RobertBean

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	<title>RobertBean</title>
	<link>https://robertbean.ca</link>
	<description>RobertBean</description>
	<pubDate>Sun, 01 Sep 2019 20:32:53 +0000</pubDate>
	<generator>https://robertbean.ca</generator>
	<language>en</language>
	
		
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		<title>Slideshow</title>
				
		<link>https://robertbean.ca/Slideshow</link>

		<pubDate>Mon, 12 Aug 2019 00:29:15 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

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		<title>Featured Projects</title>
				
		<link>https://robertbean.ca/Featured-Projects</link>

		<pubDate>Mon, 12 Aug 2019 00:29:15 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

		<guid isPermaLink="true">https://robertbean.ca/Featured-Projects</guid>

		<description>
	The Starting PointChapter I1937 — 2017

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The Diversity of WorldsChapter V1937 — 2017

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	Interstellar TravelChapter II1937 — 2017

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Strange MankindsChapter VI1937 — 2017

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Work Archive ︎
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		<title>Text</title>
				
		<link>https://robertbean.ca/Text</link>

		<pubDate>Mon, 12 Aug 2019 00:29:16 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

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		<description>Fundamentals

Charing Cross
London 
WC2N 5D,&#38;nbsp;UK
Experiments

Via Cordusio, 4
 20123
Milano,&#38;nbsp;Italy
Formulations

200 N Spring St
 Los Angeles
California,&#38;nbsp;90012
Interpretations

3 Rue des Barres
75004
Paris,&#38;nbsp;France
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		<title>Thing Site</title>
				
		<link>https://robertbean.ca/Thing-Site</link>

		<pubDate>Tue, 27 Aug 2019 02:22:01 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

		<guid isPermaLink="true">https://robertbean.ca/Thing-Site</guid>

		<description>
	Thing Site&#38;nbsp;(2016)
	

&#60;img width="768" height="768" width_o="768" height_o="768" data-src="https://freight.cargo.site/t/original/i/3c05387ec1ce92341e7b502d95c3147b2e2cebd330231d7c20a1503d4896c2b6/21-Visible-Speech-Hannah-Arendt-1.jpg" data-mid="49330870" border="0"  src="https://freight.cargo.site/w/768/i/3c05387ec1ce92341e7b502d95c3147b2e2cebd330231d7c20a1503d4896c2b6/21-Visible-Speech-Hannah-Arendt-1.jpg" /&#62;
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“Field Work in the Thing Site” considers the importance of Things, historic sites used for social and political gatherings. In Nordic and Germanic culture, the Thing was a public assembly where governance, laws, and the resolution of disputes were explained, debated and negotiated. Organized in open-air locations with distinctive characteristics as well as effective acoustic resonance, the practice of “making things public”, a description initiated by Bruno Latour, has contemporary implications for how we represent, experience and utilize social and public space for the potential of expressing democratic principles.2 No longer bound to a subject/object dichotomy, Latour theorizes a “parliament of things”, a network of actants where the agency and political reality of human existence is inclusive of non-humans and things. This shift problematizes assumptions regarding democracy, citizenship and the common world and instigates a reassessment of the human affiliation to complex environments and knowledge.


This project is based on fieldwork in two notable Thing Sites, the Althing in Iceland and the Thingstätte in Heidelberg, Germany. References to these Germanic traditions of assembly appear as early as the 1st Century in the ethnographic study Germania by the Roman historian Tacitus. The Althing is one of the most celebrated tourist attractions in Iceland while the Thingstätte in Heidelberg recalls the propaganda narratives of the Third Reich prior to the Second World War. The initial purpose of these sites, however, is not reflected in their contemporary use. Tourism, access to the natural landscape, geological landmarks, walking paths, ruins, outdoor concerts, theatrical reenactment, training sites for athletes and festival venues are just some of the events that describe the current use of these Thing Sites. The Althing (AD 930), located in a rift valley between the North American and European continental plates, is one oldest known parliamentary Thing sites in the Nordic region. The Thingstätte, inaugurated on June 1935 by Joseph Goebbels, Minister of Public Enlightenment and Propaganda for the Third Reich, is located on the Heiligenberg (Holy Mountain) overlooking the Neckar River in Heidelberg. Goebbels called the Thingstätte a “veritable church of the Reich.”


Intended to evoke public nostalgia for communal gatherings that recalled the Nordic German traditions, the Thing movement was an early propaganda apparatus. The amphitheaters were sites where quasi-religious Völkisch ceremony and Blut und Boden (Blood and Soil) theatre could be staged. This early form of assembly architecture was ultimately abandoned for the spectacle of Mass Ornament, epitomized by the Nurnberg Zeppelin Field and the 1936 Berlin Olympics. Although the Reich planned for 200 Thing sites, only 40 were actually completed.


