Production and process notes for the creation of the compositions and plates for Asama OG can be found via Asama OG x Nezu Museum x Birgit Skiold. Some of the finished pieces are detailed in Asama Stone Ensos.
Other pieces are contemplated, and not-yet-actualized. Further explorations, new and different compositions, and the theory of generating and combining these different plates into works on paper is detailed below.
A quick setting of the scene: during the first half of 2013, four compositions designed for direct gravure were developed for rendering to copper plate and paper during two weeks of photogravure workshops at Crown Point Press. In addition, during the evening hours of the workshop, three experimental deboss plates (copper plates with machine-directed incisions) were produced at TechShop. A final layer was composed during the first week of workshop from a reclaimed copper plate, with various neo-drypoint and aquatint flourishes. This reclaimed plate was intended to be inked with one of three colors, all also mixed with silver metallic: orange, pink, light blue.
The 8 Asama OG Plates
So, to recap the math: 4 direct gravure images x 3 deboss images x 3 colors. Doing some simple calculations gives a first-guess edition size of:
4 x 3 x 3 = 36 combinations of (enso x color x deboss) plates
Thirty six combinations of direct gravure, color, and debossing.
During the workshop, all the plates were produced by Ianne Kjorli, and a partial edition was proofed. It was quite hectic, and the development of the ink colors, deboss plate creation, and direct gravure plate-making were all disjoint processes. There were a lot of moving parts and it was unclear to all how the parts would eventually fit together. Most of the time what made it to paper was the combination of the just-finished gravure plate plus the just-finished or clean deboss plate plus the color du jour. Looking at these prints after the fact makes me think: Ianne Kjorli is made of magic, or magic cross unicorn.
The proofs, any works that were outright mistakes or pure experiments, and all plates sat around on drying racks off Harrison street in downtown San Francisco, oil slowly drying. Weeks pass. Fleeting images of these prints, caught in a snapshot as if archived on tumblr, preoccupy my early waking dreams. At least one month. Eventually everything is claimed, and brought back to Devastation Pacific.
Surrounded by the green walls of Devastation Pacific, the prints are carefully unwrapped. The prints are everything hoped for and more. I go through the prints, trying to assess the output but thinking to myself: this cannot be all of them. Sadly…. it is.
It really is.
It is the end of them. I realize that I don’t have all four direct gravure plates in combination with the three possible colors in the reclaimed plate. Ie, of the basic set of 12 (4 x 3), I have maybe six. Eight?
4 x 3 = 12 basic combinations of (enso x color) plates
And, for fun:
12 > (6 || 8)
So ….. six or eight are less then twelve. Why even bother counting? Pause. Look out window. Breathe. Given that, now what. Given what I’ve got, how is this to be hung?
I start sliding these prints around on the magnets, and combine up to four on a horizontal line. Some of the test prints turn out to have real value. In particular, the test prints of the reclaimed plate with the colors blue, pink, or orange are all winners. In numbers:
3 = 3 combinations of (color) plates
Similarly, the test prints of the deboss plates are charmingly sculptural. So:
3 = 3 combinations of (deboss) plates
I recall Ianne Kjorli strongly championing the combination of black direct gravure and debossing, without the background color. Although only a few were prototyped, these prints are studio visitor favorites. Doing a complete set seems like a no-brainer.
4 x 3 = 12 combinations of (enso x debossing) plates
A week later, two tops, everything gets packed up and bundled up for a trip across the bay to meet a photographer.
More time elapses.
I start sliding photographs of the prints around on my computer screen. Weeks pass. A month. Two. During this time, there is more sliding around, and talking, and trying to figure out these combinations. I come up with three, one composed of two plates. One with three, in a triangle shape. And one with four, in a square shape. I realize that the color plates can be printed in two orientations, which causes a combinatoric explosion and will thus be ignored with the utmost precision.
Some time later, I cut down the prints, and double-hang the studio walls. Re-hang, according to my pre-visualizations on the computer. Very satisfactory.
