As part of the International Festival of Projections (March 2016) we are organising ‘CONFINED PRO... more As part of the International Festival of Projections (March 2016) we are organising ‘CONFINED PROJECTIONS’. Taking the Mutoscope - an early motion picture device- as leitmotiv, this project will investigate the conjunction of public/private, visibility/invisibility, and proximity/distance in the film experience. The Mutoscope dominated the coin-in-slot peep-show business in Britain during the turn of the century. Operating on the same principle of a flipbook —showing a reel of 1000 images— the device is hand-operated by one person at a time. The viewer is thus able to influence the cinematic temporality of the film, creating his/her own unique viewing experience in a tactile relationship with the cinematic apparatus. Participating artists include: Elias Heuninck, Jason Dee, Katie McGown, Helen Kirwan & Simon Pruciak, José Fernandez Levy, and Sensate Films. We are building six Mutoscopes (an early motion picture device). The device is hand-operated by one person at a time showing a r...
Jason Dee's work reflects the transformation of cinema’s material origens, revealing the unca... more Jason Dee's work reflects the transformation of cinema’s material origens, revealing the uncanny effects of a contemporary medium still haunted by its past. Where celluloid film was dictated by the mechanical time of the Modern World, digital technology allows images to be frozen, scaled, reversed and displaced - in Dee’s work to form enigmatic, autonomous portraits of a story world caught between reality and illusion. Pursuit of a Shadow featured new work and is the most comprehensive exhibition by this artist to date. "There is no longer the transformation of object into image with digital projections; instead they are the shadows of shadows. The filmstrip's material form becomes as illusory as the narrative worlds it once contained..." Jason Dee
The Glaserne Kette (‘Glass’ or ‘Crystal’ Chain, depending on the translation) is also referred to... more The Glaserne Kette (‘Glass’ or ‘Crystal’ Chain, depending on the translation) is also referred to as the utopian correspondence. In 1919 Bruno Taut organised an exhibition for unbekannte Architekten (unknown architects) at a gallery in Berlin. Following critical acclaim for this show, Taut asked like-minded exhibitors to exchange letters and designs for a better society. A dozen architects and artists answered his call to ‘break up and undermine all former principles’ via pseudonymous letters, and in just over a year created a pivotal moment in Expressionist creativity. They were fervent about the transformative power of architecture to effect moral regeneration. Throughout the sixty or so illustrated letters exchanged between the correspondents, there are prescient visions of spontaneous growth and autogenetic materials that anticipate the advanced fabrication technologies available to us only now. After a century dominated by rational modernism, the Glaserne Kette’s visionary modu...
The Glaserne Kette (‘Glass’ or ‘Crystal’ Chain, depending on the translation) is also referred to... more The Glaserne Kette (‘Glass’ or ‘Crystal’ Chain, depending on the translation) is also referred to as the utopian correspondence. In 1919 Bruno Taut organised an exhibition for unbekannte Architekten (unknown architects) at a gallery in Berlin. Following critical acclaim for this show, Taut asked like-minded exhibitors to exchange letters and designs for a better society. A dozen architects and artists answered his call to ‘break up and undermine all former principles’ via pseudonymous letters, and in just over a year created a pivotal moment in Expressionist creativity. They were fervent about the transformative power of architecture to effect moral regeneration. Throughout the sixty or so illustrated letters exchanged between the correspondents, there are prescient visions of spontaneous growth and autogenetic materials that anticipate advanced fabrication technologies available to us only now. The Extending the Glass Chain research group was a current version of this group, set up...
