It’s delicate … but potent.

120 Days Title v2

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120 Days and Nights of Staggering and Stammering: Installation shots (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)

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Trending Creators at SEE.ME

https://mima27.see.me/

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‘120 Days & Nights of Staggering & Stammering: Red Square Pet Heaven’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)

                                                                           

‘120 Days & Nights of Staggering & Stammering: All the Fun of the Family’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)

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‘120 Days and Nights of Staggering and Stammering’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)

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Carousel/Carousal

“My first job, I was in house at a fur company, with this old pro copyrighter, a Greek named Teddy. 
And Teddy told me the most important idea in advertising is “new”. Creates an itch.
You simply put your product in there as a kind of … calamine lotion.
He also talked about a deeper bond with the product.

Nostalgia.

It’s delicate … but potent.

Teddy told me that in Greek, nostalgia literally means the pain from an old wound. 
It’s a twinge in your heart far more powerful than memory alone.
This device isn’t a spaceship.
It’s a time machine.

It goes backwards, forwards.
It takes us to a place where we ache to go again.
It’s not called the Wheel.x

It’s called the Carousel.

It lets us travel the way a child travels. 
Around and around and back home again…x

to a place where we know we are loved.”

– From Mad Men, Season One, Episode 13, “The Wheel”

In this scene, Don Draper (Jon Hamm) gives his advertising pitch to Kodak for their new slide projector, which they have not named yet.

 

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memory-machine-image

A display about memory at the Dittrick medical history center (1966)

Now at the College of Arts & Sciences of Case Western Reserve University in Cleveland, Ohio 

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“The magical power of the projected image is unique to the medium.

A beam of light, thrown out from the slide or film projector, bears sequences of images  

that reconstitute and take form when the light meets an opaque surface.

Projected images are at once solid and transparent…

The beam of light is a powerful sign of memory and the visual imagination.

It transmits ghost images, figures that live only through the power of the projective

apparatus and die as the picture vanishes. Projected in darkness, the cone of light

traces the genesis of the images from projector to screen.

It is spellbinding and full of promise”

– Lynda Nead, The Haunted Gallery: Painting, Photography and Film around 1900

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120 Days & Nights of Staggering & Stammering: Vampire Days.  
SLR film Cameras, Slides. LED spotlights. + as a Digital Print

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ART TAKES LONDON | FEATURED ARTIST: MARK INGHAM

Mark Ingham‘s incredible installation, 120 Days and Nights of Staggering and Stammering, 

is designed from 120 SLR film cameras and LED spotlights. Each of these handmade projectors 

will display images taken before and during the installation, as well as audience-donated images.

Regardless of where Ingham’s piece is installed, the end result will reflect the experience

of the viewer within it.”  

Artists Wanted

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120 days 3

“Ars Magna Lucis et Umbrae” 
Dilston Grove, Cafe Gallery Projects. 2008

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Link: Go to Works 

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TCoE Inside 1

“England’s Dirty Rotten Gardens” 1988  (The Consumption of Elements) Chisenhale Gallery London

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“A concept is a brick. It can be used to build a courthouse of reason. 

Or it can be thrown through the window.”

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“Gilles Deleuze & Felix Guattari (A Thousand Plateaus: Capitalism and Schizophrenia. p xiii)

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Crossroads

Crossroads 1986 In New British Sculpture, Air Gallery
Radios, Cardboard, Maps, Clocks, Barbed Wire.
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“Technology is not neutral. We’re inside of what we make, and it’s inside of us.

We’re living in a world of connections —

and it matters which ones get made and unmade.” 

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Donna Haraway (A Cyborg Manifesto. pp.149-181)

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DIAGRA~1

Camera Projectors Diagram. 2005

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“We have to see creation as tracing a path between impossibilities.” 