To recap: six months after the production, I am just figuring out what to make of all this. There is an inventory of pattern building blocks, there is this idea of a transformable matrix, re-configurable and active prints. It is only at this point of careful study do I realize that the full set of prints needed is vast.
Vast. A best guess at the full set of required prints:
3 x 3 = 9, 3 sets of all (color) plates + 2 x 3 = 6, 2 sets of all (deboss) plates + 4 x 3 = 12 combinations of (enso x debossing) plates + 4 x 3 x 3 = 36 combinations of (enso x color x deboss) plates
63 prints in one full edition
For reference, a complete edition is depicted in the following graphic.
The 63 Individual Prints in Asama OG Combinatorics 1.2
Some good news: it is highly probable that more than one finished composition could be created from a full edition. Tongue firmly planted in cheek… Also, new compositions like:
Asama Enso Shoebox for Nezu (blue, orange v, mushroom, cornerstone), 2014
Four intaglio prints. Three with debossing, one orange, one blue. Each print is 510 x 660mm (20 x 26in), so composition is 1020 x 1320mm (40 x 52in) as pictured.
Can be created from the following partial edition:
Used Prints in Asama Enso Shoebox for Nezu
Asama Kochi Ensos 1, 2014
One intaglio print. One blue, one black with debossing. The print is 33 x 26 inches, ie two plates with 3.5″ margins, as pictured. Paper is KH-17 Tosa Hanga Natural printed chine colle on Somerset backing.
Can be created from the following partial edition:
Used Prints in Asama Kochi Ensos 1
Andy Warhol, Shadows, Menil and MOCA
These are notes on three organic forms: papyrus branching, cast-off kelp tangling, and sand drifting.
Papyrus. This is a distinctive type of reed that grows in water, perhaps the first fiber used in the production of manuscripts. Papyrus forms are elegant, appearing early in Egyptian iconography.
Papyrus part classifications: rhizome, culms, umble, bract.
Kelp. A marine algae, kelp grows underwater in large forests along the Northern California coast. Storm activity and other natural factors can cause individual stalks to become un-moored from the bottom of the ocean, and transported by the sea, eventually bundles of kelp stalks become tangled and wash ashore.
Kelp part classifications: holdfast, stipe, fronds, pneumatocysts
Sand dunes and sand drifting. Can be in variable liquids, ie water (underwater sand drifting) or air (wind-formed sand dunes). Sand dunes are a result of sand particles being forced into movement by some force, either wind in the air or currents in the sea. Depending on the starting topology, the particles transported can alight in similar locations, causing drifts. These drifts can be modeled via hydrology/sedimentology in water, and by aeolian processes in air. Water tends to be the more powerful eroding force. Sand drifting forms can be changed via the initial topology (lack of flora to retain sand or block wind, direct exposure on facing windward slopes), the destination topology (walls forcing wind up, depositing sand at the base), the size of the sand particle, and the force and direction of the wind or water.
Sand dune shape classifications: crescent, linear, star, dome, seif, reversing, lithified, coastal. Large areas covered with aeolian landforms are often named like lakes or oceans, but using the term erg.
H. Tsoar, Climatic Factors Affecting Mobility and Stability of Sand Dunes, in Lee, Jeffrey A. and Zobeck, Ted M., 2002, Proceedings of ICAR5/GCTE-SEN Joint Conference, International Center for Arid and Semiarid Lands Studies, Texas Tech University, Lubbock, Texas, USA Publication 02-2 p. 423
H. Tsoar, Types of Aeolian Sand Dunes and Their Formation, 2013
H. Tsoar and H. Pye, Aeolian Sand and Sand Dunes, Springer, 2013. ISBN 9401159882
Andrew Warren, Dunes: Dynamics, Morphology, History, Wiley, 2013. ISBN 1444339680
Experiments with site-specific and durational sculpture, in the form of human-engineered aeolian landscapes.
