Page: 8
 
11/05/2003
Underground - Final Version [Animation]
10/27/2003
a113 Room#2/Kneel [Animation]
10/26/2003
a112 Room Screening [Animation]
10/23/2003
a111 Room#1 [Animation]
09/29/2003
Rubber Bar [Exhibition]
09/20/2003
The Woolworth Building Studio Program
09/16/2003
Broken [Drawings]
08/01/2003
Four Drawings [Drawings]
07/11/2003
Three new drawings
07/05/2003
Dairies: 43th Annale [Exhibition]
07/01/2003
Limitations and Challenges in Using Film Techniques
06/12/2003
Double Perspective #3 [Drawings]
06/02/2003
Window/Picture/Mirror [Drawings]
05/29/2003
Broken - Final Version [Animation]
05/26/2003
Double Perspective #2 [Drawings]
05/23/2003
Double Perspective [Drawings]
05/18/2003
Broken video -the early stages [Animation]
04/14/2003
Interactive Study
04/06/2003
Language and Discourse [Text]
03/20/2003
-
03/14/2003
Geomteric Face Studies #2
03/13/2003
Geomteric Face Studies #1
03/02/2003
Geometric Studies
03/01/2003
Web Site Redesign. .
02/22/2003
Geometric Studies: 720x540px Screen
02/17/2003
Underground Audio [Animation]
02/09/2003
Edition of Underground Sequence[Animation]
01/28/2003
Underground: 3 Types [Animation]
01/05/2003
New clips for Underground [Animation]
12/16/2002
New animations for Underground [Animation]
12/07/2002
Underground sequence - Editing
12/06/2002
Revisiting Underground Sequence
11/27/2002
Systems of Flows #2

Page: 8
 
11/05/2003

Underground

Flash based animation and video

(DV NTSC transfer)

10/27/2003

This content was originaly created as an interactive Flash component.

Room#2/Kneel

a113 - 06/ Loop

10/26/2003

This content was originaly created as an interactive Flash component.

Room Screening

a112 - 02 / Loop

10/23/2003

This content was originaly created as an interactive Flash component.

Room#1

a111 - 05 / Loop

09/29/2003

Broken Video screened on Rubber Bar

Swiss Institute - Contemporary Art, New York

Video program curated by Normal Group featuring works by Nebojsa Seric-Shoba, Shelly Silver, Nika Spalinger, Dario Solman, Patrick Meagher, Normal Group, Roman Signer & Lori Hersberger

09/20/2003
 

The LMCC/Workspace: The Woolworth Building Open Studios

The Lower Manhattan Cultural Council

Artists-in-Residence / April-September 2003:

A.J. Bocchino, Megan Cump, Cecilia Galiena, Shin Il Kim, George Kimmerling, Catarina Leitao, Mary Magsamen and Stephan Hillerbrand, Conor McGrady, Diane Meyer, Matthew Northridge, Karina Aguilera Skvirsky, Dario Solman; special project artists: Praxis (Delia Bajo and Brainard Carey)

09/16/2003
 

Broken Drawings

42"x50", tape, marker and black ink on paper

08/01/2003
 

Four Drawings

30"x42", tape, ink and marker on paper

07/11/2003
 

The Speech | Three Way Mirror | Floating

30"x42", tape, marker and black ink on paper.

07/05/2003

Dairies: 43th Annale

Istarska Sabornica, Porec, Croatia

Filmlog is featured n a group show about diaries. Curated by Branko Franceschi.

07/01/2003
 

Limitations and Challenges in Using Film Techniques

06/12/2003
 

Double Perspective - The Group

30"x42", tape, marker and black ink on paper.

Double Perspective involving a group - referring to screening of film or similar.

06/02/2003
 

Window/Picture/Mirror drawings

3 drawings, 30"x42" each; tape, marker and black ink on paper.

Window/Picture/Mirror is similar to the idea we used earlier in the Underground video. As the cube-man looks through a large frame, they face 3 different possibilities:

1. Cube man looks out the window

2. Cube man looks at the picture

3. Cube man looks in the mirror

05/29/2003

Broken

5:30 min, Flash based animation and video

The final cut of the Broken Section contains 16 segments of a similar lenght. Each segments starts with fade in and ends in fade out. The animation created in Flash has been transfered into a video format and superimposed over the footage shot from the Woolworth Building.