Of significance to this project are the ways in which these historic sites are assemblages influenced by a process of transgenerational memory. The potential for reviewing public visibility and matters of concern that exemplify public space in relation to the transparent or invisible atmosphere that situates the Commons is considered. As Andrea Mubi Brighenti has observed, “… on the one hand, the common is the (invisible) element in which the public comes into existence, and on the other, publicness is what institutes all (visible) commonality.”3

Following the collective trauma of the Second World War and the moment when Hannah Arendt published her heretic and now commonplace observation about the “banality of evil” in the context of the Israeli trial of Adolf Eichmann, the affective intensities of this observation have not gone unheeded. Continuing to provoke consternation and debate, Arendt’s statement is an instance of the political agency that she associates with the public space and the common world. “To live together in the world means essentially that a world of things is between those who have it in common …”4


The Thingstätte resides in proximity to the University of Heidelberg, one of the oldest institutions of higher education in Europe. Founded in 1386, the university faculty, alumni and associates include notable figures such as Agricola, Hegel, Herman von Helmholtz, Max Weber, W. Somerset Maugham, Franz Boas, Karl Jaspers, Hans-Georg Gadamer, Erich Fromm, Jürgen Habermas, Hannah Arendt, and Joseph Goebbels. Others associated with the traditions of philosophical inquiry in Heidelberg include Johann Wolfgang Goethe, Friedrich Hölderlin and Martin Heidegger. The Philosophenweg (philosophers walk) in Heidelberg is a path that links this venerable network of ideas to the Thingstätte.

The fieldwork for this project includes photography, video, architectural artifacts and digital media from the Althing in Iceland and the Thingstätte in Heidelberg. Digital data from this fieldwork will constitute the basis of an acoustic exploration. This process follows on precedents established by Xenakis, Varese and Le Corbusier. The sound work is based directly on a site recordings made at the Thingstätte in Heidelberg as well as the Althing in Iceland. The audio work considers the acoustic space of the Thing Sites as well as Goethe’s quotation of Friedrich Schelling that “music is liquid architecture; architecture is frozen music.” 

Thing Sites is a project dedicated to the memory of Hannah Arendt and her insight regarding the phenomena of “a lesser evil”, the bureaucratization of ethical transgression that is endemic to contemporary society. 


Robert Bean, 2016

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	Thingstätte 5 (2016)

	
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		<title>Hermes</title>
				
		<link>https://robertbean.ca/Hermes</link>

		<pubDate>Wed, 28 Aug 2019 01:29:10 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

		<guid isPermaLink="true">https://robertbean.ca/Hermes</guid>

		<description>
	Hermes&#38;nbsp;(2015)
	

&#60;img width="1000" height="665" width_o="1000" height_o="665" data-src="https://freight.cargo.site/t/original/i/b9c3c931eb15555922653d92fad3b606acb1ab43cea9a05a25961dff00a5c198/03-Hermes.jpg" data-mid="49406060" border="0"  src="https://freight.cargo.site/w/1000/i/b9c3c931eb15555922653d92fad3b606acb1ab43cea9a05a25961dff00a5c198/03-Hermes.jpg" /&#62;
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The project titled Hermes began with an obscure photograph by the French photographer Eugene Atget. &#38;nbsp;Jardin des Tuileries, Mercure, par Coysevox, 1906 depicts the sculpture of Mercury by Coysevox (1702) that is located at the gate to the Place de la Concorde in Paris. &#38;nbsp;The sculpture is formally bracketed by the Eiffel Tower on the left and the Luxor Obelisk on the right. The photograph presents an axiomatic document of Parisian monuments. The juxtaposition of the two monuments unites ancient Egyptian culture and European colonization with the advent of revolution, liberal democracy and modernity.
The removal and relocation of Egyptian obelisks to Rome, Paris, London and New York City have been the privilege of imperialism as well as the justification for state relationships established through a&#38;nbsp;spurious exchange of gifts. The Luxor Obelisk was the gift of the Ottoman Albanian ruler of Egypt, Muhammad Ali,&#38;nbsp;to the people of France. Replacement creates value. In each case, we can witness the symbolic and sacrificial gift of the sun reduced to the status of a debt.&#38;nbsp;Today, the Luxor Obelisk is located on the site where the guillotine was used to conduct public executions during the French Revolution.


On August 3, 2004, NASA’s MESSENGER spacecraft was launched into the solar system. On March 17, 2011, MESSENGER became the first spacecraft to orbit the planet Mercury. On April 30, 2015, the spacecraft impacted the surface of Mercury after eleven years of travel.&#38;nbsp;During the mission, a dark crater in the Caloris Basin was given the name Atget after the French photographer Eugene Atget. With a diameter of 100km, Atget is one of the largest craters in the Caloris Basin. Understanding the variety of bright and dark materials associated with different craters will provide insight&#38;nbsp;into Mercury's composition and the processes that acted on Mercury's surface.


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	<item>
		<title>Études</title>
				
		<link>https://robertbean.ca/Etudes</link>

		<pubDate>Wed, 28 Aug 2019 02:01:51 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

		<guid isPermaLink="true">https://robertbean.ca/Etudes</guid>

		<description>
	Études&#38;nbsp;(for Marconi) &#38;nbsp;(2015)
	

&#60;img width="2100" height="1402" width_o="2100" height_o="1402" data-src="https://freight.cargo.site/t/original/i/aff000229c48dd3b17a60080e444f416f8499d70d1b13db4ef1da661a3953521/tudes-for-Marconi-2.jpg" data-mid="49410144" border="0"  src="https://freight.cargo.site/w/1000/i/aff000229c48dd3b17a60080e444f416f8499d70d1b13db4ef1da661a3953521/tudes-for-Marconi-2.jpg" /&#62;
Etudes (for Marconi) are constructed images that explore allegorical relationships between technology and divination. They are also event scores for audio works. 

