The making of "The birth of Transodin" or "How to explore the concept of transhumanism through artistic expression?" Part I

Slide1 Slide2 Step 1: ResearchSlide3 Slide4 Slide6 Slide7 Slide8Step 2: Drawing – Observation and Understanding

As an multidisciplinary artist I use digital medias like digitally altered images, video, performance, 3D animation, drawing, painting, sculpturing and installations to explore the human condition through artistic expression.
I am interested in process as a meta narrative; after my research I started to work with mark making and collages. As starting point I used mixed media like charcoal, ink, acrylics, PVA, plastic nets and other media. I mount images (containing expressions of our consciousness and synapses) on canvas. In order to explore the tensions between digital tools and analogue selves I transform them physically via intense mark making into  synapses (metaphorical).
Connecting my brain and personal mind with the physical world through mark making, applying a visual copy of my own neurons and synapses to the canvas is  a very personal journey through my consciousness and everyone in this blog is welcome to take part of this experience.

Slide9 Slide10 Slide12 Slide13 Slide14  Step 3: Developing and Preparing the Performance

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A journey, back from Sherkin Island, where my College is based, was an initial sparkle. The mountain range next to Baltimore made me realize that we are surrounded by brainwaves.


Slide17Inspired by a metaphorical hint surrounded by the physical waves of West Cork and after all my physical and spiritual artistic “exploring the brain(or rather my brain/neurons/synapses)” sessions I decided to explore the subject through a ritual performance:

Drawing and Painting with Brainwaves!brain_wavesAgenda: Hanging upside down from a tree and painting with 4 different colours (Alpha, Beta, Theta and Delta) brain waves to a canvas.

Slide21 Location: Clonakilty, Castlefreke

castlefreke4  castlefreke3
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Through my research I found out that the origin of the “Hanged Man” is said to be connected with the sacrifice of Odin, the chief of the Norse gods, who according to mythology, hung upside down in a tree for nine days to gain entry to the underworld and learn the meaning of the runes.

Transhumanism
Many of the HANGED MAN Tarot Cards refer to the Norse god Odin and his hanging from Yggdrasil, the world tree.

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The Tree Yggdrasil supposed to be the Tree at Castlefreke, Clonakilty.
The Tree Yggdrasil supposed to be the Tree at Castlefreke, Clonakilty.

The 4 liquid Alpha, Beta, Theta and Delta Brain wave colors supposed to be attached to my head. I use first aid gloves for this, to make sure the canvas gets uncontaminated Brainwaves. The gloves normally used during medical examinations and procedures that help prevent contamination between caregivers (the artist) and patients (the canvas). Perfect.

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 An appropriate medium!

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The Team

Transhumanism
Jens (Dragger 1/”Making of” photographer) Sigi (Health and Brain Wave Inspector), Thomas (Human Sound Machine).

Transhuman Contemporary Art
James (Dragger 2/knots, strings and string camera specialist)

Step 4: The Hanged Man Performance

As a precondition to his self sacrifice Odin was wounded with his own spear and had to pull out one of his eyes. I saw already a good chance to replace or rather emphasize this with an attached action camera eye as metaphor for the move from humans to hybrids (Transhumanism).

Transhumanism
His view of the world is very different from the rest of us who walk upright. Thus, this waiting becomes a time of trial or meditation, selflessness, sacrifice, prophecy.

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Slide37 Slide36 Slide40 Slide39 Slide38Transodins birth (the performance)

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Step 5:  Exploring the concept of transhumanism through artistic expression!

After revisiting images of my performance I choose some appropriate as starting points for future work. I still want to explore the concept of transhumanism. I continued and altered my images -digital- with the process of producing similar populations of genetically identical individuals. Slide52 Slide53 Slide54 Slide55 Slide57

tarot
This new way of seeing things often leads to insights and enlightenment. Answers become clear, solutions to problems are found.

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Previous examples of my work show a way how to explore (probably) any subject through artistic expressions. I will continue with this issue in order to show my progress in my next blog. I hope that everyone got some inspiration how to save the world through art 🙂 .  On this note…. All the best for now xx  Transodin

Peace, Love, Action and Technology…Does it work?