(DV NTSC transfer)

05/26/2003
 

Double Perspective #2

30"x42"; tape, marker and black ink on paper.

05/23/2003
 

Double Perspective

30"x42"; with tape, marker and black ink on paper.

A new set of drawings: the geometric man is positioned in front of already existing drawings and video stills.

05/18/2003
 

04/14/2003

This content was originaly created as an interactive Flash component.

Interactive Study

04/06/2003

Language and Discourse

[text in progress]


We have difficulty in finding the proper language and adequate discourse. Our choice to use English comes from a habit, which is in turn created by the perception of English as the most accessible world language. This convention is particularly emphasized on the Internet where technical lingo and majority of content are in English. Therefore it seems like a natural choice to accept it as given. We do not feel politically threatened by English language as we do not see it as a direct extension of the English nation state. It is perceived as more of an international standard used by everyone who has interest in operating on the global level. However, if English is not our first language, we are facing an unavoidable disadvantage from the very beginning. Since the language is not our focal point, we don't have time to study it with our complete attention, to research connotations of each statement or even proof read texts that are still in making. This position could be a major setback in any polemic that will require quick response, delicate wording or number of other things. Before anything else, any claim for the legitimacy of the statement is hardly sustainable. We are not referring to the published text with the academic pedigree, but to the more pragmatic use of words such as the web log. The web sets a forum open to everyone who has access to it, at any geographical location. But the language divides the text of the Internet in two parts: by those who were educated in English language and by those who were not. This fact is followed by a great asymmetry between for example, a highly educated person who is not very proficient in English and a native speaker who could still be in the high school. In a polemic that will require speed and economy of words, the native speaker, even less educated, will always be in a great advantage. And it is the nature of the information flow in digital media to favor speed and efficiency over any other concerns, which is after all the elementary economy of information. It is impossible for us than, within this context, to post the text online and except that a signifier will transpire as such. The clumsy or incorrect use of language will always decrease speed and efficiency, question legitimacy and bring the asymmetry into play. And this asymmetry, as we have explained earlier, is not in the field of language. In an ideal situation we could have written the text in our mother tongue, gave it to the professional translator and fully master the language. But in the concrete situation, semiotics are not isolated from the economy of information and economy of production. Therefore this asymmetry is political, with one appropriation: English language is not the extension of one nation state, but of a group of nations that mostly overlap with the what used to be British colonial project. The popularity of English language reached its peak only in the postcolonial world, especially after the WW2, thanks to growing importance of the United States, when it definitely overpowered French. The importance of the American English is especially visible in the case of Internet which, although global in theory, is physically predominantly developed in the US. When a student in a non-English speaking country studies HTML syntax they learn commands as completely new words, memorizing them as they would unfamiliar names. The native speaker has an advantage of easily understanding HTML commands such as body, head, table, border etc. This is true in the case of any other computer language and it actually happens on all levels of information technology. However, this imbalance of powers has never been considered a threat. The post WW2 advent of American entertainment industry spread English in much more efficient way than any grand master plan could have ever desired. While Esperanto and other academic efforts to construct the optimal universal language never produced much effect, the English that could have been heard in movies and music, and later read on the Internet had a tremendous appeal, and was learned with enthusiasm. In a great number of international languages English expressions are used within local slang, while some words such as rock, show business or software are completely irreplaceable. Therefore, this political asymmetry was not only tolerated but it has produced a strong affection for the US. Consequently one can say: we - foreign language speakers - are using English in this text out of habit, and that habit is: liking the US and anglicized Western World. That habit is also in accepting this political asymmetry as given, consenting to employ higher effort with efficiency loss, and restraining from claiming legitimacy.

