James O’Leary

Oberlin College

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Kristen Kreider

Hospital of the University of Pennsylvania

Noam Lior

University of Pennsylvania

D. G. Edelman

Anthony J. Nocella

Hamline University

Marty Fay

Billy Hays

Robert J. Poole

University of Liverpool

M. P. Escudier

University of Liverpool

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University of Liverpool

University of Pennsylvania

California University of Pennsylvania

Singidunum University

Educons University

Mechanics' Institute

GTx (United States)

Jeddah University

Issues Research

RELX Group (United Kingdom)

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Open City’ [artists’ pages]

Kristen Kreider James O’Leary

In a series of word-and-image pages, we reflect on our site visit to the Open City in Valparaiso, Chile. Situated in the sand dunes just off coast of the Pacific ocean, this radical pedagogical experiment was founded in 1971 by the Chilean architect Alberto Cruz and Argentinean poet Godofredo Iommi. Open City is as much a school as it is an urban laboratory and the embodiment of a utopian ideal. Here architecture is constructed on a foundation of poetry and shifting sand and we, as students of the Open City, examined the place in detail. Here we present our findings through a loose taxonomy: a configuration of words and lines; a cifra reflective of our study of site that marks the beginning of our story of Open City.

George (robot)

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Field Poetics / Kristen Kreider and James O'Leary

Kristen Kreider James O’Leary

Field Poetics explores five different places, each with a story to tell, each with a unique mode, form, and vocal register through which to tell it. The writing journeys through a sequence of Andrei Tarkovsky’s ‘film images’, the multi-dimensional, interconnected space machine of the Bonaventure Hotel in Los Angeles, maritime pockets on the edge of the city of Lisbon, a history of silence and surveillance in a derelict wing of the Cork City Gaol, and the transposition of a centuries-old landscape aesthetic through video, performance, and pop in fourteen locations across the Kansai region of Japan. Sometimes documentation, sometimes score, and sometimes the work of a poet and an architect engaging with these sites, Field Poetics spins, suspends, and extends a relation to place.

Poetics

Silence

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Video Shakkei: Event-Space, Performance and Time-Based Drawing

Kristen Kreider James O’Leary

This paper relates to Video Shakkei - a series of fourteen performances or 'live drawings' enacted in locations throughout the Kansai region of Japan in 2009. It discusses the limits of traditional architectural representation and proposes a new model of time-based architectural drawing for the digital age.

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Digital video

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Thirteen Points, Expanded (Video, edit)

Kristen Kreider James O’Leary

Description of Video: ‘Thirteen Points, Expanded’ is a 14 minute HD Video that was filmed over 18 months in Belfast, systematically visiting each of the thirteen urban clusters of Interfaces that divide Nationalist and Unionist communities. Contemporary HD Video footage is overlayed with historical archival footage and sound to render a layered representation of the various ‘Interface Areas’ of the city. Composited text presents a commentary on the implementation and resilient longevity of the ‘Peacewalls’, from a number of different points of view – British, Northern Irish and Irish, both Catholic and Protestant, ranging widely from historical to contemporary accounts. Rather than looking at specific walls or clusters of urban barriers, the work positions the interface as a vast urban system that includes walls, derelict spaces, urban infrastructure, telecommunications, historical events, surveillance, policing and policy documents as all part of the same resilient organism. Curators of the Istanbul Design Biennial, who had invited graphic designers, architects, artists, film producers, associations, and NGO’s from around the world to submit 2 minute videos that address the theme “Are We Human?” posed by the biennial. Thirteen Points, Expanded was submitted and selected for exhibition by an international and interdisciplinary jury consisting of curators Beatriz Colomina and Mark Wigley, Director of Istanbul Film Festival Kerem Ayan, Director of the Storefront for Art and Architecture Eva Franch i Gilabert, artist and film producer Amie Siegel and curator Ivan Lopez Munuera. The jury evaluated more than 200 videos from 68 cities in 36 countries and the selected videos were exhibited in a dedicated section within the main exhibition and online on the biennial website. This event hosted over 120.000 visitors. Description of Event: Are We Human The 3rd Istanbul Design Biennial, organised by the Istanbul Foundation for Culture and Arts 22 October - 20 November, 2016 With the aim of underlining the importance of design for production, economy, cultural interaction and quality of life, the Istanbul Design Biennial is open to all disciplines of the creative industries in major fields such as urban design, architecture, interior, industrial, graphic, new media and fashion design, as well as their subfields. The biennial aims to explore the products, creative ideas and discourses of the relevant fields and generate interactive relations within the society. Turkey’s growing role as an economic, political and cultural center has highlighted the importance of innovation and design and encouraged the development of creative industries, particularly in the multicultural metropolis of Istanbul. One of the biennial’s primary objectives, therefore, is to celebrate this creative potential and share it with the international audience in the belief that diverse perspectives and the distinctive design discourse of Istanbul will enrich the global design culture. The Istanbul Design Biennial primarily aims to raise public awareness with regards to “design” issues, to create a platform that supports the development of design and innovation policies and to support the constitution of a design archive on national and international scale. The biennial exhibitions aim to tackle global design problems by displaying various solutions and reveal the creative potential inherent in this area. By displaying important examples both from Turkey and abroad, the Istanbul Design Biennial aims to discuss the notion of design and introduce different tendencies, movements and progressive thoughts to the audience. The biennial does not only intend to be an event that brings together a variety of activities lasting for two months, but also seeks to ensure long-term developments in social and cultural fields and to create an ongoing process with its yearlong activities.