 
The contemporary experience of communication technology is identified by the term wireless. Although technological obsolescence is a paradigm of rapid changes during the twentieth and twenty-first century, our continuing reliance on the scientific accomplishments of Heinrich Hertz and Guglielmo Marconi cannot be underestimated. Marconi’s experiments in wireless telegraphy led to the first successful transatlantic radio transmission from Cornwall England to St. John’s Newfoundland in 1901. The success of this experiment led to a second transmission from Glace Bay, Nova Scotia in 1902. Marconi established additional North American stations in Massachusetts and Prince Edward Island. 

 
Several of the photographs in this series originate at the Radio Canada International short wave transmission centre in Sackville, New Brunswick. Established as a shortwave relay station in 1944, the transmitter complex was completely dismantled in 2014 as digital networks replaced the previous era of international shortwave broadcasting. The acres of antenna and wires that had identified this site were a popular landmark. 


In 1931, Walter Benjamin wrote that the photographer was a descendent of the augurs and haruspices.

 
Isn’t it the task of the photographer – descendant of the augurs and haruspices – to reveal guilt and to point out the guilty in his pictures? “The illiteracy of the future,” someone has said, “will be ignorance not of reading or writing, but of photography.” But shouldn’t a photographer who cannot read his own pictures be no less accounted an illiterate? Won’t inscription become the most important part of the photograph?

 
By interpreting natural phenomena such as cloud formations or the flight and song of birds, the augurs of ancient Greece and Rome attempted to decipher the future will of the gods. What is significant to Benjamin’s amusing astrological analogy is the fact that these traces could be apprehended in the present and committed to memory – a memory of what is yet-to-come. In this respect, history, memory, and photography all have an appointment with the future. From a perspective that includes the obsolescence of silver halide photography, we may infer that the future of photography is what we do in the name of photography. The digital creation of photographic images is a form of inscription that was conceptually anticipated by Walter Benjamin.


 Walter Benjamin, “Little History of Photography,” in Walter Benjamin: Selected Writings Volume 2, 1927-1934, eds. Michael W. Jennings, Howard Eiland, and Gary Smith (Cambridge and London: The Belknap Press, 1999), 527.


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	<item>
		<title>Obsolescence and Inscription</title>
				
		<link>https://robertbean.ca/Obsolescence-and-Inscription</link>

		<pubDate>Sun, 01 Sep 2019 19:48:52 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

		<guid isPermaLink="true">https://robertbean.ca/Obsolescence-and-Inscription</guid>

		<description>
	Obsolescence and Inscription&#38;nbsp;(2013)
	

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Obsolescence and Inscription is an exhibition of artworks that have been produced by artists Robert Bean and Ilan Sandler. The artworks developed from a number of joint and individual projects to explore their shared interests in art, technology, language, and science. The question concerning obsolescence and inscription has guided their approach to images, objects, artifacts and embodiment. This project is an exploration of organic and inorganic memory through the borders and interface that circumscribe the human experience of technology. 


Western art and culture is defined by patterns of obsolescence; not just the physical and material obsolescence that occur through increasing patterns of production and consumption, but also the obsolescence of culture, ideas and purpose. Inscription implies an archaeology of traces and networks of interactions that inscribe the knowledge and relationships that are created through human interaction with the physical world – documents, texts, imprints, data bases and other perceptible traces of transformation. &#38;nbsp; 

 
Obsolescence often imposes an anxiety of loss that can conjure feelings of melancholy and nostalgia. It can stimulate rituals of collecting artifacts that acquire value through their scarcity or quality of production, a form of material nostalgia that endeavors to arrest the state of longing and restore a conventional sense of authenticity. Attention to the passé is critically innovative when it does not depend on paradigms of loss. Obsolescence and Inscription recovers this sense of loss through acts of creation and exploration into the microscopic world of ancient biological organisms that predate human existence to the macroscopic world of mechanized language and its influence on writing systems, coding and the emergence of computing.

 
The association between human evolution and technology is considered through a variety of digital and analogue processes. The installation animates a dialogue between artifacts, biotics and systems of inscription, suggesting a future in which the tools of production and the tools of the imagination have a pervasive and interrelated affect on experience and existence.