Forcibly relocate existing drifts, partial drifts, and proto-drifts to installation site from Pacific Ocean-facing native site. Hoist up to tree-house level. Re-plant in designated areas.
Still and video documentation of site beforehand, at initial placement, day intervals, marking desired shapes. Try to set positions and shoot from minimum two angles/sites for each drift.
Experiment #1, Day #0, Site Location #1 Westward
Experiment #1, Day #0, Site Locations 1-3, North and Westward
Experiment #1, Day #2, Site Locations 1-3, North and Westward
Experiment #1, Day #2, Site Location #3 Overhead, King Low Tide to Sunset 4x
In planning phase. Potential changes:
- Create a small, mirrored barrier to shape the deposition
- Increase contrast with background, perhaps by rendering the background black.
- Create open, semi-open, or arbitrailly-open structures to record or shape deposition
- And what of overhead surveillance, passive monitoring?
Structural weight limit. Assume an allowable load of 40lb / square foot. A 5 gallon, 1 foot diameter plastic container weighs 53 lbs when filled to 10 inches, and 40 lbs when 7.5 inches. Thus, try to keep the drifts under 7 inches?
Securing sculptural objects in the face of 70knot Westward winds.
For video, shoot on DSLR raw and then edit on linux. Compression via handbrake, and then once compressed time collapsing/expanding via ffmpeg tools for speeding up/slowing down audio and video, for instance changing the frame rate from 30 to 120 for a 4x increase. WordPress embedding YouTube hacks for autoplay, looping. See the helpful docs, yo.
Agnes Martin, Writings, Hatje Cantz Publishers, 2005
Daniel Buren, Sulle vigne: punti di vista (2001), Castello Di Ama
Félix González-Torres, ”Untitled” (Placebo), 1991
San Francisco Bay Tide Chart, 2014
San Francisco Bay Wind Patterns, realtime
Surfrider Foundation, San Francisco Chapter
Ocean Beach, Golden Gate National Parks Conservancy
Sand Dunes, National Parks Service
California Costal Comission, DRAFT Sea-Level Rise Policy Guidance
Terraserver, commercial satellite imagery.
San Francisco, California USA
yum install -y fedup fedup --network 20
This chugs for a bit, and then on restart the screen may go black or appear hung on firstboot for
some time before booting into a desktop splash screen. One may need to wait for as long as 45 minutes here, so be chill. Grab a cocktail or go to lunch.
For the mac, you’ll need to create the usual EFI boot disk (netinst and use –efi in iso-usb-to-disk).
Google earth install via this answer. YMMV.
Make sure opencv is installed. If used heavily, install Intel Performance Primitives to speed up computation.
yum install -y opencv opencv-core opencv-devel opencv-python opencv-devel-docs
New things that don’t work:
- bluetooth broken or missing when using MATE desktop. Frankly, bluetooth in *any* desktop is pretty flaky on current linux, but when using MATE it’s missing. This is a known issue with the bluez-libs upgrade to the 5.x version. In ye old days of previous Fedora’s, one could download the srpm for bluetooth-mate and rebuild it, solving everything. This approach doesn’t work with f20, and the suggestion to install bluedevil requires the invocation of the following as root to connect to the previously paired keyboard.
And then selecting the bluetooth device in the GUI and explicitly connecting. Other issues are 1) booting with encrypted drive renders decryption with bluetooth keyboard impossible (Bug 863883) 2) booting to GNOME login screen with bluetooth keyboard impossible (Bug 1056682)
. Another solution: use KDE.
- awful default font rendering. See known issues, and switch to a decent default font for system typography.
Previously broken things that may now be fixed, at least on first inspection:
- high-resolution printing from large format Epson printers. Broken post Fedora 14, initial testing shows progress. But is it now fixed? More as this develops.
- yum install -y libbdplus
- wget http://vlc-bluray.whoknowsmy.name/files/KEYDB.cfg ~/.config/aacs/
Previous install: Fedora 19