This Video is interesting, she has used cubes as almost fluttering thoughts, connected through a sequence, and flowing in various directions as a memory does.
Pieces like "The Red Barrier" struck me as being prominent memories that were spurred by a war, later I discover that I'm right, she has endured Iraq during American occupation and the rise of the terrorists, most of her work was created while in exile.
This is an interesting way of documenting memory through feeling and visualization of something that is in fact vision-less.
I suppose I could have conceptualized the notion of memory and how it is stored, but I would have been losing out on some of the aspects I wanted to so badly preserve, firstly authenticity, with actual photographs and video I can determine that these events were not fabricated or censored. And in fact can rely on the information to be true, I also wanted this to be in essence another body extension project where I could use real footage, not manipulated so I could use the device as a secondary memory if I was to ever lose it, with the knowledge that others opinions of the events cannot alter the actual memory, as its data is separate from my own storage devices in my head.
It is vital that the piece, no matter how 'simplistic' it might appear to cover the basic needs of my memory recollection, ease of use, simplicity and access of photographic and video information has to be integrated with ease, also helpful if time lined as well as possible, this way searching for an event will be as easy as clicking mouse button and dragging until I discover the memory I want to re-cap on, also being able to just openly browse my memories will be much more effective than having to rely on factors to trigger memories, smells, places and people etc.
I think I can safely say that I deliberately avoided making this piece, a piece of art in the Contemporary sense of manipulating and breaking down the ideas of memory, you might argue that this piece is almost too practical to be considered a piece, but you'd be wrong, its art in the voyeuristic sense, its art in the way you can see the finished piece, myself and what I have become through the memories that sculpt us, that’s the true beauty to this piece, not its application but its own history within a history.
Pieces like "The Red Barrier" struck me as being prominent memories that were spurred by a war, later I discover that I'm right, she has endured Iraq during American occupation and the rise of the terrorists, most of her work was created while in exile.
This is an interesting way of documenting memory through feeling and visualization of something that is in fact vision-less.
I suppose I could have conceptualized the notion of memory and how it is stored, but I would have been losing out on some of the aspects I wanted to so badly preserve, firstly authenticity, with actual photographs and video I can determine that these events were not fabricated or censored. And in fact can rely on the information to be true, I also wanted this to be in essence another body extension project where I could use real footage, not manipulated so I could use the device as a secondary memory if I was to ever lose it, with the knowledge that others opinions of the events cannot alter the actual memory, as its data is separate from my own storage devices in my head.
It is vital that the piece, no matter how 'simplistic' it might appear to cover the basic needs of my memory recollection, ease of use, simplicity and access of photographic and video information has to be integrated with ease, also helpful if time lined as well as possible, this way searching for an event will be as easy as clicking mouse button and dragging until I discover the memory I want to re-cap on, also being able to just openly browse my memories will be much more effective than having to rely on factors to trigger memories, smells, places and people etc.
I think I can safely say that I deliberately avoided making this piece, a piece of art in the Contemporary sense of manipulating and breaking down the ideas of memory, you might argue that this piece is almost too practical to be considered a piece, but you'd be wrong, its art in the voyeuristic sense, its art in the way you can see the finished piece, myself and what I have become through the memories that sculpt us, that’s the true beauty to this piece, not its application but its own history within a history.
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