Technology?…I just pushed the button for an eight minute rendering performance. It supposed to take me 5 hours for the result? Few editing! Few sound-switchings?
OK..Thank You….I am quite aware that it takes a lot of nature to a l t e r society …… maybe that´s a hint?

Action! is a part of my recent work. U can call it an Assessment Sneak Preview, if u want…
TransodinActionCircle10times

"But where danger is, grows the saving power also."

wsaNewyearswish2
Well, 2014 almost done and dusted. Any special ideas for 2015 except Love, Peace and Happiness? If this isn´t eventually the highest aim at all. Well, O.K. … Love and Peace might help already.
“But where danger is, grows the saving power also.”
Heidegger once again quotes the poet Friedrich Hölderlin. On that note: Keep your Art subversive and it might save the world some time.
All the best from West Cork
Detlef
 

Employer of the year, grandmaster of fear my blood flows satanical, mechanical, masonical and chemical habitual ritual

Corporate Cannibal. Grace Jones Statement to our current misery is very clear.

Pleased to meet you, pleased to have you on my plate

your meat is sweet to me
your destiny
your fate
you’re my life support, your life is my sport
I’m a man-eating machine
you won’t hear me laughing, as i terminate your day
you can’t trace my footsteps, as i walk the other way
i can’t get enough prey, pray for me
(i’m a man-eating machine)
corporate cannibal, digital criminal
corporate cannibal, eat you like an animal
employer of the year, grandmaster of fear
my blood flows satanical,
mechanical, masonical and chemical
habitual ritual
i deal in the market, every man, woman and child is a target
a closet full of faceless nameless pay more for less emptiness
i’ll make you scrounge, in my executive lounge
you pay less tax, but i’ll gain more back
my rules, you fools
we can play the money game
greedgame, power game, stay insane
lost in the cell, in this hell
slave to the rhythm of the corporate prison
i’ll consume my consumers, with no sense of humour
i’ll give you a uniform, chloroform
sanatize, homogenize, vaporize… you
  I found a few critical theoretical background informations to it. Alessandra Raengo describes the clip like this:

To describe Corporate Cannibal one is forced to rely on material and tactile metaphors. The video begins with what seems like a diagonal strip of a fluid metallic black substance on a white screen, which quickly but delicately begins to pulsate. It grows what looks like an eye on the side, which then morphs into a face, Grace Jones’s face, but only for a moment, before being absorbed by the same black mercurial matter and being formed and re-formed over and over again. This shape-changing blackness is haptically rich. It is sticky, viscous, wet, slippery, thick. Shot in one long take with two digital cameras the video has no clear cuts, no punctuation, no recognizably discrete images, but rather unfolds as one fluid and continuous move. The only identifiable visual element is Grace Jones’s face and upper body. Her song updates Marx’s vampire-like capital for the 21st century, taunting her listeners with lyrics in which she unleashes cannibalistic desires. “Corporate Cannibal/ Digital Criminal,” she sings, “I consume my consumers with no sense of humor.”
Jones speaks for the corporation but does she embody it? I hesitate to say this because the corporation is historically an artificial person, but one that is deeply intimate with the biological body of the slave. This is the intersection that Jones animates. The artificial person was constituted with the Supreme Courte decision Santa Clara vs. Southern Pacific Railroad (1885) by leveraging the 14th Amendment created to protect the rights of recently freed slaves. By lending her body to represent the corporation Jones re-animates this intersection between the interests of private capital and the formal recognition but de facto denial of the natural personhood of the slave. Therefore, her cannibalistic desires do more than play on inversions between victim and perpetrator, container and contained, consuming and consumed.18 Rather, these desires strike at the heart of one of capital’sontological scandals, the collapsed distinction between the artificial and the natural person as well as the one that pertains between person and property. Jones’ own biological body reminds us that the fiction, form, and notion of the artificial person that grants personhood to the corporation, hijacks the legal space created to protect the recognition of the natural personhood of the slave. Even before cannibalizing its consumers, the very legal personhood of the corporation has already cannibalized the living-breathing body and the humanity of the slave.
 

