20 September 2005

Jason Salavon

Thanks to IGM of Pharos Review, an Edmonton expat, for stopping by and leading me to some interesting news — artist Jason Salavon in particular.

The images found here are the "result of digitally averaging every Playboy centerfold foldout for the 10 years beginning Jan. 1988 through Dec. 1997. The shroud-like image is yielded by a simple, custom process: point-by-point mathematical averaging. No special 'morphing' is used."

In others, we can see the ghostly mean presented from the entire graduating class of a high school from 1967 and 1988, and these video installations, The Late Night Triad, echoing the commonalities and found between late-night talk shows (as pictured above):
In this installation, from a broader series begun in 1997, 64 nights' worth of the major U.S. late night talk shows have been aligned and averaged using basic transformations. The result is a triptych of video projections with soundtrack, presenting an amalgamation of monologues which reveals the ghosts of repetitious structure and nightly activity.

The eye can't discern individual elements, there is no single person in his images, but we see the shapes and semblance of them. Certain predominant characters come about. And in contrast to the three presented in the late-night piece, when taking all the Playmates of an entire decade (120, give or take any specials they put out). Abstracting persons en masse like that takes away that human resemblance and leaves us with a shrouded piece of art which may in fact derive an emotional or more occult/intuitive sense from the viewer. I like pieces dictated by information statistics such as these. They remove the artist from the art and we're left with a message from an inhuman source, as interpreted by the viwer.

2 comments:

channel null said...

I obliterated my first post, so here's the cliffnotes. Rather than come up with what the mind might expect an ideal image to be, Salavon comes up with a sort of low-res image that reveals occulted-in-plain-sight trends. E.g., why are the 1960s models more pink than those that would follow? In any case, what would "magick" use this avenue for? Maybe a single pink lightbulb change the face and attitude of an entire publication for a decade?

My right brain just suggested that asana and mantra, or the repeatition of banishing etc., increase the resolution an individual has over time. So what the hell does that mean?

Fell said...

Hehe, I dunno. But the comment on the overall pinkness sort of struck a chord with me. I figure that through these sorts of trends — as in, over a decade — one could analyse the occult connotations of, say, pink and review its relevance in light of the context (sensuality, femininity, sexuality, whatever in this light) and kind of use it as a way to evaluate the egregore.

The more I look at this stuff, the more I realise others are already doing this but in the fields of art, sociology, marketing, and various design fields. Occulture is sorta behind in their practicality and approach. I wonder if this can change?