Our difficulty with the language doesn't end here. It only becomes more complicated. Our account on asymmetry of powers has set this text as a political argument. It has examined the notion of the global power divided in two groups of countries: English speaking on one side, and rest of the world on the other. Certain nations come across as privileged, while other disadvantaged. One who possesses certain knowledge as given has a great lead over the one who still has to learn. Since knowledge is the crucial asset in the era of mass information systems, economical argument directly underlines the political. The broadening of the argument and further implications could go on, and require an extensive research in a number of fields: international politics, American and British foreign politics, English language, international languages, political behavior, political and cultural propaganda etc. However, we find this discourse and its language very difficult to adopt. It is also very difficult to avoid it. When addressing the power distribution within the social field, we immediately confront the political discourse, and end up locked in it, where even our rejection of it comes as an expression within the discourse. Political discourse, and it is the same case with many others, have a tendency to claim a variety of subjects. It is not anymore a grand theory that is enveloping us, but systems of highly specialized discourses, operating as discrete modules. Any claim will be scanned and evaluated by discrete modules [or ignored]. It requires an expert to follow this complex network of references and trace its connotations. Yet, our aim is not to follow the implications of related discourses, but to try to prevent or at least control the interaction with them. Which in another words means to get an idea across in such a way that it does not get under the control of the directly related discourses. It becomes increasingly hard to advocate authority of the assertion in this delicate position. On top of the language that already subverts the legitimacy of our text, the political discourse as such destabilizes it further to a point when we wonder if it is possible to make any claim.

03/20/2003

This content was originaly created as an interactive Flash component.

03/14/2003
 

Geomteric Face Studies #2

03/13/2003
 

Geomteric Face Studies #1

03/02/2003
 

Geometric Studies #2

Geometric man and 720x540 pixel video screen. The square unit equals 30 pixels.

03/01/2003

Web Site Redesign

Film Log has been redesigned and new features introduced. The design has been further simplified to allow more space for blog entrees and colors adjusted to focus on the actual content. The most important addition to the web site is the inclusion of Flash elements. We have been using Flash animations off line before as a tool to develop video projects. But now we feature work-in-progress animations directly on the site.

02/22/2003
 

Geometric Studies: 720x540px Screen

The studies for the 720x540 pixel video screen: The square unit equals 30 pixels. Yellow lines indicated the web safe area.

02/17/2003

This content was originaly created as an interactive Flash component.

02/09/2003
 

01/28/2003
 

Underground: 3 Types of Video Content

01/05/2003

New clips for Underground

Animation

Further development of the Underground video produced a new set of clips which combine previous clips with the footage of the model in front of the computer and TV screen. Zoomed in TV, obviously produces very grained structure while flat computer screen looks surprisingly smooth and stable.

12/16/2002
 

New animations for Underground

Page 1 - Animation based on the Zoom 1 footage. Page 2 - Animation based on the Zoom 2 footage. Page 3 - Animation - crash of the perspective

12/07/2002
 

12/06/2002
 

Revisiting Underground Sequence

11/27/2002
 

Systems of Flows #2

[continued from the day earlier]

FilmlogFilmlogFilmlog was started in 2002 in New York by Dario Solman to record chronologically the development of the multimedia project The Heart of Perspective / the Making of the Film. Over time the project grew and evolved. It is not a single a work anymore, but a chain of correlated and modular multimedia projects that share similar visual language and narratives.

Filmlog serves as a laboratory for developing art projects and all works presented here should be considered sketches. The pieces that are later on used in exhibitions get reassessed, modified, finalized and adapted to the circumstances of exhibition. Filmlog documents the exhibitions and other activities that surround the artwork.

While individual posts on Filmlog are sketches, the website itself is not. Filmlog is a complete work. It is a living and breathing art piece that for more than 20 years has been recording art processes as they germinate from an idea into a concept and then develop gradually into a visual work.

When Filmlog was created the internet used to be a very different kind of place. True to its roots and non-for-profit approach, Filmlog still believes in the free and open internet, owned and run by individuals and multitude, not by a handful of corporations. Filmlog does not link to locked corporate websites (i.e. social media) that create their own opaque and exploitative internets.
Filmlog VideoFilmlog Video Filmlog Video features full length videos made for the Heart of Perspective / the Making of the Film project. Dario Solman PortfolioDario Solman Portfolio The portfolio surveys Dario Solman's art production since its beginnings in the late Nineties, when he started as a painter, went on to be a multimedia artist and finally broke off with the arts to be a filmlogger and a robot / astronaut myth architect. ContactContact As the Solar System has 5 planets and nature 5 basic colors, so does the world has 5 cardinal directions and the year 5 seasons.