Charles Livingston Studio
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| Writings |
Internal and external parameters
The body is a physically accountable structure, an interactive organism with its environment that is in
unison with sustainable properties of nature. Living things posses an internally generated, rhythmic
and pulsating organic grid, a matrix of chemically induced synaptic and spiritual energy.
Experiences in context of the human condition is reactive dialog with the environment, accessible
when both internal (body) and external (the surrounding environment) energies coalesce. Observing
this distinction the parameters and forms in my projects are internally or externally generated.
Though structured, directed, and mapped from different sources the outcome of working from either
source shares similar psychological and transcendental effects.
External forms are predetermined. Selecting and mimicking the form or feel of an object separate
from the body is a re-presentation. Decisions in setting up parameters such as how much and how
long a piece will last are directed by the subject and materials. Parameters are established either at
the beginning of the work or early in the process. The establishment of parameters or limitations in
the work is a decision making process, an expression, and signifier of a controlled environment, a
metaphorical address to understand and direct nature, even though it continually exceeds
comprehension and rationalization. The idea is that the permutations in the projects can continue
infinitely.
Using the body or organism as a gage to direct parameters is a signifier of nature. This
dichotomous observation of internally and externally generated parameters heightens perceptual
awareness of interconnection and dependency to surrounding environments.
Developing an indifferent response
From the premise that no two things are alike, even though they replicate and are infinitely
interconnected and interdependent, there are no definitive stopping and starting points. Recognizing
that all things are in a state of motion and transformation, at what point does art (simulation) and life
(everything) overlap? Conceptually their delineation is a subjective interpretation and
inconsequential. The simple act of recognition is a response directed by the idea or object in
question and confirmation its presence.
Indifference is without reason and most often experienced unintentionally as a first response,
though we can choose to suspend judgment. What is important during an initial experience is that
we recognize the fact that something has moved or instigated a response or displacement of our
understanding. Taste, judgment, acceptance, and rejection are secondary
responses of evaluation and rationalization intended to categorize and fit an object or idea into a
relevant discourse of culture. These secondary responses are culturally and socially filtered based
on the way things have been. Recognizing the moment when we are engaged in an indifferent,
purely experiential observation is the first and one possible step in restructuring our perceptions.
Once we can reorder ways of perceiving change becomes possible. In order to maximize the ability
to develop new perceptions one must suspend judgment and view indifferently.
Sound and imaged visual perception
Sound does not posses the physical volume and intrusive property of an object. Its ephemeral
quality comes closer to conveying the subjective reality of a moment. Recorded sound that is
replayed trips imagined visual perception.
Sound as a secondary sense element for some of the projects helps relay the process. While
working on a project sound becomes a relevant bi-product, an enhancement that confirms a visual
experience. Each project has a unique displacement of space and time. The physicality or intrusion
of the visual work occupies space and the sounds produced for the duration of the activity delineate
time.
Sound is unavoidable, peripherally present at all times and takes a conscious effort to control. It has
the ability to envelope a person unlike the peripheral limitations of sight. The recordings are always
related to the projects, an accompaniment that reinforces some of the underlying ideas. Though
similar to the visual equivalent recorded sound remains one step removed from the actual process
but it is more effective in helping viewers relate and possibly visualize a person in the act of making.
The recordings place viewers between the physicality of the visual document and a time based
simulation of the actual experience in creating the document.
In this instance sound registers in real time and believed by the person listening to be closer to the
actual event. Subjectively actions represented by sound must be imagined and re-constructed in the
mind of the experiencer where they register as a more “truthful” encounter. Truthful because
individual perception of the encounter as left to the imagination cannot be contradicted whereas a
fixed visual object constantly corrects the viewer’s perception as they have the option to look and
reference.
This inclusion of a second sense element is an ongoing investigation into how people construct an
experience based on combined and selected sensorial input.
The body is a physically accountable structure, an interactive organism with its environment that is in
unison with sustainable properties of nature. Living things posses an internally generated, rhythmic
and pulsating organic grid, a matrix of chemically induced synaptic and spiritual energy.
Experiences in context of the human condition is reactive dialog with the environment, accessible
when both internal (body) and external (the surrounding environment) energies coalesce. Observing
this distinction the parameters and forms in my projects are internally or externally generated.
Though structured, directed, and mapped from different sources the outcome of working from either
source shares similar psychological and transcendental effects.
External forms are predetermined. Selecting and mimicking the form or feel of an object separate
from the body is a re-presentation. Decisions in setting up parameters such as how much and how
long a piece will last are directed by the subject and materials. Parameters are established either at
the beginning of the work or early in the process. The establishment of parameters or limitations in
the work is a decision making process, an expression, and signifier of a controlled environment, a
metaphorical address to understand and direct nature, even though it continually exceeds
comprehension and rationalization. The idea is that the permutations in the projects can continue
infinitely.
Using the body or organism as a gage to direct parameters is a signifier of nature. This
dichotomous observation of internally and externally generated parameters heightens perceptual
awareness of interconnection and dependency to surrounding environments.
Developing an indifferent response
From the premise that no two things are alike, even though they replicate and are infinitely
interconnected and interdependent, there are no definitive stopping and starting points. Recognizing
that all things are in a state of motion and transformation, at what point does art (simulation) and life
(everything) overlap? Conceptually their delineation is a subjective interpretation and
inconsequential. The simple act of recognition is a response directed by the idea or object in
question and confirmation its presence.
Indifference is without reason and most often experienced unintentionally as a first response,
though we can choose to suspend judgment. What is important during an initial experience is that
we recognize the fact that something has moved or instigated a response or displacement of our
understanding. Taste, judgment, acceptance, and rejection are secondary
responses of evaluation and rationalization intended to categorize and fit an object or idea into a
relevant discourse of culture. These secondary responses are culturally and socially filtered based
on the way things have been. Recognizing the moment when we are engaged in an indifferent,
purely experiential observation is the first and one possible step in restructuring our perceptions.
Once we can reorder ways of perceiving change becomes possible. In order to maximize the ability
to develop new perceptions one must suspend judgment and view indifferently.
Sound and imaged visual perception
Sound does not posses the physical volume and intrusive property of an object. Its ephemeral
quality comes closer to conveying the subjective reality of a moment. Recorded sound that is
replayed trips imagined visual perception.
Sound as a secondary sense element for some of the projects helps relay the process. While
working on a project sound becomes a relevant bi-product, an enhancement that confirms a visual
experience. Each project has a unique displacement of space and time. The physicality or intrusion
of the visual work occupies space and the sounds produced for the duration of the activity delineate
time.
Sound is unavoidable, peripherally present at all times and takes a conscious effort to control. It has
the ability to envelope a person unlike the peripheral limitations of sight. The recordings are always
related to the projects, an accompaniment that reinforces some of the underlying ideas. Though
similar to the visual equivalent recorded sound remains one step removed from the actual process
but it is more effective in helping viewers relate and possibly visualize a person in the act of making.
The recordings place viewers between the physicality of the visual document and a time based
simulation of the actual experience in creating the document.
In this instance sound registers in real time and believed by the person listening to be closer to the
actual event. Subjectively actions represented by sound must be imagined and re-constructed in the
mind of the experiencer where they register as a more “truthful” encounter. Truthful because
individual perception of the encounter as left to the imagination cannot be contradicted whereas a
fixed visual object constantly corrects the viewer’s perception as they have the option to look and
reference.
This inclusion of a second sense element is an ongoing investigation into how people construct an
experience based on combined and selected sensorial input.