Robert Bean and Ilan Sandler, 2013


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</description>
		
	</item>
		
		
	<item>
		<title>- 273 (brushing information against information) 2011</title>
				
		<link>https://robertbean.ca/273-brushing-information-against-information-2011</link>

		<pubDate>Sun, 01 Sep 2019 20:15:51 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

		<guid isPermaLink="true">https://robertbean.ca/273-brushing-information-against-information-2011</guid>

		<description>
	- 273 (brushing information against information) (2011)
	

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	&#60;img width="1345" height="2928" width_o="1345" height_o="2928" data-src="https://freight.cargo.site/t/original/i/a309106a8b011162dd36abeaf722a7be6cf2c2c216ecd487a9420ddf13772086/Cage-McLuhan-Mesostic.jpg" data-mid="50927533" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/a309106a8b011162dd36abeaf722a7be6cf2c2c216ecd487a9420ddf13772086/Cage-McLuhan-Mesostic.jpg" /&#62;


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</description>
		
	</item>
		
		
	<item>
		<title>Questions of Obsolescence (2007-2018)</title>
				
		<link>https://robertbean.ca/Questions-of-Obsolescence-2007-2018</link>

		<pubDate>Sun, 01 Sep 2019 20:32:53 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

		<guid isPermaLink="true">https://robertbean.ca/Questions-of-Obsolescence-2007-2018</guid>

		<description>
	Questions of Obsolescence (2007-2018)
	

-&#38;nbsp; 01 Folds and Études (2007)
	
	
&#60;img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/3bf754b784682f0046f3211352992cbfb27509bbe1ebf475317be1944065def7/01-Prefix-Installation.jpg" data-mid="49684842" border="0"  src="https://freight.cargo.site/w/1000/i/3bf754b784682f0046f3211352992cbfb27509bbe1ebf475317be1944065def7/01-Prefix-Installation.jpg" /&#62;
&#60;img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/4c09f6182bc160407f9ae814ad796313b8a3f56e926c723935bdf6db66119f0d/02-Prefix-Installation.jpg" data-mid="49684843" border="0"  src="https://freight.cargo.site/w/1000/i/4c09f6182bc160407f9ae814ad796313b8a3f56e926c723935bdf6db66119f0d/02-Prefix-Installation.jpg" /&#62;
&#60;img width="1200" height="790" width_o="1200" height_o="790" data-src="https://freight.cargo.site/t/original/i/733129e5eba95b89afdd9177971f973c84fc799c7f8332f1b392ea6bca77c25d/03-Prefix-Installation.jpg" data-mid="49684844" border="0"  src="https://freight.cargo.site/w/1000/i/733129e5eba95b89afdd9177971f973c84fc799c7f8332f1b392ea6bca77c25d/03-Prefix-Installation.jpg" /&#62;
&#60;img width="1473" height="1800" width_o="1473" height_o="1800" data-src="https://freight.cargo.site/t/original/i/425fffe9d6a3c20bc6ae47a17e2c1402358756a712e466b1b1c7ffa9925c018c/04-tude--2.jpg" data-mid="49684845" border="0"  src="https://freight.cargo.site/w/1000/i/425fffe9d6a3c20bc6ae47a17e2c1402358756a712e466b1b1c7ffa9925c018c/04-tude--2.jpg" /&#62;
&#60;img width="1473" height="1800" width_o="1473" height_o="1800" data-src="https://freight.cargo.site/t/original/i/cabac2ba970d93b4b341c891b401a7ec1248dbd516c03c4c0b353b66ae744ed4/05-tude--4.jpg" data-mid="49684846" border="0"  src="https://freight.cargo.site/w/1000/i/cabac2ba970d93b4b341c891b401a7ec1248dbd516c03c4c0b353b66ae744ed4/05-tude--4.jpg" /&#62;
&#60;img width="1473" height="1800" width_o="1473" height_o="1800" data-src="https://freight.cargo.site/t/original/i/e3766243282e17dccf00bfd2015050a397ad05a36960fdd3fd8cfb20c6034fac/06-tude--6.jpg" data-mid="49684847" border="0"  src="https://freight.cargo.site/w/1000/i/e3766243282e17dccf00bfd2015050a397ad05a36960fdd3fd8cfb20c6034fac/06-tude--6.jpg" /&#62;
&#60;img width="1500" height="788" width_o="1500" height_o="788" data-src="https://freight.cargo.site/t/original/i/c6d927229c452854e9bf758aa0e8fa3492c6eb3579b670e119e9ca8337dbf4f9/07-tude--6-detail.jpg" data-mid="49684848" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/c6d927229c452854e9bf758aa0e8fa3492c6eb3579b670e119e9ca8337dbf4f9/07-tude--6-detail.jpg" /&#62;
&#60;img width="1473" height="1800" width_o="1473" height_o="1800" data-src="https://freight.cargo.site/t/original/i/7f3ade5a35a2321f09fcc4f67276ea44d8180f9eed34679f6ff11ed2f3a9970b/08-tude--8.jpg" data-mid="49684849" border="0"  src="https://freight.cargo.site/w/1000/i/7f3ade5a35a2321f09fcc4f67276ea44d8180f9eed34679f6ff11ed2f3a9970b/08-tude--8.jpg" /&#62;
&#60;img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d2fea26d6a10bb9f5cefc300b646bae09b49a28cd89682576254817b30ce2629/09-Fold--5-12.jpg" data-mid="49684850" border="0"  src="https://freight.cargo.site/w/1000/i/d2fea26d6a10bb9f5cefc300b646bae09b49a28cd89682576254817b30ce2629/09-Fold--5-12.jpg" /&#62;
&#60;img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3d125a68d4456852a03b1b73136df43fc9cbf99d38734ac9a1c9e04526008dc2/10-Fold--6-4.jpg" data-mid="49684851" border="0"  src="https://freight.cargo.site/w/1000/i/3d125a68d4456852a03b1b73136df43fc9cbf99d38734ac9a1c9e04526008dc2/10-Fold--6-4.jpg" /&#62;
&#60;img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/23e5ae4325526eb2993ffc04992d2192a1ae258fb56b87af9dac4fc1528afd2b/11-Fold--7-4.jpg" data-mid="49684852" border="0"  src="https://freight.cargo.site/w/1000/i/23e5ae4325526eb2993ffc04992d2192a1ae258fb56b87af9dac4fc1528afd2b/11-Fold--7-4.jpg" /&#62;
&#60;img width="1350" height="969" width_o="1350" height_o="969" data-src="https://freight.cargo.site/t/original/i/2f4b2018bc6339198b0526f00edbdc97875dbffd478f9085540b9253a70180eb/12-Fold--7-4-detail.jpg" data-mid="49684853" border="0"  src="https://freight.cargo.site/w/1000/i/2f4b2018bc6339198b0526f00edbdc97875dbffd478f9085540b9253a70180eb/12-Fold--7-4-detail.jpg" /&#62;


