CREDITS AND REFERENCES
1. Photo credit: Steven Scott
1. Henri Bergson (1965) Duration and Simultaneity: With Reference to Einstein's Theory. Library of Liberal Arts/ Bobbs-Merrill;
2. Jay Lambert (2014) Simultaneity and Delay: A Dialectical Theory of Staggered Time. Continuum.
3. Henri Lefebvre (2004) Rhythmanalysis: Space, Time and Everyday Life. Trans. Gerald Moore and Stuart Elden. London: Bloomsbury
4. Loop seen as a Line. Dual film projector installation by Takahiko IImura, 1972. In 1972 New York based film-maker Takahiko Iimura exhibited one of a series of film-based installations called Loop Seen as a Line. This used the accumulation of dust and scratches on dual film loops to spatialise the experience of time by utilising the image and the presence of the film to construct equivalences between temporal flow and movement through space.
5. Nervous System/Magic Lantern by Ken Jacobs, 1970-present.
In his Para-cinematic work Nervous System Ken Jacob’s produced visual disruptions by animating stereoscopic photographs or film sequences. This involved projecting these images over each other and introducing a flicker that results in an illusion of space in a single unstable image.
STEVEN SCOTT, United Kingdom
lecturer I researcher I media artist
is an artist using expanded photography/moving image, array and sequence. He is interested in multiple temporalities perceived as space, and frame experiences of phasing, permutation, and duration with references to structural film, Gysin’s Dreamachine and Duchamp’s Infrathin.
Exhibitions include: Galerie Ruimte Morguen, Antwerp; APT Gallery, London; Casa Contemporanea, Sao Paulo; Focal Point Gallery, Southend; Dyson Gallery, RCA, London and Contemporary Art Platform, Kuwait
Steven would like to share and develop the research he began as part of his recent practice-based PhD at the RCA. For this he examined the perception of simultaneities and cycles of phasing in visual terms, addressing alternation and difference, sequence and the notion of "protention" as spatial concerns. He continues to explore perceptions of phasing between adjacent images/events as they repeat, divide and accumulate, and suggests that the progressive slippage between these can extend our awareness from the moment of apprehension towards possible future configurations. He frames the anticipation of such possibility in terms that owe a debt to Bergsonian and Deleuzian thinking about the nature of duration and spatialised time.
Steven proposes that we perceive the future of phasing temporalities in terms of their relative positions in space and that possibility - the potential future states of such experience –is determined as arrays of spatial positions rather than parallel successions.