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I S E A 2008_KLAUS_HU_Conference Paper


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On Space And Narrative Identity
paper presentation at ISEA 2008 / Singapore

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I S E A 2008_KLAUS_HU_Conference Paper

  1. 1. Space & Narrative Identity(Upon Spatial and Temporal Heterogeneity andMultiple Narratives)Klaus Huklaushu@yahoo.deQuestions = abstracts Timebased mediaWhat is space like? How is space connected to narrative Timebased media has replaced aural and writtenidentity? How is space constructed by means of digital narration and deconstructed its genres by proposingand nonlinear media as virtual or build narrative different scales of measuring and editing narrativeenvironment? How is space and cognition of space related strings, relating to lm editing and models forto narrative concepts of aural and written narratives? storages of memory, thus became a construction of theHow and when is timebased media implemented, to narrative code itself.2visualize these aural and written narratives? Maybereplacing these aural and written narratives? Howis research conducted by means of relational theory Researchor/and reectory implementation into sociocultural Research has been replaced by appropriation, art-historyrepresentation? How does an organic container, like a been replaced by marketdriven forces, as well as urbanpainting, inform narrative identity of spatial-narrative mobility and sustainable development programs. Theycognition as alternating narrative identity? How has form the metacode. Art has become the testing routinethe single self become an entity and why are hybrid for these forces and programs.forms incapable of renewing the self? How is the singleself able to confront the norm/status quo of globalisednormativity (eg. economy)with analytical, synthecical Paintingand organic formulation of relational grouping? Painting, as an organic container of memory and representation, uses spatial-narrative as well as abstract codes, based on the referential traditionUpon space of painting, producing itself narrative relationalIf space is moulded, with round or sharp edges like a codes and deconstructions of representation, whereplate of cheese, it might be an architectural form. If the identities do perform multiple stories. But there is nosurface is open or closed, it might be a sculpture. If the main-plot, subplot, dramaturgy, coda or an end any morecolor’’s intensity and its contrast gives information about seen.3emotional, symbolic and cultural relations, it might beseen as advanced. If space is seen in a stretched, vertical Body –– Identityor horizontal timeline, it might be a transitory or static The artist uses sameness upon spatial and temporalspace. heterogeneity for multiple narratives and identity to confront the norm/status quo of globalised normativityImaginative processes with analytical, synthecical and organic formulation of relational grouping. The symbolic order is blocked byIf imaginative processes are started by means of proposing a different and personal view upon the visiblemovement, light, association, emotion in rudimentary and the invisible by the single body as lter towardsclusters, this processes can be rened into more one more multiple cultural references.4,5 In Merleau-complex settings of performance, environment or Ponty´s phenomenology of perception (rst publishedinstallation. By adding, or using, or creating in French in 1945), he developed the concept of thedatabases of the creative process, the body-subject as an alternative to the Cartesian ““cogito.””request of memory and time,1 reected as This distinction is especially important in that Merleau-mnemopsychological strategy comes into being. Ponty perceives the essences of the world existentially,How does this mnemotechnical strategy alter digital as opposed to the Cartesian idea that the world isdatabases and why? merely an extension of our own minds. Consciousness, 14TH INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART 233