-&#38;nbsp; 02 Writing Machines (2008)


&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/ed39eacb93819a4c2fae67a6e2768d186b1954eb6211f7bb99a9aa64c2f8b58d/01-Malling-Hansen-Writing-Ball.jpg" data-mid="49684963" border="0"  src="https://freight.cargo.site/w/1000/i/ed39eacb93819a4c2fae67a6e2768d186b1954eb6211f7bb99a9aa64c2f8b58d/01-Malling-Hansen-Writing-Ball.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/679ea3134b80ce86ac5bfdba388078b30567f052540684b595ce865da4ae83ca/02-The-Crandall.jpg" data-mid="49684964" border="0"  src="https://freight.cargo.site/w/1000/i/679ea3134b80ce86ac5bfdba388078b30567f052540684b595ce865da4ae83ca/02-The-Crandall.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/0c7c52b4395928180da7517af31c885bdd7e9d79c091e43e3e97608321ae59d8/03-The-Edison.jpg" data-mid="49684965" border="0"  src="https://freight.cargo.site/w/1000/i/0c7c52b4395928180da7517af31c885bdd7e9d79c091e43e3e97608321ae59d8/03-The-Edison.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/1df8241aa9dac43949f00c87e7e62c76e25130bdfea04ee806416e98e035e288/04-The-Franklin.jpg" data-mid="49684966" border="0"  src="https://freight.cargo.site/w/1000/i/1df8241aa9dac43949f00c87e7e62c76e25130bdfea04ee806416e98e035e288/04-The-Franklin.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/0fa73f94011e13e5c0c95eb1074e3eefb4b0bcfeeb3316d11a7fb9b58246cfcd/05-The-Blickensderfer.jpg" data-mid="49684967" border="0"  src="https://freight.cargo.site/w/1000/i/0fa73f94011e13e5c0c95eb1074e3eefb4b0bcfeeb3316d11a7fb9b58246cfcd/05-The-Blickensderfer.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/9334a374c578a383a1c2f843cc0c4eaa519618cf00ab44d9ee465b93e516a73d/06-The-Noiseless.jpg" data-mid="49684968" border="0"  src="https://freight.cargo.site/w/1000/i/9334a374c578a383a1c2f843cc0c4eaa519618cf00ab44d9ee465b93e516a73d/06-The-Noiseless.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/d92a19ca82a92df6d6ff55a26aaca3b8f98c1d9b539965d78a83514994908d78/07-Melotyp.jpg" data-mid="49684969" border="0"  src="https://freight.cargo.site/w/1000/i/d92a19ca82a92df6d6ff55a26aaca3b8f98c1d9b539965d78a83514994908d78/07-Melotyp.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/c15b8494ce7935f0ba2dc8bbbae360b0d39ccff8102b5203f27ada725ba812b6/08-The-Oliver-Chrome.jpg" data-mid="49684970" border="0"  src="https://freight.cargo.site/w/1000/i/c15b8494ce7935f0ba2dc8bbbae360b0d39ccff8102b5203f27ada725ba812b6/08-The-Oliver-Chrome.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/5dff71afef94db9658a272f36f77bd098dba687b987dc80fc08abf37d2aa3768/09-Enigma-1.jpg" data-mid="49684971" border="0"  src="https://freight.cargo.site/w/1000/i/5dff71afef94db9658a272f36f77bd098dba687b987dc80fc08abf37d2aa3768/09-Enigma-1.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/24046b919d120452bb11da28cf4703d56d84719332638552c80491041e429a0c/10-Enigma-2.jpg" data-mid="49684972" border="0"  src="https://freight.cargo.site/w/1000/i/24046b919d120452bb11da28cf4703d56d84719332638552c80491041e429a0c/10-Enigma-2.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/394cb42f4a2392ddfe966041ebe95edfb6603be6967e0d4f43a152147f98f1eb/11-Hand-Clamp-2.jpg" data-mid="49684973" border="0"  src="https://freight.cargo.site/w/1000/i/394cb42f4a2392ddfe966041ebe95edfb6603be6967e0d4f43a152147f98f1eb/11-Hand-Clamp-2.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/ef4126f7c5e844ff675ecd5338ed4a8e810b2c1292a27dec564634b842b44e8b/12-Steno-2.jpg" data-mid="49684974" border="0"  src="https://freight.cargo.site/w/1000/i/ef4126f7c5e844ff675ecd5338ed4a8e810b2c1292a27dec564634b842b44e8b/12-Steno-2.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/0d1c1c46309ac25fcf019f802c49a2b8f9ce3d157f3cc5a9cefb457485dccfd2/13-Underwood-2.jpg" data-mid="49684976" border="0"  src="https://freight.cargo.site/w/1000/i/0d1c1c46309ac25fcf019f802c49a2b8f9ce3d157f3cc5a9cefb457485dccfd2/13-Underwood-2.jpg" /&#62;
&#60;img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/37ff1457b2de7129714d2f8d1a0103a6c6180ae97d56acb98d219cfc54fb53b4/14-The-Barbie.jpg" data-mid="49684977" border="0"  src="https://freight.cargo.site/w/1000/i/37ff1457b2de7129714d2f8d1a0103a6c6180ae97d56acb98d219cfc54fb53b4/14-The-Barbie.jpg" /&#62;
&#60;img width="1566" height="2100" width_o="1566" height_o="2100" data-src="https://freight.cargo.site/t/original/i/57c4f42facb5200e2f82fa25fce21f81fdc5aa0ee457234983a1258ab2856b5b/15-Parts--8-2.jpg" data-mid="49684978" border="0"  src="https://freight.cargo.site/w/1000/i/57c4f42facb5200e2f82fa25fce21f81fdc5aa0ee457234983a1258ab2856b5b/15-Parts--8-2.jpg" /&#62;
&#60;img width="1200" height="1553" width_o="1200" height_o="1553" data-src="https://freight.cargo.site/t/original/i/b7f9d767dfb9b9bb934836a990a25814021b735a791b52dd838e8bde5fc7974d/17-Ribbon--2.jpg" data-mid="49684980" border="0"  src="https://freight.cargo.site/w/1000/i/b7f9d767dfb9b9bb934836a990a25814021b735a791b52dd838e8bde5fc7974d/17-Ribbon--2.jpg" /&#62;
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&#60;img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/8ed9ccc7851d92753de27e5ab007a9597ddb162d6010404f6e05270ef5720722/19-Typefan--1.jpg" data-mid="49684982" border="0"  src="https://freight.cargo.site/w/1000/i/8ed9ccc7851d92753de27e5ab007a9597ddb162d6010404f6e05270ef5720722/19-Typefan--1.jpg" /&#62;
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-&#38;nbsp; 03 Hindsight (2010)


