she was never gay until two days ago when she came out on the blog

les bino four wheel drive

four wheel drive options - just got Liz's pic in, though before that was using Liz's desktop as her-as-bino - but added the pic-itself in too. Thoughts on arrangement, two bino participants to one light-box, or three of four...? and to take it one step further...

or with a hint of black = blog scroll at base

late entry?

(fun one for safari times, even if its via the net right?)

so the TV version was giving me a bit of grief, think this might say it better anyway...

Emancipatory Hedonism

From Jan Verwoert's essay

Lying Freely to the Public. And Other, Maybe Better, Ways to Survive

Power structures need public prosecutors because they invest belief into the reality of these structures. Whether the prosecutors defend or criticize the structures makes no difference in this regard. On the contrary, it is precisely the critic of institutional power structures, for instance, who does these structures the invaluable service of making the public believe that the institutional apparatus is the most, if not only, important force that determines the production of art. Converting to this belief, however, means to renounce your faith in the idea that art practice could actually make a difference. One prominent fallacy of political art criticism has therefore always been to ground their critique in a serious belief in the exclusive power of power structures. A criticism that sought to empower resistance, however, would have to analyse the structures, but deny them the service of believing, and instead invest the power of belief into the possibility of change through (art) practice.

some elements to work with?

flying heart

Arm measuring nipple measuring

limbs, digits
I don't know
where to look

invisible communities

A test to see if covering all the faces of on the stage set might work. Image selection still open but I'm interested in keeping it to published/distributed media (albums, magazines, posters, book covers etc) - media that makes, and echos communities.

I miss a community here. I want more visibility. Where are all the gays in my immediate community, on the art scene? We seem a little thin on the ground here. Where are we on the street? I know there is a gay scene here, but it seems so underground. I don’t think I’m looking in the right places. I can’t be.
So I've been curiously digging around online, following one link to another, finding a plethora of bands, albums, interviews, tv series, movies, blog - whatever might lean towards a familiar echo - and finding good company in them. My friend accurately described it recently as the potential of any distributed media to create an invisibly connected community.

Curse

Hum de hum. I need some sleep, but thinking about the roll, the scroll and the potentials of a sequence to surprise.

Talk in the morning. Yeah.

Roar

Really looking forward to talking soon. In the meantime, here's image highlights of today's bonus shoot... we went a little left of field of shooting the blank stages...

Bedroom as whitely-lit stage

Oh and some uploads of the torches - available on black or white!



























...umm, er, sometimes science just doesn't work! Clearly science can't explain everything!

I am, talking in images

and then she said ...

Woo Aaaa Hooo

We did some shooting today with the hired camera. I think Clare fell in love with the lens. Anyway, these are some of the images we took:

Can we join your safari Rachel?

Pretty please?

Heeeey, I can see my house from here

Along with the safari look, we also did some piles of abandoned clothes:


This our mock-up for a hyperbola of clothing, in a lightbox format (click to enlarge):

And a yummy version of the lesbian rule (which we do by the way):

For some mysterious reason, we have been given an extra day with the camera tomorrow. This is a super lucky situation, as we only have about four hours of decent natural light in Rotterdam at the mo. So, Clare is going to do some more images including:

• An image of a print-out of a copy of the "nipple painting"
• The stage sets
• torches
  

Feel free to send any requests, and let us know how you feel, don't feel, want to feel about the above images....

the interweb killed the TV star

just a sketch think it looks a little too on the album art side of things BUT wooop! here it izz xx

Semi Technical, Somewhat Spatial

It's really nice to see how our work so far sits together (might I just mention that this is our 100th post!). I have been looking over some of the blog archive (!) today and I think it is a super accumulation of really amazing thinking and talking and experimentation.

