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Legacy format represents a new direction in form and process that was ignited by Sonny Assu's experience of wearing his great great grandfather's Chilkat robe, and the desire in his family to explore possibilities for replication of regalia. Four vibrant graphic jacquard-woven robes merge traditional forms and materials with gital tools and pop culture as a startling disruption.
Created with Montreal-based weaver Sophia Borowska, Assu composed the images as vector graphics which were then digitaly transferred across time and space and programmed into the loom, where the pattern was materialized as Browska manually brought the shuttle and weft through the warp. The digital jacquard loom uses a weaving logic that is very different from the twining and knotting in Chilkat technique, meaning that whie Assis designs can be materialized very closely, these designs could not be woven by hand. Assu's robes excke elements that signal Indigenous futurisms over tradition; the fringes and edges take on lives of their own in response to the design and fabrication process. Collaboration is inherent in this contemporary digital design and fabrication process, back in time through traditional Kwakwaka wakw art practices, and now over the internet and in cloud-based software and storage.
According to art historian Tai Smith, weaving has always functioned as a mediation of other media, harnessing the terms of esting technologies to define something new. As a precursor to binary computation, employing the logics of Os and 1s, jacquard weaving processes continue to be implicated in the transformational digital veris ve inhabit. Sonny Assus robes ask viewers to contemplate and challenge their expectations of the Criest form. They are imitations to flow threads of learning and unlearning that are entangled in Indigenous and colonial histories, and their futures.
-from Legacy Format by Kate Hennessy
"Replicate" - Art-Act
Un rapace en vol. Rondes aériennes et observant ce qui se passe
au sol. En joue, cibles, réflexe spontané du chasseur, tu vises et shootes avec ton
bazooka. Jeu de tir, entraînement, chasse... L’oiseau ne disparaît pas. Il ne tombe pas.
Il se duplique. Deux oiseaux sillonnent désormais le ciel. Tu shootes. Duplication. Trois
oiseaux. Shoot. Duplication. Quatre. Shoot. Duplication... Et ainsi de suite. L’ensemble
de l’écran se voit envahi par ces oiseaux tournoyant, saturant l’espace visuel du ciel. Un
repeuplement par la désintégration, un contre-geste productif basé sur le jeu de la chasse.
This is a replication of the DIstroller Virgin, painted by the Dufy;s style, with the lines over the colors, the painting has bright colors and has a funky designe.
Replication of the Oval Office during President Reagan's term - There's a jar of jellybeans on one of the end tables
RR Presidential Library
Simi Valley, CA 9/2/05
SI: How can animals replicate human emotions and habits?
Idea: Being separated and watching from the outside can make you feel hurt and alone
Materials: Sony a6400, Adobe Photoshop Lightroom
Process: Positioned dog in center, used darker colors, low angle
I took this picture at a park near my house of this great long fence. I love the lines in the fence and how the bottom of the fence is on the same plane down the length, but the top varies. The fence is sharp all the way down, utilizing a deep depth of field.
2016/520 Week 44
In study design we try to make sure that we replicate our groups, but how can you ever exactly replicate the group dynamics of complicated beasties?
The professional Blu ray replication come under the supervision of Speedlight Duplication. The Blue ray is the perfect choice because it has large storage capacity and you need not to pay much on this.
Australian pelicans looking for a free meal. In Marlo, where the Snowy River meets the sea, there's a jetty that juts out into the river, which is used as a dock by sport fishermen. There's also a fish cleaning station on the jetty, a fact not lost on the local wildlife. While photographing there, I was never without an avian audience...