  2. 2. the world, and the human body as a perceiving thing clarifying what is already seen, but by constructingare intricately intertwined and mutually ““engaged.”” a new Gestalt oriented toward a particular object.)The phenomenal thing is not the unchanging object of Because our bodily involvement in the world isthe natural sciences, but a correlate of our body and nonthetic and indeterminate, we encounter meaningfulits sensorimotor functions. Taking up and coinciding things in a unied though ever open-ended world.with the sensible qualities it encounters, the body Critics have remarked that while Merleau-Pontyas incarnated subjectivity intentionally reconstructs makes a great effort to break away from Cartesianthings within an ever-present world frame, through dualism, in the end Phenomenology of Perceptionuse of its preconscious, prepredicative understanding still starts out from the opposition of consciousnessof the world’’s makeup. Things are that upon which and its objects. Merleau-Ponty himself alsoour body has a ““grip”” (prise), while the grip itself is a acknowledged this and in his later work attemptedfunction of our connaturality with the world’’s things. to proceed from a standpoint of our existential unityThe essential partiality of our view of things, their with what he called the ““esh”” (chair) of the world.being given only in a certain perspective and at a ““....Focus is drawn to the intentions, dreams and values,certain moment in time does not diminish their that have guided a persons life, despite the set backs...””.6reality, but on the contrary, establishes it. As there is Eric Sween mentions forms of behavioral therapy,no other way for things to be copresent with us and cognitive or logical therapy, system therapy as familywith other things than through such ““Abschattungen”” interaction AND narrative therapy where a story is the(proles, adumbrations). The thing transcends our view, basic unit of experience.but is manifest precisely by presenting itself to a range ofpossible views. The object of perception is immanentlytied to its background —— to the nexus of meaningful Klaus Hu, artist, curatorrelations among objects within the world. Because the Born 1963 in Heidelberg, Germany. While trained inobject is inextricably within the world of meaningful stage design, painting, photography and video, my workrelations, each object reects the other (much in the focuses on narrative and spatial concepts using variousstyle of Leibniz’’s monads). Through involvement in the media.Taking part in international festivals: Sao Paulo,world —— being-in-the-world —— the perceiver projects Brazil. JVC Tokyo, Japan. (SPECIAL MERIT AWARD).around the object, in a nonthetic manner, all the potential Berlin (cinema Arsenal), Germany.perspectives of that object, and the perspectives of the WRO Wroclaw, Poland. Osnabrück (EMAF), Germany.object coming from all the surrounding things of its AVE Arnheim, Netherlands.environment. Each object is a ““mirror of all others.”” Continued training in Visual Culture during a guestOur perception of the object through all perspectives is study at Katharina Sieverding, UdK, Berlin fromnot that of a thetic, propositional, or clearly delineated 1998/99. Taking part in site-specic competitions fromperception. Rather, it is an ambiguous perception 1998 till 2005 (e.g Busan Biennal outdoor project,founded upon the body’’s primordial involvement Arriyadh housing project, Saudi Arabia 2005, andand understanding of the world and of the meanings extending my research on conceptual and curatorialthat constitute the landscape’’s perceptual gestalt. topics in 2005/6, which recently have been presented for funding. Currently, I am re-researching Space andOnly after we have been integrated within the Narrative Identity, focusing on installative approachesenvironment so as to perceive objects as such can we and conceptual rolemodels in contemporary globalturn our attention toward particular objects within visual culture of exchange. I took part in conferencesthe landscape so as to dene them more clearly. Mutamorphosis Prague (Leonardo Forum) and Re-Place(This attention, however, does not operate by Berlin 2007.234 ISEA2008
  3. 3. Klaus Hu is represented by VG Bild-Kunst. For previews, please visit the links at ARTISTSSPACE NY php?aid=586 ARTNEWS.INFO personal website Contact: Klaus HU, studio Wildenbruch 77, 12045 Berlin/Germany Tel: (49).30.68081524 Participation at ISEA 2008 has been made possible by IFA (Institut für Auslandsbeziehungen e.V., Stuttgart) KLAUS HU 2006 “STILL RUN NO 3” oil on canvas 150 x 150 cm1 Henry Bergson. 1896. “Matière et Mémoire.” In Essai sur la relation du corps à l’esprit. German 1908 as “Materie und Gedächtnis. Eine Abhandlung über die Beziehung zwischen Körper und Geist“), aktuelle Ausgabe: Materie u. Gedächtnis, Meiner-Verlag für Philosophie, Hamburg 1991.2 Gilles Deleuze. 1985. “L´image temps I + II” - chapter of filmediting, Das Zeit-Bild. Kino II, Frankfurt a.M. Frankfurt am Main: Suhrkamp, 1991.3 Paul Ricoeur. 1984. “Time and Narrative.” Translated by Kathleen McLaughlin and David Pellauer. The University of Chicago Press.4 Merleau Ponty. 1964. “The Visible and The Invisible.” Paris: Gallimard, also see on Merleau Ponty.5 Richard Prince. 2006. Spiritual America. The Guggenheim Museum Publications.6 Eric Sween:, 14TH INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART 235