Tag Archives: Recon Project

Recon Project: The Factory of the History of the Future of the Image

This weekend, I documented my Factory of the History of the Future of the Image in the AA’s Green Room for the first time. It took me all morning to set up the tables (ca. 2m x 2m), about an hour to fix a column and other bits of the model and a lot of battery power.

Format Factory, Documenting the curation of Image Formats

Format Factory, Documenting the curation of Image Formats

The Recon Project, a reaction towards Aby M. Warburg’s (1866-1929) Mnemosyne Atlas, (1924-1929), was attempting to recontextualize the image as a medium to a message by stripping back its content and emphasising on its format.

FORMAT

Origin

mid 19th century: via French and German from Latin formatus (liber) ‘shaped (book)’, past participle of formare ‘to form’.

noun

1.The way in which something is arranged or set out: the conventional format of TV situation comedies

1.1 The shape, size, and presentation of a book or periodical: the format is A4 on newsprint (as modifier, in combination) large-format paperbacks

1.2 The medium in which a sound recording is made available: he has just re-issued the collection in CD format

1.3 Computing: A defined structure for the processing, storage, or display of data: a data file in binary format

verb (formats, formatting, formatted)

1 (Especially in computing) arrange or put into a format: how to format a document

1.1 Prepare (a storage medium) to receive data: you will be able to format a disk

Synonyms

design, style, presentation, appearance, look;

form, shape, size;

arrangement, plan, scheme, composition, make-up, configuration, structure, set-up

(source: http://www.oxforddictionaries.com)

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Mnemosyne Atlas – Recon Project

Aby Warburg's Mnemosyne Atlas of Images, pinned in three layers, on a black board infront of 15 columns of the Olivetti Underwood Factory, scale 1:50

Aby Warburg’s Mnemosyne Atlas of Images, pinned in three layers, on a black board infront of 15 columns of the Olivetti Underwood Factory, scale 1:50

Underneath the Canopy, Olivetti Underwood Factory, Paper Model, Scale 1:50

Underneath the Canopy, Olivetti Underwood Factory, Paper Model, Scale 1:50

Quick display of the silhouettes and cutout Images, The History of the Future of the Image, The Production of Format

Quick display of the silhouettes and cutout Images, The History of the Future of the Image, The Production of Format

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Mnemosyne Atlas – Recon Step 3, Recording the process

Getting my head around linking blog content – Please click on the image or link below to check out a humble quicktime.mov…

attempting to screencapture googling my After-Images, process documentation

attempting to screencapture googling my After-Images, process documentation

141027_screencapture

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Mnemosyne Atlas – Recon without content

I was listening to this lecture by Bruce Sterling to broaden the spectrum of influences for thinking about Aby Warburg’s Mnemosyne Atlas and my Recon project:

 

Let's move!

Let’s move!

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Mnemosyne Atlas – Recon Step 1

TUTORIAL TIME:

Another iteration of Panel C of Aby Warburg’s Mnemosyne Atlas at the scale of its photographic reproduction (ca. 18 x 24 cm). What if you’d insert a circle? Too abstract! A banana? Well, it’s got enough particularities to fit in.

Rather than a serious proposal, the potential insertion of a banana, as a generic object, into the pathos-laden historiography, reveals the absurdity of responding to Warburg’s subjective approach to mapping the past through a constellation of images, ranging from Antiquity to the 1920s.

Mnemosyne Atlas, Panel C goes B!

Mnemosyne Atlas, Panel C goes B!

REDEFINING THE QUESTION:

That stated, I will still attempt to challenge the notion of orientation both within physcial and intellectual space, multiple interconnected worlds. If I am to provide a reconfigured index outside the Warburg Institute and within a global pool of resources, I should rethink how to montage such a network. Instead of imposing my subjective logic onto Aby Warburg’s sense of reasoning within the existing set of images of the Mnemosyne Atlas, I consider making use of a form of collective judgement as a means to ascribe objective value to contextual items.

The question redefines itself to: “How do I, as an architect, use the world around me as an objectifying filter to construct, communicate and guide through a temporal and spatial constellation of knowledge which challenges Aby Warburg’s emotional logic, medium and format?”

 

Please feel free to comment!

 

BACKGROUND INFORMATION:

“Together with panels A and C, panel B provides an introductory ‘grammar’ or ‘syntax’ with which to read the subsequent 60 panels.”
Title: “Various levels of transferring the cosmic system to humanity. Harmonic correspondence. Later reduction of the harmony to abstract geometry instead of to cosmically conditional [geometry] (Leonardo).”

(source: http://warburg.library.cornell.edu/panel/c)

 

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