Hyperlacan

This hypertext game offers to embark on an exciting journey through the tangled world of psychoanalysis of Jacques Lacan. Desires, needs, instincts, personality formation, our relations with parents, all of this becomes the object of reflection and classification of Lacan’s theory. Moving from one concept to another, revealing the connections between them, the reader learns to know himself through self-analysis. In conjunction with the participant, hypertext replaces the analyst’s figure.

Jacques Lacan’s psychoanalysis is one of the most complex among modern psychoanalytic theories. Thinking in detail about the nature of desire and needs, Lacan introduces several highly abstract and speculative pseudo-mathematical concepts such as the Other, the “a” object, the Borromean knot, etc., the understanding of which requires extremely careful attention to the terminology. Hypertext structure allows you to move from the explanation of one term to another, gradually immersing into the depths of Lacanian knowledge.

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Performing erasure

This work is an artifact found in a St. Petersburg apartment belonging to one of the leading traders of Gazprombank. On the shelves next to books by Leskov, Ilf and Petrov and orthodox christian literature, a book by a liberal poet Dmitry Bykov was found. On closer inspection, it turned out to be a cache for storing a bundle of 100 dollar bills.

Demonstrating this object, the artist, on the one hand, considers the process of creating this artifact as erasure of meanings embodied in the text of Dmitry Bykov and deliberately crudely displacing them with the material space.

On the other hand, this common gesture unwittingly brings to the surface the place of a book in capitalist society as another tool for making money. The meaning of the book is literally replaced by its function as an economic product.

Further, Dmitriy Bykov’s book “The Calendar” contains reflections on certain events from the birth of Jack London in 1976 to the birth of Dima Bilan in 1981 described in chronological order. Thus, it contains cultural memory significant for Bykov and his generation. Erasing fragments of this text can be viewed as erasure of memories by materiality. Replacing book pages with banknotes evokes certain associations with processes occurring in culture, rewriting history for the sake of economic and political interests in particular.

Day/Night. Video poem

In this work, poetic speech is reduced just to the sounds of human breathing bringing it back to ancient rhythms that served as the prototype of modern poetic speech. The rhythms that were made in shamanic rituals and which are rooted in the human body – breathing, heartbeat, sleep and wakefulness.

The author goes down deeper and compares the vital rhythm of breathing with the one of inanimate nature which is the mechanical change of day and night. And, at the same time, it becomes overtaken by a new technological rhythm, forced by the sequence of changing images. Biological rhythm tries to keep up with the non-living one. It gets off and stops, and the mechanical movement continues without it.

This way a man lives and dies.

While people remain silent, machines speak

This work addresses the everyday life and its sounds. Since the human beings began to live in an industrial culture, our routine consists of the sounds of technology that have become so familiar that we no longer perceive them.

Following the gesture of the artistic avant-garde, I bring these sounds back to the sensitivity zone, expanding it and giving attention to the presence of mechanical / automatic processes that are today part of our natural habitat. The sounds of machines today no longer cause shock or discomfort, as it was at the time of the first appearance. Having listened, we involuntarily find in them a rhythm and special music. Through this process of animation something unnatural loses its strangeness, from being a threat it becomes safe.

 

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https://soundcloud.com/tatkiri/while-people-remain-silent-machines-speak

 

“Museum of words” by Polina Popova

“Museum of words” by Polina Popova

The text presents the idea of museum in present time as place where collective memory acquires meanings. Filled with all sorts of cultural artifacts it appears as a mysterious space, where each person finds the meaning of ordinary things. All the things can be divided in three categories: space, things and feelings. When the text is generated, the words are put into the ideas of the interaction of things, at the expense of which new meanings are born. In space category we can find  ‘MUSEUM’, ‘CORNER’, ‘ROOM’,  ‘FOREST’, ‘HOUSE’, ‘STRUCTURE’, ‘BUILDING’, ‘WORLD’. In things category we can find  ‘DOOR’,  ‘PAINTING’, ‘ANIMAL’. In feelings category there are  ‘WISH’, ‘SPIRIT’, ‘MOMENT’, ‘WORK’, ‘THEME’.

In classical tradition museum represents art in historical narrative, in modernists tradition the art context was regarded as relatively stable. As Terry Smith said in his book “Thinking contemporary curating” “it was idealized context of the universal museum”. Today the innovation consists in putting new forms, new things in this context. So “in our time context is seen as changing and unstable”. Boris Groys said that today museum is not the only way to get information about art, that’s why it doesn’t represent art, but represent itself, identity and strategy. That’s why it could be a place where free flow of information without any political or aesthetical censorship allows the viewer to generate their own meanings and ideas as words generate meaning and ideas in text.