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Gilles Deleuze  (Negotiations? & Essays Critical and Clinical. p x|viii)

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10MarkIngham

“Ars Magna Lucis et Umbrae” 
Dilston Grove, Cafe Gallery Projects. 2008

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“Art struggles with chaos but it does so in order to render it sensory….” (Watteau)

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Gilles Deleuze and Felix Guattari.  (What is Philosophy? p205)

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Doppelganger 3 Kings

Döppelganger: “We Three Kings…”  
2005  (Photographic Print 160 cm x 240 cm)

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“Break a vase, and the love that reassembles the fragments is stronger than that love

which took its symmetry for granted when it was whole.” 

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Derek Walcott (The Antilles: Fragments of Epic Memory. Nobel Lecture .1992)

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Dr Mark Ingham 

View Mark Ingham's profile on LinkedIn

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Twitter: (@ArsLucia)
Linkedin: (Mark Ingham)
Email: (markingham3@hotmail.com)

PDF CVMarkIngham2012CV

CV/Contact Page

[contact-field label="Name" type="name" required="1"/][contact-field label="Email" type="email" required="1"/][contact-field label="Website" type="url"/][contact-field label=’Comment’ type=’textarea’

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‘…an ever changing, cavorting carousel, that documents the transitory lives that pass through our crystalline world.’

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[text start]

 

‘..an ever always changing, cav, cav, cavor, cavorting carousel, that documents the transitory lives that pass, pass, pass, through our crystalline worlds.’

120 Days and Nights of STAGGERING + STAMMERING.

The young man at the beginning of Andrei Tarkovsky’s The Mirror stammers and stutters, and then learns not to.

My grandmother, Rose-Marie, staggers out of The China Hall Public House, The White Horse Tavern, The Crystal Tavern, The Eagle and never learns. In the icy wastes of the French Alps she dives into freezing lakes. Followed by my grandfather, without a St. Bernard dog for company. ‘Ice, No Brandy’. The very very late night Troy Bar in Soho always clings.

However far I try and get away from ‘Grey Gardens’ it still tugs me back to ‘Tea for Two’. Just tea for two and two for tea Just me for you Just tea for two and two for tea Just me for you.

Our lives are smeared throughout the world, recalled through disparate, dissolute, fragmentary images, sounds and memories.

On the 27 of December 1960 Marilyn Monroe gave birth to a baby boy. Two weeks earlier she had flown to the town of Pointe-à-Pierre in Trinidad and Tobago to give birth. The father is unknown. She gave it up for adoption immediately. A Mexican divorce was granted to Arthur Miller and Marilyn Monroe on January 24, 1961. The boy, weighing 6lbs and 12oz was adopted by Sheila and Stephen Ingham

120 Days and Nights of STAGGERING + STAMMERING is an installation that sucks in and spews out images of the people and surroundings it encounters, real or imaginary, wherever it happens to stumble: New York, London, Venice, Iquitos, Ocho Rios.

Consisting of old SLR film cameras and LED spotlights each of the 120 ‘projectors’ throws out images of people, events and the fabric surrounding wherever it is exhibited.  A dense flickering array of images negotiated and dictated by the space, can be projected into, onto and outwards of any given situation/site. They prefer shady aspects but can flourish during daylight hours too. The larger less bright images are made visible by the descending gloom of the night. The smaller, closer to the wall/ceiling/floor, ones can cope with the intensity of other light sources.

The projectors can be clumped together in one location or be spread around different locales as needs be. The audience is enveloped in and disrupts this cacophony of images, creating and destroying as they wander through and around them. Shadows will appear and obliterate the wall images only to reappear on the bodies of the transgressors. The images will be instantly recognisable, as they will depict places just passed through on the way to the exhibition site.

There will be temporal shifts occurring sometimes of mere days alongside others of an indeterminate age. Referents will be lost and gained throughout this encounter.

‘…an ever changing, cavorting carousel, that documents the transitory lives that pass through our crystalline world.’

The End The End To be continued…..

[text end]

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UCL’s Documentary Film Festival UCL

UCL’s Documentary Film Festival

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UCL hosts the third edition of Open City Docs Fest in venues across campus and beyond, June 20-23.
This is London’s only documentary festival – a gift from UCL to our global city.