18 See Stephen Best, The Fugitive’s Properties: Law and the Poetics of Possession (Chicago and London: University of Chicago Press, 2004). In my discussion of Santa Clara I follow Nneka Logan’s work on the corporate person, and specifically her paper Nneka Logan, “Santa Clara, the Fourteenth Amendment and the Rise of Corporate Personhood and Power: A Rhetorical Analysis of Text in Context” (paper to be presented at National Communication Association, Orlando, Florida, 2012 Conference).
Alessandra Raengo is Assistant Professor of Moving Image Studies in the Communication Department at Georgia State University. Her scholarship addresses the ontological implications of race in the field of vision. She has published essays and book chapters on Lee Daniels’s cinema, the assimilationist imagination in The Jackie Robinson Story and blackness as phantasmagoria in Bamboozled and contemporary art. Her book On the Sleeve of the Visual. Race as Face Value, is forthcoming in the Spring 2013 from Dartmouth College Press.
If you want to know more about this issue please click here: http://www.worldpicturejournal.com/WP_7/Raengo.html
 

Following interview I found at this blog http://hermitosis.blogspot.ie/2008/09/nick-hooker-turned-grace-jones-into.html Unfortunately I wasn´t able to research or rather quote the interviewer

TB: How did you wind up working on this video?
NH: Ivor Guest is a very talented producer and a very good friend of mine; he started working on the album with Grace, and we both became friends with her. She’d already seen and liked some work I’d done for U2. Ivor and Grace had just finished recording the album, but hadn’t remixed or mastered it or anything. They played it for me and Grace just said, “Listen, which of these do you like?” Right away I jumped at the one I visually responded to the most, and that of course was “Corporate Cannibal.”
TB: The video’s concept is deceptively simple. How do you pitch an idea like that?
NH: Actually, I didn’t. She trusted me. That’s just who she is… Grace is incredibly smart, very wise. I think that’s how she works; when she trusts someone, that’s it! She just goes for it. So I didn’t know before I made the video precisely what I was going to do — all I knew was that I wanted to get her head, and I wanted to get her intensity. I didn’t do concept drawings or sketches, or pre-visual stuff… I just found it. She only had one worry, which is that I’d hold back — that I wasn’t going to go whole-hog.
TB: Can you tell me a little about what it’s like to spend time with Grace?
NH: First of all, she’s hyper-charismatic. It’s like a condition that she has. Also, she’s been famous for a very long time, so she really understands how to master her charisma. I’ve been out with her at times when she’s dialed it down, and she becomes practically invisible… anonymous. And then I’ve seen her turn it on and turn it up, and when she does that, within 5 minutes people are suddenly starting to pay attention, and within 10 there’s a crowd. After about 15 it’s like, “How are we going to get out of here?”
TB: What’s the rest of Hurricane like?
NH: Half of it is really strong vintage Grace that you can easily connect to her earlier stuff, and then the other half is much more contemporary, and of course “Corporate Cannibal” is an example of that. It’s funny, when Ivor first told me he was working with her, I noticed something… I’ve always loved her music and I’ve always thought she was amazing, but I’d never realized that every day, when I’m in New York, I’d hear her music playing somewhere — whether it was in a bar or cafe, in a taxi, in a shop. It’s just there. It’s part of the soundscape of the city.
TB: What did you (and Grace) have to do to capture these striking images?
NH: Because she’s a model, she has like a Marlene Dietrich thing where she knows exactly what the light’s doing to her, or how she looks from two different sides… She’s very confident in her beauty. When we shot, she’d just been in Jamaica for three months, so she was intensely black, like dark, dark black. She didn’t have any makeup on… in fact we put a face-mask on her, like a skin, and used it to peel off every bit of dirt and grit, whatever the city had put on her face that day. All that remained was sort of the raw glow of her skin. She had a bit of lip-gloss, and that’s it. There are people out there working on videos for artists out there like Madonna and Mariah Carey, and they spend weeks and weeks rotoscoping every shot and removing every blemish… It doesn’t take much to make Grace look good.
TB: Did you have to film over and over to get it right?
NH: It was only one take! There were two cameras: one camera directly in front of her on a tripod, and there was a handheld infra-red camera that I was operating. If you look at the video, you’ll see there’s a lot of head-on stuff, and the other material is a little bit grainier and it’s all from the right. That’s the handheld, same take. We did other run-throughs to set up, but we just wound up filming the once. We started working at midnight, and we finished as the sun was coming up.
TB: And then after that, what next?
NH: When I got back to New York and I finally put the head into the computer, I found the key image that was going to be the cornerstone of the video. Then my heart sank, because I knew it was going to be a frame-by-frame job and it was going to take weeks and weeks! It was very labor intensive… very low-fi on the input side of things, but hi-fi on the output. But there wasn’t any time pressure, and I wasn’t nervous about anyone breathing down my neck. In fact, she almost forgot about it! When she came back to New York, I went to visit her and show her some raw, unedited pieces. It’s funny, I was recovering from a hernia operation, and I still had the stitches in; I walked in and opened my laptop and played the clips for her, and she couldn’t believe it, she went completely mad, and jumped on me — so I’m staggering around holding her and thinking any second my hernia scar is going to give way and 30 feet of intestines are going to fly across the room.
TB: Overall, it sounds like a pretty surreal production experience!
NH: Yes… honestly it was refreshing to be able to go fast. It didn’t have that quality which I often dread, in which we’re in the studio and the clock is ticking and money is being spend, and every hour that goes by is another $10,000 out the window. Fuck fuck fuck… panic panic panic! It was a really truly ideal situation. There’s a misunderstanding about Grace that some people have and need to get straightened out on, which is that she’s just a sort of lump of clay in the hands of these Svengali types, that her work is really their work. That’s completely wrong. She’s very savvy, smart, sophisticated artist who really knows what she’s doing. Sometimes when we were editing she’d make calls about the edits that made me think, “Fucking hell!” But then she always ended up being right. She was almost always bang-on.