The work “Hindsight” presents three images of spherical objects suspended in a black field: 

 - Epimetheus, the fifth moon of Saturn. - An IBM Selectric typewriter ball: Courier font. - A retinal scan of my left eyeball. 

 Epimetheus, the Greek word for “hindsight” or “afterthought”, is the son of Iapetus and Clymene, and was the foolish brother of the demi-god Prometheus. Failing to heed the warnings of his brother not to take any gifts from Zeus, Epimetheus accepted the disguised gift of Pandora as his wife who consequently unleashed the woes of sorrows of the world. 

 This work visually reconsiders the allegory and name of Epimetheus in the context of technology, language and the physiology of perception. Robert Bean, 2010 

&#60;img width="2400" height="1067" width_o="2400" height_o="1067" data-src="https://freight.cargo.site/t/original/i/35cace4044872dbc34710950e5595eb6258464163ba17b0e82ccde1c9d928263/Hindsight.jpg" data-mid="49685027" border="0"  src="https://freight.cargo.site/w/1000/i/35cace4044872dbc34710950e5595eb6258464163ba17b0e82ccde1c9d928263/Hindsight.jpg" /&#62;

	
-&#38;nbsp; 04 Theatre of Artifacts (2010)


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&#60;img width="1350" height="898" width_o="1350" height_o="898" data-src="https://freight.cargo.site/t/original/i/b0e25d95214df6b03c957c40b305555488925cd1e54def0655395d87d6735f72/08-Theatre-of-Artifacts-SAGE-10.jpg" data-mid="49685346" border="0"  src="https://freight.cargo.site/w/1000/i/b0e25d95214df6b03c957c40b305555488925cd1e54def0655395d87d6735f72/08-Theatre-of-Artifacts-SAGE-10.jpg" /&#62;
&#60;img width="1350" height="898" width_o="1350" height_o="898" data-src="https://freight.cargo.site/t/original/i/97993dbb5c5b348930ad897ec6729d891819cd554760058d83f6dc46380e19b7/09-Theatre-of-Artifacts-SAGE-11.jpg" data-mid="49685349" border="0"  src="https://freight.cargo.site/w/1000/i/97993dbb5c5b348930ad897ec6729d891819cd554760058d83f6dc46380e19b7/09-Theatre-of-Artifacts-SAGE-11.jpg" /&#62;
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&#60;img width="1400" height="923" width_o="1400" height_o="923" data-src="https://freight.cargo.site/t/original/i/927561bb38260445996c3bbf665aaf9b399ecf5a81fc80ef2d8bc0bdc0facb4b/14-Obsolete-Atlas--32.jpg" data-mid="49685362" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/927561bb38260445996c3bbf665aaf9b399ecf5a81fc80ef2d8bc0bdc0facb4b/14-Obsolete-Atlas--32.jpg" /&#62;
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&#60;img width="1400" height="923" width_o="1400" height_o="923" data-src="https://freight.cargo.site/t/original/i/ab39063e7dbec1fb03b8af75292c6e47ddd89d20dd26b01cb3f2a2cd54080978/17-Obsolete-Atlas--12.jpg" data-mid="49685370" border="0"  src="https://freight.cargo.site/w/1000/i/ab39063e7dbec1fb03b8af75292c6e47ddd89d20dd26b01cb3f2a2cd54080978/17-Obsolete-Atlas--12.jpg" /&#62;


