INSIDE OUT // THREE IN ONE [2] (2005)

INSIDE OUT // THREE AND ONE [2] (2005) Three-channels of which the first and third are really the same, but with higher (total) contrast between (imaginary) digital surfaces/depths. The second too is really the same as the first and third in that it constitutes the armature and narrative they manifest. The first and third were made by actualizing the second. The second is based upon subjective responses to the language furnished by the computer program Final Cut Pro. The hope of the makers (that is to say FCP and JM) is that this form of interfacing reveals something of the way in which both artist and program work towards unknown but shared ends and that this collaboration influences the modes of thinking of both. Further, through altering (even reversing) both typical creative processes and the typical spectatorial art object-activation/attention (to view blueprint/process as art object; manifestation as documentation) it is ...

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INSIDE OUT // THREE AND ONE [2] (2005) Three-channels of which the first and third are really the same, but with higher (total) contrast between (imaginary) digital surfaces/depths. The second too is really the same as the first and third in that it constitutes the armature and narrative they manifest. The first and third were made by actualizing the second. The second is based upon subjective responses to the language furnished by the computer program Final Cut Pro. The hope of the makers (that is to say FCP and JM) is that this form of interfacing reveals something of the way in which both artist and program work towards unknown but shared ends and that this collaboration influences the modes of thinking of both. Further, through altering (even reversing) both typical creative processes and the typical spectatorial art object-activation/attention (to view blueprint/process as art object; manifestation as documentation) it is hoped that a greater consideration of the processual and inscriptive ensues. Also, there's a not so hidden reference to Joseph Kosuth.

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