It´s all over now….for now (Mount Gabriel Performance and final Assessment)

Right…back from Sherkin Island. Work is done. Sitting in my Studio Space…reflecting the past 6 weeks. I have to admit actually PLAN A was: “Getting Pissed for today and finishing my analysis tomorrow, basically about Barthes and Foucault`s little philosophical war: “The existence of the Author – whatever ….Modernism,  Post Modernism. Social Capitalism for now!!”
Eventually I changed my mind and energies to mop my studio or rather to clean my brain….but only to a certain extend… because I realize that I still have to finish and close(at least) the metaphorical book of my last performance. On this note I might give here for the sake as a appreciation of all our cultural peacemaker work  a little retrospection  including some visual support of images from my last performance at Mount Gabriel. To get an idea I might publish my proposal. If you don´t like written visual critical statements don´t hesitate and skip it.
BAVA DIT Sherkin Island 07-04-2014 Proposal Module 11: Convergence Detlef Schlich
As a visual artist in my second year at DIT I am presently preparing my last module for this semester which is about Convergence. In my secondary research for this Project I intend to identify artists that try to seek or rather find the spiritual in art in our time like Josef Beuys, Anne-Katrin Spiess and Dominique Mazeauds. Beuys urgently appealed to humanity to restore their connection with a spiritual reality. For Ann-Katrin, performance and ritual have always played an essential role in her work. Dominique’s Ritual Performances and pilgrimages reflect the spiritual in art. She sees her art as political catalyst to activate present and future environmental action and awareness and considered herself as a cultural peacemaker.
For my next Project I will create a performance at the radar station on top of Mount Gabriel. The mountain is with 407 m the highest eminence in the coastal zone south and east of Bantry Bay. For me the radar station, which sits on top of it, is a visual metaphor of the man-made impact in nature and a symbol of the irony of the ‘age of communication’, an age where we lack personal connections, an age where our world gets to its limits physically and our culture is in moral misery.
Through the process of ritual performance I want to become a mediator between a world in physical, cultural and emotional crisis and open myself and the viewer to the potential of the power of the creative experience to create a moment of spiritual awareness.
This will be recorded with Digital Media. In my studio I will use digital and metaphysically and physically Medias e.g. Photoshop/Premiere just as charcoal and acrylics to create a final piece of visual work.
However, I´ve already mentioned that I use the top of Mount Gabriel as starting point for my performance. Here we go:
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I gathered a lot of personal strong ritual performance tools to make sure that I can provide the right remedy’s for this mountain or rather location.