“Archaeology tries to define not the thoughts, representations, images, themes, preoccupations that are concealed or revealed in discourses; but those discourses themselves, those discourses as practices obeying certain rules. It does not treat discourse as document, as a sign of something else, as an element that ought to be transparent, but whose unfortunate opacity must often be pierced if one is to reach at last the depth of the essential in the place in which it is held in reserve; it is concerned with discourse in its own volume, as a monument.

Michel Foucault

 
“… could one not say that archaeology describes disciplines that are not really sciences, while epistemology describes sciences that have been formed on the basis of (or in spite of) existing disciplines?

To these questions I can reply in the negative. Archaeology does not describe disciplines. ” 

Michel Foucault

 
The collection areas and storage buildings at Canada Science and Technology Museum are a Theatre of Artifacts. Objects, technology and things wait in the wings, eager for an opportunity to perform on the Museum stage. Distributed throughout the floor space and shelving of the warehouses, these artifacts generate a myriad of associations and narrative readings that exceed the possibilities of any one artifact. At the same time, some artifacts may present themselves more readily through the unpredictable and incongruous relationship that is established with other artifacts in storage. Artifacts imply narratives, histories and statements. The collection at CSTM, when seen collectively, presents an accumulation of statements that may evoke wonder and metaphors alluring to the imagination. This project approaches the Museum as an artifact in itself.

 
During the Fall of 2010, Robert Bean created an archive of photographs as the artist-in-residence at CSTM. Bean’s residency emerged from the first “Reading Artifacts” symposium held at the Canada Science and Technology Museum in 2009. Prior to the symposium, Bean was awarded a SSHRC Research Creation Grant to explore the subject of “Obsolescence and the Culture of Human Invention” through an artistic exploration of historical and contemporary media technologies. 

 
As artists, interpreters and historians, it is important that we create opportunities for dialogue between the discipline of science, the histories of science of technology and the practice of art. The movement toward interdisciplinary and transdisicplinary investigations has become a vital research methodology in a world where science, technology and art have such profound impact on our experience and understanding of culture and place. As Marshall McLuhan has noted, we will experience much more then we can comprehend.


Robert Bean, 2010 


-&#38;nbsp; 05 Illuminated Manuscripts (2011)


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Illuminated Manuscripts (2011)
&#60;img width="1650" height="1146" width_o="1650" height_o="1146" data-src="https://freight.cargo.site/t/original/i/90f39a0c3c8b82df5f68a68b0033d02856adfdb78f76a182c618b16ccf4ec650/04-The-Place-of-Thomas-Nash.jpg" data-mid="49685767" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/90f39a0c3c8b82df5f68a68b0033d02856adfdb78f76a182c618b16ccf4ec650/04-The-Place-of-Thomas-Nash.jpg" /&#62;
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“Illuminated Manuscripts” is a project about writing, archives and photography. The images that comprise “Illuminated Manuscripts” are from documents in the McLuhan Fonds at the Library and Archives of Canada as well as artifacts in the collection of the Canadian Museum of Science and Technology in Ottawa. Photographs of additional artifacts are derived from related sites and collections. 

 
“Illuminated Manuscripts” is literal and is derived from the fact that McLuhan hand wrote his books before having them transcribed with the typewriter. In the “Gutenberg Galaxy”, McLuhan discusses the imposed linearity on language, culture, knowledge and learning in the transition from handcrafted manuscripts to mechanical printing. Using details from McLuhan’s manuscripts, many of which were photographed with back lighting to create a boustrophedon (recto-verso montage of text), “Illuminated Manuscripts” directs attention to McLuhan’s ideas concerning the written word, the printed word, the typewriter, photography, and electronic media. McLuhan equates the effects of mechanized printing to the invention of perspective in visual art. Here the written word and the photographic image share a historical relationship to the paradigms of technological allegory. McLuhan wrote that the “… word as a snapshot of some instant of perception is also a storehouse of experience, …).&#38;nbsp;Words are artifacts and they are things.

“At the same time that Gutenberg’s Bible appeared in Germany there was a great fad in Italy associated with the camera obscura. It was found to be possible to sit in a darkened room and by means of a pinhole on one side of the room to see on the opposite side the landscape and moving figures from the outside world reflected on the inner wall.”&#38;nbsp; 

 
McLuhan noted that Erik Barnouw related the optical phenomenon of the camera obscura to watching TV, a media that McLuhan had already identified as an extension of the photograph and the cinema. 