Bringing together some of the best filmmakers in the world and the researchers upon whom their films so often rely, the festival creates conversations in and around film.

The festival will screen over 90 films. The best will be judged by a jury chaired by actor turned documentarist, Jeremy Irons. He is joined by our own departing Provost, Malcolm Grant, and others from the world of film and academia.

Open City aims to be much more than a film festival. UCL academics introduce the films, provide screen notes for the audiences, chair post-screening discussions, and participate in numerous panel events. This year panels range from the future of copyright in the age of the internet to the challenges and rewards of studies that run across the life course, from 7UP to Birth Cohort studies.

You can visit our website for details of all events and booking arrangements

THE TURING NORMALIZING MACHINE

THE TURING NORMALIZING MACHINE

by Yonatan Ben-Simhon and Mushon Zer-Aviv

An experiment in machine learning & algorithmic prejudice

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From: http://mushon.com/tnm/

In the 1930s British Mathematician Alan Turing studied normal numbers. During World War 2 he cracked the Nazi Enigma code, and then laid the foundations for computing and artificial intelligence. In the 1950s he was convicted of homosexuality and was chemically castrated. And in June 7th 1954, depressed by the anti-homosexuality medical treatment, and alienated by the society who deemed him abnormal, Alan Turing ate a cyanide laced apple.

In the following decades many of Turing’s ideas have materialized through the digital revolution, while many of them are still being researched. Inspired by Turing’s life and research we seek to finally crack the greatest enigma of all:

“Who is normal?”

The Turing Normalizing Machine is an experimental research in machine-learning that identifies and analyzes the concept of social normalcy. Each participant is presented with a video line up of 4 previously recorded participants and is asked to point out the most normal-looking of the 4. The person selected is examined by the machine and is added to its algorithmically constructed image of normalcy. The kind participant’s video is then added as a new entry on the database.

As the database grows the Turing Normalizing Machine develops a more intricate model of normal-appearance, and moves us closer to our research goal: to once-and-for-all decode the mystery of what society deems “normal” and to automate the process for the advancement of science, commerce, security and society at large.

The abnormal,
while logically second,
is existentially first.

Georges Canguilhem, The Normal and the Pathological, 1966.

Conducted and presented as a scientific experiment TNM challenges the participants to consider the outrageous proposition of algorithmic prejudice. The responses range from fear and outrage to laughter and ridicule, and finally to the alarming realization that we are set on a path towards wide systemic prejudice ironically initiated by its victim, Turing.

by Yonatan Ben-Simhon and Mushon Zer-Aviv. [contact]

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[BAM] 120 Days and Nights of Staggering and Stammering

Shown at:

Gateway Games

27th Jan 2012 – 24th Feb 2012

An exhibition of speculative architectural models and drawings set in the Thames Gateway, by the university’s School of Architecture, looks at the wider impact of the Games and its legacy.

This story is told with the help of Charles Dickens, Georges Perec, JG Ballard, Iain Sinclair, and Angela Carter, starting with the moment when, in Charles Dickens’ Great Expectations, Pip is turned upside down by the convict Abel Magwitch – a scene set on the Hoo Peninsula, the geographical centre of the Thames Gateway.

Just as the rotation of Pip represents the metaphoric moment when past and future collide in the novel, the contemporary story of London’s shift to the east is both described and imagined in the exhibition where the body and its experience is at the centre of the projects presented.

Over the last seven years Atelier 11, in the postgraduate research of the School of Architecture at the University of Greenwich, has been speculating on the fictional and factual history and future of the Thames Gateway through drawings and models which have been presented at the Royal Academy and as part of the Royal Institute of British Architects Presidents’ Medals.

For further information please visit: http://www.gre.ac.uk/pr/slg

The Stephen Lawrence Gallery: Queen Anne Court, University of Greenwich, Old Royal Naval College, Park Row, Greenwich, SE10 9LS.

Opening hours: Monday to Friday 10am to 5pm, Saturday 11am to 4pm, closed Sundays and public holidays.