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Immolation Triptych - video

Kristen Kreider James O’Leary

The image makes palpable a unity in which manifold different elements are contiguous and reach over into each other. – Andrei Tarkovsky ‘Immolation Triptych’ is a tri-partite studio performance designed specifically for its documentation through video. Engaging with the final three scenes of Andrei Tarkovsky’s film work Nostalghia (1983), 'Immolation Triptych' translates and transforms each of these three scenes through word, image, object and action as well as through the spatial design and construction of each shot. Constructed, performed and filmed at the Centre for Creative Collaboration in London, 'Immolation Triptych' reconfigures Tarkovsky’s ‘original’ Nostalghia so that it embodies a reflective state of nostalgia: one that, characterised by reverie, allows for the reconstruction and re-evaluation of historical narrative in the time of the ‘now’. See index below for other works relating to 'Immolation Triptych' including: Gorchakov's Wish Alba Lunedi’ Fall (An Allegory) Kino Haiku Parrhesia To Forget. Of Air. Please see also our Publications page for information on ‘Time, Place and Empathy: The Poetics and Phenomenology of Andrei Tarkovsky's Film Image’ (Visual Studies, Volume 28:1; p. 1-16). Informed by this constellation of works, this essay draws together our research into Tarkovsky’s theory and practice of the film image.

Poetics

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Reflection for Thursday, September 16, 1999: 24th week in Ordinary Time.

James O’Leary

Thursday

Reflection

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Cifra (Architecture Film Essay)

Kristen Kreider James O’Leary

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Time, place and empathy: the poetics and phenomenology of Andrei Tarkovsky's film image

Visual Studies (2013)

Kristen Kreider James O’Leary

Abstract Acclaimed Russian film-maker Andrei Tarkovksy's specific understanding of what constitutes the 'film image' is outlined in his collection of writings, Sculpting in Time (1986), and evidenced by his body of film work. Our aim in this article is to identify the specificity of Tarkovsky's theory and practice of the film image and to argue that the film image is a meaningful composite of poetic, spatial and material properties. We unpack this complexity through a close, careful and attenuated reading of a single scene from Tarkovsky's film Nostalghia (1983). In this scene, the film's protagonist – the poet, Gorchakov – carries a lit candle across the expanse of the Santa Catarina pool. The pool, a geothermal bath in the Tuscan hillside town of Bagno Vignoni, Italy, is emptied for this shot, but still steaming. This infuses the film image with atmospheric qualities of place. We read these qualities in relation to Tarkovsky's use of symbol, the relationship of this scene to others in the context of the filmic narrative, and the filmic syntax of the long take and tracking shot. We also examine how the film image is received, as a projection, by an embodied recipient, and to what effect. Through this discussion, we defend Tarkovsky's work against charges that it embodies a naïve realism, exposing the critical potential inherent in Tarkovsky's nostalgic impulse. Acknowledgement With special thanks to Andrey A. Tarkovsky, President of Andrey Tarkovsky International Institute, for permission to reproduce stills from Nostalghia. Notes [1] A discussion of narration and focalisation within the visual arts would certainly counter this association between the plastic artistic symbol and a temporality of the 'momentary'; however, such a discussion is beyond the scope of this present article. [2] Benjamin continues: 'In the field of allegorical intuition the image is a fragment. Its beauty as a symbol evaporates when the light of divine learning falls upon it. The false appearance of totality is extinguished … The dry rebuses which remain contain an insight, which is still available to the confused investigator' (1963, 176). [3] This is not to say that one cannot find personal inferences or emotional expression in haiku, but simply to distinguish the expressiveness of haiku from that of Tarkovsky's film image. [4] Merleau-Ponty says this in his preface to The Phenomenology of Perception: 'To return to things themselves is to return to that world which precedes knowledge, of which knowledge always speaks, and in relation to which every scientific schematisation is an abstract and derivative sign-language, as is geography in relation to the countryside in which we have learnt beforehand what a forest, a prairie or a river is' (1962, ix). [5] Sobchack notes the term film-maker is used throughout her own argument not to name a biographical person, his or her style or manner – as is the case in Tarkovsky's argument, which stems from his much more authorial bent. Rather, she argues, the term refers to 'the concrete, situated, and synoptic presence of the many persons who realized the film as concretely visible for vision' (Sobchack 1992, 9). [6] For further discussion of both lyrical compression and material poetics see Kristen Kreider, Poetics & Place: The Architecture of Sign, Subjects & Site (forthcoming, I.B. Tauris 2013).

Poetics

10.1080/1472586x.2013.765183

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s.i.g.n.a.l.

Kristen Kreider James O’Leary

‘s.i.g.n.a.l.’ is a 12-hour performance resulting in an installation developed at Art Radionica Lazareti, a former quarantine building just outside the city walls of Dubrovnik, Croatia. The piece explores questions of boundary and isolation by using performance and live video feed to visually and conceptually link two remote points: one inside the gates of the building, the other a light beacon on the opposite side of the harbour. Perforating the external wall of the site, a ladder is placed out to the sea below. Over the course of 12 hours, sea water is carried from shoreline to interior using individual plastic cups in a spatial enactment of metaphor (meaning, literally, ‘to transfer’). Meanwhile, the live video feed of a close-crop of a light beacon is projected inside the interior of the space, over which are projected lines of text. Each time a cup of sea is deposited, a new piece of text is deposited digitally into the space of performance. Ultimately, the cups trace a new perimeter inside the space while the projection displays a history of the performance through its palimpsest of word and image. The resulting installation work was exhibited for one week at Art Radionica Lazareti. With special thanks to Nicole Hewitt.

Palimpsest

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Flow produced in a conical container by a rotating endwall

International Journal of Heat and Fluid Flow (2007)

M. P. Escudier James O’Leary Robert J. Poole

Eddy

Tourbillon

10.1016/j.ijheatfluidflow.2007.04.018

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Citations (31)