 
The sites and things that I explore consider the temporal uncertainty that photographs and digital media evoke in relation to experience, technology and language. Specific to this project is the production of artwork influenced by the culture of machines and obsolescence. Rather than presuming that obsolescence is inherently defined by loss and nostalgia, I interact with things and methodologies that transpire through obsolescence. As Marshall McLuhan observed, "obsolescence is the matrix of innovation".

 
Photography, typing, and phonographic writing are historically defined as technologies of verbatim inscription. The history and memory of our embodied relationship to these technologies is essential to the design of the human-computer interface, the subsequent redefinition of experience as pattern and information and the inexhaustible networks of storage and retrieval that we engage with every day.


For the past six years, I have been working in archives and museums related to this project. In 2010, I was invited to be the artist-in-residence at the Canadian Science and Technology Museum in Ottawa. The residency at the museum provided a unique opportunity to continue my exploration of obsolescence, science and technology. Artifacts pertaining to systems of language and verbatim inscription, mathematical models, and obsolete computers played a significant part in the work that I completed during the residency.

 
Concurrent with the residency at the museum, the McLuhan estate generously offered permission to make interpretive images from the McLuhan Fonds in the Library and Archives of Canada. What I discovered was astonishing. Not just for the immense content of McLuhan’s ideas, but for the actual materiality and texture that the artifacts and documents retain. Embossed, marked and scored with the momentum of annotated gestures, many of these documents illuminate McLuhan’s methodology and use of inscriptive technology. The manuscripts and documents utilize the technological processes of 20th century bureaucracies: handwriting, typewritten drafts and carbon copies (c.c.). Corrected and re-typed with additional carbon copies, the pages of the manuscripts reveal the apparatus of inscription. The fact that the letters “c.c.” (now translated as courtesy copy) retain a presence in contemporary email transmission, verifies McLuhan’s theories regarding the genealogical succession of one technology to the next.

 
By attentively examining the visual traces and processes of inscription that McLuhan left on his documents, attributes of McLuhan’s working process regarding the sensorial experience of perception and media were also revealed. McLuhan’s attention to the extension of the senses through media relied on descriptions that highlighted the experience of tactility, haptic vision and acoustic space. McLuhan was a modern day scribe, a “writing machine”. I approached the McLuhan documents in the archives as a visual artist and in this context things speak.

 
McLuhan wrote extensively on the subject of obsolescence and technology, specifically in his formation of the “Tetrad”, a system for structurally analyzing material and cultural artifacts through the figure-ground relationship. The four quadrants of the tetrad are: 

 
A. Enhancement (figure): What does any artifact enlarge or enhance?

B. Obsolescence (ground): What does it erode or obsolesce?

C. Retrieval (figure): What does it retrieve that had been earlier obsolesced?

D. Reversal (ground): What does it reverse or flip into when pushed to the limits of its potential (chiasmus)?

 
The photographs from “Illuminated Manuscripts” seek to emphasize the figure-ground relationship that is physically inscribed on the surface of McLuhan’s documents and manuscripts. His extensive collection of clippings, magazines and correspondence as well as the artifacts from his childhood inform the essence of his historic research into language, culture and media. 

 
&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	
    
Enhanced by Obsolescence (2011)


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		<title>Lapsus</title>
				
		<link>https://robertbean.ca/Lapsus</link>

		<pubDate>Mon, 12 Aug 2019 00:29:17 +0000</pubDate>

		<dc:creator>RobertBean</dc:creator>

		<guid isPermaLink="true">https://robertbean.ca/Lapsus</guid>

		<description>
	Lapsus (2005)
	

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The work Lapsus examines the quotidian of urban life through lost and forgotten objects. For over twenty years, I have acquired objects and artifacts that personify forgetting and loss. The project has been an accumulation of chance encounters. I do not actively look for these things. Rather, the objects have found me. Glimpsed from the corner of a room or shining on a street corner, the objects frequently see me before I see them.

Often the products of everyday anxiety, these mislaid artifacts may be viewed as signifiers, or intervals, of an unconscious footprint. The objects are the unintended gifts of anonymous donors. In this respect, what is lost or forgotten is a particular form of memory itself. The objects are envoys of our desires as well as the desire of others.


Identification with the desire of another can disrupt the alienation inherent in the public-private dichotomy and may encourage an empathetic recognition or reading of these insignificant affects. In certain circumstances, such as the twisted paper clips, the objects have been shaped and deliberately abandoned.


They embody the gestures and touch of their authors. With other objects, such as the pieces of paper and personal notes, there may be a broader cultural significance to the discarded messages.These misplaced objects are our garbage as well as traces of a more extensive slippage between the paradox of public and private, self and other. Symptomatic of our melancholy, they are signs of a longing that is characteristic of contemporary Western culture.


Lapsus is a continuing archive. The Dalhousie exhibition of Lapsus consists of 25 - 20”x24” framed colour photographs made from 4”x5” colour negatives. The photographs significantly transform the scale of the objects. The installation recalls the Urformen der Kunst of Karl Blossfeldt.


This work is in the collection of the National Gallery of Canada, Ottawa.

	
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