 
 
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To make sure that we can expect a humble welcoming we decide to leave our helicopter at the garage.

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I realized that mother earth and father nature supported my performance with a very lovely calm weather.

 
Time to introduce my lovely assistants.
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This is “Kung Fu” James 😉

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He was in charge of the hangings of my Power Sheets.

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This is Lucy. The major photographer of this performance.

 
12a
James first test for the pole. Are they capable to keep the tension?

15a
Thomas is very familiar with my ritual performance. He and his 190 BPM Drumming already charges my Shamartism with positive energy as a part of the ongoing Ritual Performance “World Saving Art 2012/13/14”.

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Time was short. Everything has to be perfect for Shamartism.

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Thomas was warming up his body and soul. I was desperately finding the right place for all the cameras.

10b
This was not the right angle for a performance.

10a
Nor this.

13a
Thom charges his energy. I charge the battery.

 
 
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Eventually I found a better angle for the major SLR.

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James is still working on the installation. I am just involved in my first white balance adjustment.

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This place is waiting for it.

15a
Lucy and Thomas getting familiar with camera and spirit.

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I try to find a way to hang all the sheets as aesthetically as possible for my personal feeling in terms of this subject or rather the performance.

16 (2)
Among from other things found in James a very great personality. We never ever talked about this performance or what his part might be in it. It works perfect.                      TALK TO ME

16 (3)
Thomas was getting there. We all were just in our elements.

16 (4)
I was still working on some final details in terms of camera settings.

16 (5)
James stil working on the last hangings of the sheets.

 
16 (6)
It is getting darker and to make sure that we get the best light we can get I have to transform already. An old friend. My teddy bear or rather Holly´s chewing tool is part of my performance. this teddy is exactly the perfect metaphor for our misery. Full stop!!!

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Before I really was able to start with my performance I have to attach my extension branches to keep my body and soul connected with this world.

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The next 6 images are from my action camera. I love this wide angle and the vivid of colors.
 
 
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Sorry. but this reminds me really from something different….Uhhhh!!!!

21 (6)
It was tricky to get rid of my transformation. But I made it.

21 (7)
 
It was – again – a great experience and I thank everyone for making this moment possible. I still have to edit my video but I already have a bunch of work created.
21 (8)
 
 

Final Work:

This images are only for the purpose of representation and not available for any reprints. Therefore the quality  do not represent the real prints.
 

Talk to me (1)
“Talk to me” Serial No.I – 841 x 590 mm Fine Arts Prints. Limited edition of 10 with original signature. Estimated delivery time 4 weeks.

Talk to me (2)
“Talk to me” Serial No.2 – 841 x 590 mm – Fine Arts Prints. Limited edition of 10 with original signature. Estimated delivery time 4 weeks.

Talk to me (3)
“Talk to me” Serial No.3 – 841 x 590 mm – Fine Arts Prints. Limited edition of 10 with original signature. Estimated delivery time 4 weeks.

Talk to me (4)
“Talk to me” Serial No.4 – about 300 x 420 mm – Fine Arts Prints. Limited edition of 10 with original signature. Estimated delivery time 4 weeks.

Talk to me (5)
“Talk to me” Serial No.5 – about 300 x 420 mm – Fine Arts Prints. Limited edition of 10 with original signature. Estimated delivery time 4 weeks.

Talk to me (6)
“Talk to me” Serial No.6 – about 300 x 420 mm – Fine Arts Prints. Limited edition of 10 with original signature. Estimated delivery time 4 weeks.

Talk to me (7)
“Talk to me” Serial No.7 – about 300 x 420 mm – Fine Arts Prints. Limited edition of 10 with original signature. Estimated delivery time 4 weeks.

Talk to me (8)
“Talk to me” Serial No.8 – about 300 x 420 mm – Fine Arts Prints. Limited edition of 10 with original signature. Estimated delivery time 4 weeks.