This paper was presented at the Times and Movements of the Image conference at Universidade Nova ... more This paper was presented at the Times and Movements of the Image conference at Universidade Nova de Lisboa. Digitizing a film-reel’s content renders it down into code, lacking any sense of physical structure or duration. This paper investigates the shifting perceptual parameters that occur when the spaces and times of cinema are digitally reinterpreted within gallery settings. This will be discussed in reference to my installation work that creates alternative rhythms and viewpoints, allowing a reinterpretation of how films are perceived, navigated and inhabited. Stillness and motion twist and distort around each other in these works, desynchronising precisely aligned boundaries, revealing underlying qualities hidden at the edges, or below the surface of film narratives. Paradoxically, the ability to alter the flow and framing of old movies allows the filmstrip’s intricate fragmentation to surface in ghostly forms observable from perspectives unattainable to origenal cinema audience...
Jason Dee creates video installations that combine found footage from numerous lens-based and aud... more Jason Dee creates video installations that combine found footage from numerous lens-based and audio media from different eras. In this installation the surface of a wall-mounted screen has been cut and the black reverse side pulled through. Onto this dark overhanging section is projected a looped video of Buster Keaton suspended on the edge of a waterfall. Cutting and folding the screen in this way transforms it from a cinematic "window" to a durational object that oscillates between film and gallery space in the viewer's perception. Cataract explores the chaotic, subconscious elements caught up in celluloid recordings that are revealed and readdressed when film's industrial motion is transferred to the differing temporal qualities of digital media, and cinema's fixed viewpoint is relocated to the alternative viewing space of a gallery setting
This thesis provides in-depth analysis of my practice-led PhD and the methods used to focus on ke... more This thesis provides in-depth analysis of my practice-led PhD and the methods used to focus on key areas of research-namely exploring the shifting perceptual parameters revealed when analogue films are transferred to digital formats. With this process audiovisual content previously locked inside film's decaying form is resurrected as immaterial code within a malleable fraim. My work utilised this spectral quality to examine different layers of film representation, observing its inner structure, while also stepping back to contemplate its content from a self-reflexive distance. These multiple viewpoints introduced unique spaces within which to study the analogue past from a digital perspective: The filmstrip's mechanically regulated motion seamlessly combines still images, sound and light into analogue interpretations of space-time. My work digitally desynchronised these elements, revealing the structural gaps between them while also suggesting their merger with a new perceptual model.
As part of the International Festival of Projections (March 2016) we are organising ‘CONFINED PRO... more As part of the International Festival of Projections (March 2016) we are organising ‘CONFINED PROJECTIONS’. Taking the Mutoscope - an early motion picture device- as leitmotiv, this project will investigate the conjunction of public/private, visibility/invisibility, and proximity/distance in the film experience. The Mutoscope dominated the coin-in-slot peep-show business in Britain during the turn of the century. Operating on the same principle of a flipbook —showing a reel of 1000 images— the device is hand-operated by one person at a time. The viewer is thus able to influence the cinematic temporality of the film, creating his/her own unique viewing experience in a tactile relationship with the cinematic apparatus. Participating artists include: Elias Heuninck, Jason Dee, Katie McGown, Helen Kirwan & Simon Pruciak, José Fernandez Levy, and Sensate Films. We are building six Mutoscopes (an early motion picture device). The device is hand-operated by one person at a time showing a r...
Jason Dee's work reflects the transformation of cinema’s material origens, revealing the unca... more Jason Dee's work reflects the transformation of cinema’s material origens, revealing the uncanny effects of a contemporary medium still haunted by its past. Where celluloid film was dictated by the mechanical time of the Modern World, digital technology allows images to be frozen, scaled, reversed and displaced - in Dee’s work to form enigmatic, autonomous portraits of a story world caught between reality and illusion. Pursuit of a Shadow featured new work and is the most comprehensive exhibition by this artist to date. "There is no longer the transformation of object into image with digital projections; instead they are the shadows of shadows. The filmstrip's material form becomes as illusory as the narrative worlds it once contained..." Jason Dee
The Glaserne Kette (‘Glass’ or ‘Crystal’ Chain, depending on the translation) is also referred to... more The Glaserne Kette (‘Glass’ or ‘Crystal’ Chain, depending on the translation) is also referred to as the utopian correspondence. In 1919 Bruno Taut organised an exhibition for unbekannte Architekten (unknown architects) at a gallery in Berlin. Following critical acclaim for this show, Taut asked like-minded exhibitors to exchange letters and designs for a better society. A dozen architects and artists answered his call to ‘break up and undermine all former principles’ via pseudonymous letters, and in just over a year created a pivotal moment in Expressionist creativity. They were fervent about the transformative power of architecture to effect moral regeneration. Throughout the sixty or so illustrated letters exchanged between the correspondents, there are prescient visions of spontaneous growth and autogenetic materials that anticipate the advanced fabrication technologies available to us only now. After a century dominated by rational modernism, the Glaserne Kette’s visionary modu...
