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Date
Title
Source
Description
Tags
W4804
07.08.2012
1st Draft - Yoshiko Shimada
WWW
"1st Draft", 3"59, Video. Perceptions of thought prompted through language may also be translated to language molding our perceptions of time. The concept of time through language interested me because people always speak of “living in the present” ...

"1st Draft", 3"59, Video.

Perceptions of thought prompted through language may also be translated to language molding our perceptions of time. The concept of time through language interested me because people always speak of “living in the present” yet there is no such thing as the present, everything we do is the immediate past or the coming future. The present is a present that one does not experience physically for it is a gift in perceiving its presence through its absence “since the Present is but an imaginary point without an awareness of the immediate past, it is necessary to define that awareness.” I endeavored to explore this ambiguous space of time through conditional forms of language: the ifs, coulds, woulds and shoulds. My 3”59 video “1st Draft” (2012) portrays artists and students talking about art works they would like to create and what they hoped they could do through their work. Trying to capture non-existent works of artists became a way for me to trap a space in time though language “accepting the shifting and ephemeral nature of perceptual experience, and if we accept that both real and conceptual objects are appreciated in an analogous manner, then it becomes reasonable to posit aesthetic objects which are located partly in real space and partly in psychological space.” The talking about works become enough in some ways to immortalize time and objects that could or may not materialize “if you can’t make art without making a permanent imprint on the physical aspects of the world, then maybe art is not worth making.”

Moreover, the form the video takes is voiceovers of artists speaking against images of different cold fluorescent ceilings. The artists are separated from the works therefore these hypothetical works can exist in their own space of trapped time through language because they have not or may not be materialized, “there is no question of putting painting, sculpture, et al., back in the service of the mind (because painting and sculpture it has only served the mind within the limits of the language of painting and sculpture and the mind cannot do anything about the limits of painting and sculpture after a certain physical point, simply because those are the limits of painting and sculpture). Painting and sculpture have physical limits and the limit of what can be said in them is finally decided by precisely those physical limits... the limits of visual art are often underlined in inquiries into how we see.”

"1st Draft", 3"59, Video. Perceptions of thought prompted through language may also be translated to language molding our perceptions of time. The concept of time through language interested me because people always speak of “living in the present” ...

"1st Draft", 3"59, Video.

Perceptions of thought prompted through language may also be translated to language molding our perceptions of time. The concept of time through language interested me because people always speak of “living in the present” yet there is no such thing as the present, everything we do is the immediate past or the coming future. The present is a present that one does not experience physically for it is a gift in perceiving its presence through its absence “since the Present is but an imaginary point without an awareness of the immediate past, it is necessary to define that awareness.” I endeavored to explore this ambiguous space of time through conditional forms of language: the ifs, coulds, woulds and shoulds. My 3”59 video “1st Draft” (2012) portrays artists and students talking about art works they would like to create and what they hoped they could do through their work. Trying to capture non-existent works of artists became a way for me to trap a space in time though language “accepting the shifting and ephemeral nature of perceptual experience, and if we accept that both real and conceptual objects are appreciated in an analogous manner, then it becomes reasonable to posit aesthetic objects which are located partly in real space and partly in psychological space.” The talking about works become enough in some ways to immortalize time and objects that could or may not materialize “if you can’t make art without making a permanent imprint on the physical aspects of the world, then maybe art is not worth making.”

Moreover, the form the video takes is voiceovers of artists speaking against images of different cold fluorescent ceilings. The artists are separated from the works therefore these hypothetical works can exist in their own space of trapped time through language because they have not or may not be materialized, “there is no question of putting painting, sculpture, et al., back in the service of the mind (because painting and sculpture it has only served the mind within the limits of the language of painting and sculpture and the mind cannot do anything about the limits of painting and sculpture after a certain physical point, simply because those are the limits of painting and sculpture). Painting and sculpture have physical limits and the limit of what can be said in them is finally decided by precisely those physical limits... the limits of visual art are often underlined in inquiries into how we see.”