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Instructions for enjoyment

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The principle of decentralisation embraces more and more various areas: peer-to-peer technologies and distributed data storage, social networks and de-urbanisation. This process breaks the habitual hierarchy formed by object, subject and institution.

“Instructions for enjoyment” aims at the decentralisation of the museum space as a zone of special aesthetic experience. With the help of the algorithm, anyone gets an opportunity to contemplate an object of art in their everyday life, regardless of place and time. They can also, without knowing it, appear as an object for somebody.

Once in the digital space, the algorithm loses its individual author and gains a collective one. Everyone who wishes can now change it in any way. How long is it going to live? In which way will it get transformed over its life time? Or will it disappear completely?

The algorithm is based on quotations of antique authors as the primary texts of European culture. Its artifacts and our understanding of it have underwent a transformation over the past several thousand years. A similar process will occur with the text of the algorithm in the digital environment at an accelerated pace. If the algorithm survives, which texts will it become based on? Do the ancient texts still have enough power to launch an aesthetic experience?

In the digital environment, each of its transformations are auto-documented, thus allowing this path to be traced.

 

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Representation / resemblance in Magritte’s “Key of dreams” by Polina Popova

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“Between words and objects one can create new relations and specify characteristics of language and objects generally ignore in everyday life”. This statement by Rene Magritte concerns to that period of his artistic activity, when he started to include words in his painting. Comparing words and images was the way to find new meaning in both of these definitions. As we can understand according to this statement, Magritte’s interest was not in visual quality of his pictures, such as design or calligraphy, but how words and images differ in their modes of signifying.

The introduction of words into works of art, juxtaposition of text and images in painting was actively practiced in the avant-garde art of the first quarter of the 20th century. We can see similar examples in cubism, futurism, dada etc. Worlds often were a means of artistic expression of a visual work of art. It was a way to enhance the expression of a visual image. But in the works of Magritte the main thing is the relationship between words and images. In artist’s paintings, word and image together make more sense than just a word or just images.

The most active period, when Magritte works in the field of joining words and images, falls on the 1920s. If you analyze the whole period, you can select several techniques that the artist used. Sometimes he puts worlds in separate frames. Often we see a combination, for example, in the picture The Palace of Curtains (1929).

Magritte in his “Words and Images” article wrote about this work:

“Here a frame containing the   word ciel (“sky”) is placed next to a frame filled with a blue sky texture—an image of “sky”. Both are representations, one working by resemblance and the other by arbitrary association”.

Magritte often depicted frames with many cells, where words are represented on a neutral background with no image. Among other methods of the artist, is the introduction of the text as the character’s speech, drops, interconnected biomorphic forms. The work “Key to dreams” of 1930 is part of a series of later works by the artist, where he combines words and images. At this time, he again returns to the division of his paintings into cells using frames. But now he refuses to select the object itself with an image on a certain background. Here, the entire surface of the canvas is clearly divided into even sections. In each of the compartments depicts the subject and the word under it.

In the Key to Dreams series, Magritte returns to one traditional and stable way that words and images can share a frame, namely with the word as name or legend of what is also depicted in the fashion of vocabulary flash cards or early reading workbook sheets.
In selected artwork we see an egg, a shoe, a hat, a candle, a glass and a hammer. None of the nouns (the acacia, moon, snow, ceiling, storm, desert)  matches the items shown. Direct association with vocabulary cards or with children’s textbooks is a reference to how we are taught to perceive words and objects from only one particular point of view. However that may be, these vocabulary sheets are also violations that provide a way of seeing how early schooling teaches us canonical recognition forms both of language and visual representation.

On the other hand, the work of Magritte suggests that a thing or object is not always what it seems. Here we can talk not even about the meaning of a word or the definition of an object and its function, but about symbolic thinking. Words can be metaphors and images can be characters. The image does not always refer to what it depicts. Sometimes we are limited in the image of certain phenomena or processes, then the symbols come to the rescue.Sometimes, when we need to present something fictional, our fantasy, we also come to the help of symbols. An image can display a reality, a particular subject. However, sometimes we can not describe something in words or depict. It happens that a phenomenon or event has hidden meanings. Similarity is an appearance, form. When there is a subject that needs to be portrayed. But it also happens that this item is not, especially when it is our dreams That is why the work is called “Key to dreams”, because it opens the way to metaphorical thinking and free association.

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