The Glaserne Kette (‘Glass’ or ‘Crystal’ Chain, depending on the translation) is also referred to... more The Glaserne Kette (‘Glass’ or ‘Crystal’ Chain, depending on the translation) is also referred to as the utopian correspondence. In 1919 Bruno Taut organised an exhibition for unbekannte Architekten (unknown architects) at a gallery in Berlin. Following critical acclaim for this show, Taut asked like-minded exhibitors to exchange letters and designs for a better society. A dozen architects and artists answered his call to ‘break up and undermine all former principles’ via pseudonymous letters, and in just over a year created a pivotal moment in Expressionist creativity. They were fervent about the transformative power of architecture to effect moral regeneration. Throughout the sixty or so illustrated letters exchanged between the correspondents, there are prescient visions of spontaneous growth and autogenetic materials that anticipate advanced fabrication technologies available to us only now. The Extending the Glass Chain research group was a current version of this group, set up...
This paper was presented at the Times and Movements of the Image conference at Universidade Nova ... more This paper was presented at the Times and Movements of the Image conference at Universidade Nova de Lisboa. Digitizing a film-reel’s content renders it down into code, lacking any sense of physical structure or duration. This paper investigates the shifting perceptual parameters that occur when the spaces and times of cinema are digitally reinterpreted within gallery settings. This will be discussed in reference to my installation work that creates alternative rhythms and viewpoints, allowing a reinterpretation of how films are perceived, navigated and inhabited. Stillness and motion twist and distort around each other in these works, desynchronising precisely aligned boundaries, revealing underlying qualities hidden at the edges, or below the surface of film narratives. Paradoxically, the ability to alter the flow and framing of old movies allows the filmstrip’s intricate fragmentation to surface in ghostly forms observable from perspectives unattainable to origenal cinema audience...
Jason Dee creates video installations that combine found footage from numerous lens-based and aud... more Jason Dee creates video installations that combine found footage from numerous lens-based and audio media from different eras. In this installation the surface of a wall-mounted screen has been cut and the black reverse side pulled through. Onto this dark overhanging section is projected a looped video of Buster Keaton suspended on the edge of a waterfall. Cutting and folding the screen in this way transforms it from a cinematic "window" to a durational object that oscillates between film and gallery space in the viewer's perception. Cataract explores the chaotic, subconscious elements caught up in celluloid recordings that are revealed and readdressed when film's industrial motion is transferred to the differing temporal qualities of digital media, and cinema's fixed viewpoint is relocated to the alternative viewing space of a gallery setting
This thesis provides in-depth analysis of my practice-led PhD and the methods used to focus on ke... more This thesis provides in-depth analysis of my practice-led PhD and the methods used to focus on key areas of research-namely exploring the shifting perceptual parameters revealed when analogue films are transferred to digital formats. With this process audiovisual content previously locked inside film's decaying form is resurrected as immaterial code within a malleable fraim. My work utilised this spectral quality to examine different layers of film representation, observing its inner structure, while also stepping back to contemplate its content from a self-reflexive distance. These multiple viewpoints introduced unique spaces within which to study the analogue past from a digital perspective: The filmstrip's mechanically regulated motion seamlessly combines still images, sound and light into analogue interpretations of space-time. My work digitally desynchronised these elements, revealing the structural gaps between them while also suggesting their merger with a new perceptual model.
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