiling …
Wow, classic vid cool

Robert:
Yeah they filmed it on film, frame by frame, each would take several hours to output line by line and took a still on an 8mm when it was ready. i think utilising grid or matrix type geometry is an interesting way to take it with our collaboration. Penrose is a fascinating guy too… I’ve been reading his book shadows of the mind… maybe something using negative spaces within matrices?

Mitch:
3d grid array as mask for 4D+spaces

Robert:
I got really hooked on these demoscene videos recently too; but these guys do all this in code apparently! http://www.youtube.com/watch?v=FFz_ZzmvOKY they code everything from the models to the concept of the camera… demoscene is hardcore programming competition stuff… a friend of mine who programs games put me on to it… mad stuff
they compete to make programs that make this stuff… everything has to be under a certain size… this is a 4KB demo!!!!
http://www.youtube.com/watch?v=vRL8kf-N_S8

Mitch:
Makin some food, and thinking of negative spaces in the array brb

Robert:
How would you like to start? Maybe we should both build c4d files as a starting point and then take turns interfering and remixing them?

Mitch:
Yeah sounds good

Robert:
Maybe if we stick to monochrome; using cloners and atom array type ideas?

Mitch:
Sorry just thinking about precipitating polygons, Polygons that turn into sweat.


Robert Thomas Heppell’s set

 

Robert Thomas Heppell vs. Mitch Posada’s set

 

 

8. Yuri Pattison, Artist.


9. Massimiliano Bomba, Video Director.


10. Francoise Gamma, Artist.

 

11. Jude MC, Visual Director.

12. Simone Trabucchi and Lorenzo Senni, Hundebiss Records.