archive - issue 14

  • Default
  • Title
  • Date
  • Random
  • /

    By Ruth Barker
    On the QWERTY layout of my computer keyboard, the symbol / appears beside the questioning symbol ?. They are represented together on the same key, and
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  • Apartment / Containers

    By Vincent Bezuidenhout
    These diptychs are the start of a series of images I have been working on regarding the visual landscape we choose to surround ourselves
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  • I returned home after my first year in college to discover my younger sister had turned gorgeous. This was a disappointment, but not an
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  • Butterfly

    By Adriana de Barros
    The pupa, a silk wrap of emotionsIsolated, within breathing, wanting to bethe intense pronoun of selfIt is silly to be one's own pronounShe giggles
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  • Collage

    By Claudio Parentela
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  • Drag and Snap

    By Leigh-Anne Niehaus
    This series is inspired by the childhood game of "snapdragon", which allows for simplistic and delightful decision-making through random selections of colour and number.
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  • Evidence of Life

    By Tamlyn Martin
    Below is an extract from a series of 11 poems created in parallel with visual artworks. 5. Memories laced with visceral realityFlooding herThe gentle
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  • Forward! Slash!

    By Travis Lyle
    You think you're a forward-thinking kinda person, do you? Lemme be the one to break it to you, sunshine – you're as lame as the
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  • Human/Nature

    By Lydia Anne McCarthy
    This series explores moments between nature and human beings that are at once idealistic and unsettling. Each picture is an independent narrative, but placed
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  • Immigrants

    By Stanley Onjezani Kenani
    you want to livenothing leaveto liveyou swimor like fresh sardinesyou are packedin boatsyou leaveto live.  you leavegold in the belly of Africaoil in
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  • In Between

    By Tania van Schalkwyk
    Raised in an Arabian land of heat, fire and temper,sometimes the calm of England clamps downlike damp in a bathroom with no windowand a
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  • Letter to the Editor

    By Elan Gamaker
    Dear Sir/Madam I should like strenuously to object to the subject matter ("/") of your current issue. It must first be mentioned, however, that it
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  • Or: a line drawing

    By Gabeba Baderoon
    Pencil and nothing. Her face turned almost entirely away. Forehead, cheekbone,jaw,the bun low in her neck,shoulderand down,the long linejust enoughthen left alone.
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  • p u n c t u a t i o n

    By Ula Einstein
    Einstein works with a diverse range of media, including drawings and installation with fire, thread, and blades. The series of drawings and installations with
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    By Sean Hampton-Cole
    Keys. John speaking. 'Lo?Good morning. May I speak to Bob Mitchell please?Bob in Bonds?I'm not really sure. I'm trying to...You want extension 125. This
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  • Pretty Babies

    By Peregrine Honig
    With the premise that "/ " presents what is IN and what is OUT, the "Pretty Babies" series explores the fashion industry's well-published and syndicated DOs
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  • River Bank

    By Mario Sughi
    The symbol / is intended initially as a symbol of division. A real or unreal line divides the girl from the water, the girl from
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  • Scissor

    By Charlotte Gait
    There was a time when you and I were connected by iron, acid, vitamin and blood. Where every mouthful I took was with the
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  • Seasaw

    By Sol Kjøk
    Here, the motif is conceived of as a seesaw (the typo in the title is intended, as this drawing is part of a series
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  • Series Seven Up

    By Noel Fignier
    Text by João Branco Kyron, HipnóticaThe collision is imminent and in the fraction of time left, the eyes shut and the vision is superbly
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  • A battle over samoosas between the snobbish Cinderella and a homeless electrician is mediated by Cinderella's boyfriend JJ. The samoosa battle is conflated with
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  • Wayne Porter, freelance journalist, donned his anthropologist's birthday suit and hit the bowling alley. Bar the bowlers hat tipped gently off centre, the man
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  • The Incised Wound

    By Joanne Hichens
    "Please, for me, Dave," I placed my hand on his, and really, no begging, just asked him nicely, "Lay off the booze tonight." Whether
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  • He had been driving for hours through that unstable, somnambulist night when he fell asleep at the wheel. He awoke with a start and
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  • The space between.

    By Mehita Iqani
    It's a handy little line, the one that we use to make our options known. Either/Or. Paper and ink or binary code? Its clichéd,
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  • Un Hombre Fuerte

    By Tamo Vonarim Written these words are, at times of a subconscious flow – whether they are mine, I don't know. All I know is that I
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  • Unbroken Awareness

    My life is now a floating shellI am a vessel on that river.The storm, the ship, the sea,Whose shores we lost in crossing.  I
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  • Untitled

    By Wilhelm Saayman
    This series of images, made using pen and ink, photographs and Photoshop, explore alternate/dream realities.
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  • Untitled

    By Aryan Kaganof
    /At R550 rand I thought I'd rather die/ My mother: can I trust this woman?/ I thought the Romans were coming, dinkum/ …and always
    Read More
Anjali Deshmukh

Anjali Deshmukh

Home of the Image; Infinity Issue, 2011. 