While reveling in our collective choice-ness, I also have a few things bobbing about in terms of making a meeting between our work and the lightboxes. I opened up the birds-eye view today:

Firstly, I thought the trees a NOT that big, or broccoli-like right? But also the lightboxes (and some of the trees for that matter) are clearly arranged in pairs, and it reminded me about how different the street side/footpath sides are. When I was in Wellington enjoying the sunshine (boohoo), I noticed that pedestrians really don't walk on the street side unless they are looking specifically at the lightboxes, but, according to this handy diagram, cars and buses drive past there all the bleeding time. I would propose that the footpath side pairs make intimate spaces for viewing, and the street side works more like a grouped sign space.

I started thinking about the two sides in response to your Rouugh az layout Liz. It was really cool to see a really hot, kind of streamlined, graphic approach to the light-boxes as a group, but I also really like quite a number of the single lightbox images/designs that have appeared on the blog, and think there is loads of potential in sitting lightboxes with quite different visual spaces next to each other -- even if they "roll" blog-style, or intervene with each other. So, I wonder if you guys would be interested in working with the two sides differently? Can we think about them as two different facets of the project? A kind of popaganda space on the street side and a more slow-paced, intimate collection on the footpath side? What I am imagining is to follow what I took from your lay-out Liz, and use the street side for pattern/graphics/text approach that used all eight lightboxes as a single work -- really thinking about traffic being the main type of encounter (as the cover of our book?). Perhaps we could only use sign-writer style vinyl for these sides? And the footpath sides being a combination of text/image/graphic that asked for a closer relationship -- small-print text, more complicated image combinations, etc... basically a electric combination of what we have posted as single/pairs of images.

The other thing is kind of more low-level technical note in response to your idea, Rachel, of making a bi-peep through from one light-box to the other side. Clare explained to me today about what the light boxes look like inside and how they work (thanks C, you rule!). But first illustration A:
So this is an empty lightbox. The lights are in the frame of the lightbox, running down the vertical sides. The way the light is distributed across the back of each image is via a nifty sheet of perspex that sits between the two images. Why is this sheet nifty I hear you ask... well, this sheet of perspex is scored in a fine grid pattern, and this grid catches the light coming from the frame of the lightbox. During the day (as in the above image) the lights are off, so you cannot see the grid, but at night the grid would be visible if you stood close to the lightbox. So, Rachel, regarding your great cut out hole idea:

Thinking about the interlocking girl circles back in the early posts - with the woman by the pool. How about circular holes - quite big on one side of the light-box - say black vinyl with hole cut out so you can see through to other side of light box where there might be text like Katy Perry... or Gay-der! ? Not sure, just pondering more ocular wannabe moments - and I guess I'm finding the bino's optimum ocular imagery and wanting to know if they would work with a building up or repetitive notation of them across some of the light boxes, i.e. me in the long grass, bino's on blue background etc...

We would have to be aware that at night this hole (depending on its size) might turn into a ball of light from the gridded perspex instead of a view to the other side. Keeping that in mind though, I think the idea is a super good one. Activating a different kind of looking. I imagine that the text we wanted to be seen through the hole would have to be printed backwards -- so it was seen the right way through the hole. As an invitation to get closer. If we do want to work with the two sides as different facets of the project, this would also be a point to break this difference.

OK, last thing. Clare and I have rented a camera for tomorrow. It is some kind of fancy pants digital image making machine, so we thought to pass on that if there is anything more general you guys would like photographed, let us know by your 9pm, and we can do our best. On our image-list at the mo is:

• re-photographing Clare's lesbian rule
  
• pile of abandoned clothes
• hyperbola of abandoned clothes
• some hand-binoculars (to add to Rachel's safari team)
• re-photographing Clare's stage
• coloured-beam torches
  

Did I mention that this is our 100th post! Here is a little something special:

Ruth Buchanan, A Different Kind of Love, 2007, video still

Rouugh az LAY- OUT

So this is a real real quick-is-best visual for how I have been thinking a final layout might appear, I realised after mocking up that it will probably look real different but I'm gunna post it anyway in the spirit of PROCESS, wattya all thinkin??

binoculars on girls on safari

rough and ready - the les of the future-past/ past-perfect?


And for consideration in our list of titles: breasts of the 70s, 80s, 90s and today