Sunday, 07 October 2012 23:31

Sentences on Rational Formalism, Inre-

Sentences on Rational Formalism, Inre--

Rational formalists may be "rational mystics." They may create logical conclusions where none exist.

The object is necessarily a representation and embodiment of a moral order. Encompassing process, this morality drives, forms, regulates, and restricts the decision-making process within parameters that appear to be external to the maker.

This moral order may be particular to one work, and therefore not relevant to other objects, or it may be applied in any number of other objects.

A maker should be uncompromising, rigid, and inflexible in following the moral order, meaning, and intent of the object.

A maker is obligated to constantly and flexibly evaluate the meaning, order, and content of the work.

An object's content and concept must allow for an extensive branching in terms of the functionality of that content; if the object made does not offer an absolute potential for the generation of multiple ideas and formal offshoots from the original object, then it is a so-called "dead end" and therefore not worth following.

The "content" is a series of "intentions" and "ideas" in an object that as a whole create a "concept" or "larger ideological vision." According to the wishes of the maker, a single concept can apply to one work, a body of work, or a lifetime of work.

A concept can be composed of multiple concepts.

There is no such thing as a banal concept or form; there are only banal ideas and intentions.

Depending upon the maker's intent, content and moral order may be one and the same. It is up to the maker to determine what distinguishes or identifies content from or with the moral order.

In order to avoid redundancy, an object's potential multiple offshoots of form and ideas should not be unnecessarily incorporated into or integral to other objects.

However, an object's potential multiple offshoots can make new work if they are elements attached to a distinctly new form. This renders it a new idea.

An "object" can be any perceivable phenomena—that which can be tasted, smelled, seen, heard, etc...

Or, an object's form can be real or imagined, fact or fiction. This does not deny it of its objecthood.

Excepting occasions when content and moral order are identical, the cumulative conceptual idea, or any individual element of content, can change from initial idea to the object's completion.

Further, a maker's will is secondary to the evolving demands of said cumulative conceptual idea and corresponding form.

Compromising the formal qualities without conceptual justification may only be the maker's ego. Compromising conceptual qualities without formal justification may only be the maker's ego.

Accordingly, formal offshoots can precede the object itself. For at the initial onset of a concept, a single idea can correspond to many different forms. Similarly, a single form can correspond to many ideas.

Accordingly, for each form that becomes physical through its correspondence to an idea, there may be many others that do not. Similarly, for each idea that becomes realized in correspondence to a form, there may be many others that do not.

Accordingly, an object can precede or follow in physical form the generation of the content. Similarly, an idea can precede or follow in realization the generation of the form.

In other words, an object's form must be dictated by and conform rationally to its moral order and content.

In other words, an object's form must dictate the rationale and content.

Formal art is essentially irrational.

Rationality is essential irrational. (And/Or, rationality is capable of being form without content.)

All artists, regardless of medium and genre are bound by chosen and unchosen histories.

A work cannot not inhabit multiple genres.

Because an object can attain the status of objecthood without leaving the imagination of the maker, an object does not need to have an audience in order to become art.

It is impossible for an object not to leave the imagination of the maker. Only the appearance of the object may change as it wrinkles with age.

The maker may not, nor need not, be aware that the young and old objects are one and the same.

Attaining the perfect concept, constellation of concepts, or constellation of ideas to architect a concept requires the ability of a skilled craftsman.

The craftsmanship of the perfect concept constellation demands an equal craft of form constellation. Yet it must not be inferred that either idea or form need be explicitly complex in order to compete for a state of perfection.

There is no such thing as a perfect concept, only the striving for it.
Saturday, 03 September 2011 02:00

Home of the Image

  Home of the image

One possibility: the home of the image is the intersection, the bounded space between information (true or false), form, chance, concept, and choice. There is an inevitable tension in the push and pull of these principles along the borders of our enclosed space as they infinitely stretch and take their turns prevailing - or territorializing - over the prison - or cocoon - of the image.

This is the truest moment of the image; concept may dominate, chance may cower, form may crawl, but without their walls, you have... an abomination of randomness; a stunted growth; stolen fingers, a sale, a sell; in which your corridors of mirrors suffer from a willful ignorance of the laws of gravity, asking you to sleep on the wall and stand on the ceiling. But that's... resignedly ok. Because you can still rest.

Then... there's freedom. The appealing absence of home, where the parents of the Image keep their doors and windows eternally open. This is the misery of the never complete image that can't stop searching for its conclusion. An endless searching for the ideal, unable to accept that concept and chance and form and information and choice can't meet, can't find even a lurid equilibrium.

Of course, you can't miss the irony. The Theory of the home of the image comes under the scrutiny of its own making. In the overunning entangled landscape of abominations, sales, and our gorgeous glimpses into imperfect epiphany, can the Theory possibly, possibly be protected by home's walls, live up to its own reality? I'm not so sure. But at least the doors are closed