1. the action of repeating something that has already been said or written.
“the images were worthy of repetition”
reiteration, repeating, restatement, retelling, iteration, recapitulation; recital, rehearsal; informal recap; rare reprise, iterance
repeating, echoing, parroting, quoting, copying; echolalia
the recurrence of an action or event. 2.
“there was to be no repetition of those images”
recurrence, reoccurrence, repeat, rerun, replication, duplication; echo :synonyms
[ One of What? ]
The Beginning of something.
[ Two of How Many? ]
A visual anecdote about a special place in London, with a reference to a famous literary tale. The anecdote was the beginning of something a little more specific.
[ Three: Economics ]
a) see 23
b) Referring, in this particular case, to the beginning of something economic.
[ 4: A True Story ]
A story that was once in accordance with reality; currently in the process of general transformation.
More specifically, one that is being refined, endlessly reproduced, mutated and falsified;
with the intention to relate the story to certain places and moments that had initially inspired the story.
[ Five: Obsession ]
A place and a moment, and more of thereof, represented in an image of an image, continually preoccupying and intruding on a particular person’s mind.
[ 6: Papa und Ich ]
The author as a child with his father.
[ 7: Emigration ]
A message about Emigration.
[ 8: Money is an Artistic Device ]
A statement referring to something obvious.
[ 9: Naturalization ]
Something that becomes natural.
[ 10: Art Money in Bushwick ]
A hitherto unknown currency, which the protagonist unsuccessfully attempted to use for the purchase of a coffee on Bushwick Avenue.
[ 11: Hyperthymesic Detail ]
The detail of a photograph, which was to prove crucial in the search for something extremely specific.
[ Twelve of What ]
Two adjacent places that relate to (4:) A True Story, but have nothing to do with it.
[ 13: Time Travels of a Savant ]
A snapshot of a Savant’s search for a very specific view, as seen from a particular place towards another, particular, place in New York City. The moment the view had originally been captured does not exist any more.
[ 14: The Importance of Writing ]
A series of images.
[ 15: Preliminary Explanation ]
An attempt to describe, and therefore define, a process that at its initiation had no other purpose than itself.
[ 16: The Protagonist ]
Another moment in a process; a moment that, at this moment, does not exist.
‘Imparando d Firenze’ is the 3rd project in my ‘surface gateway’ series, which connects different spaces and locations as well as different, precisely defined, moments in time. This is achieved by applying a surface snapshot, representing the previous location and moment in time, to a particular position within a – usually urban – context. The resulting surface gateway trail connects all instances of any given trail, with a number of trails usually converging at regular intervals within a general location and timeframe. In this case, 3 surface gateway trails converged in Florence, Italy, within the timeframe of 12 to 27 of June 2014.
The outcome of this project was a video (09:36 min), which combines experimental stop frame animation with fragments of a loose narrative. For the first time in the ‘surface gateway’ series I made extensive use of sound, which helps to convey a sense of a narrative, while creating a coherent soundscape for the experimental elements of the video.
‘Imparando d Firenze’ was shown at Galeria Xenos as part of Magma Collective’s Mnemonic City series. Due to the time restriction, I presented this project as a conventional video projection – in the basement of the gallery – as opposed to the installation format that I generally use for the ‘surface gateway’ series.
© by Rupert Jaeger, all rights reserved
‘Image Products & Product Images‘ is a continuous archival project and as such is an essential working tool of a wider ranging art project: ‘10 Years in September‘. I have been working on the latter for several years and the project originally dates back to 2001, when a seemingly random recording was retrieved, involving an undisclosed amount of Spanish Pesetas, which changed hands in Barcelona on the 22 of September 2001, being captured at precisely 15:17:28 hrs local time.
This first recording formed the basis for further recordings and images, with an initial series retrieved across 6 European cities – towards the end of 2001 – and after that mainly in London, England, until about the end of 2004. In the following years the material was gathering dust in an unknown location until autumn 2010, when some of the images appeared in New York City. About one year later, and exactly ten years after the original recording – at precisely 15:17:28 hrs local time on the 22 of September 2011 – the original place of occurrence was revisited and the attempt was made to capture the exact moment in time via image retrieval.
The revisiting of this moment and the hence retrieved images triggered a new process of image propagation, that can be described as follows:
‘Just as genes propagate themselves in the gene pool by leaping from body to body via sperms or eggs, and memes propagate themselves in the meme pool by leaping from brain to brain, via a process which, in the broad sense can be called imitation, so images propagate themselves in the image pool by leaping from screen to screen via a process which, in the broad sense, can be called association.
Given the right conditions, replicators automatically band together to create systems, or machines, that carry them around and work to favour their continued replication. If an image is to dominate the attention of a screen, it must do so at the expense of rival images. Selection favours images that exploit their cultural environment to their own advantage. This cultural environment consists of other images, which are also being selected. The image pool therefore comes to have the attributes of an evolutionary stable set, which new images find hard to invade.’
In purely practical terms, ‘Image Products & Product Images‘ serves as a continuously evolving image archive, providing the basic pool of images, out of which images can then be seleced for further creative exploration.
Most of my recent projects have been based on various selections of this main image pool. These include projects that I have undertaken on my own, such as ‘The Nostalgia Machine’ or ‘Surreal Business Cycle (prototype #1)’, as well as collaborative projects, whereby other artists select an image from the pool to base their own artistic engagement on, which is then integrated in a collaborative artistic experiment. A recent example of this type of collaboration is ‘Project A19’, which I worked on with visual artist Julien Thomasset.
The full pool of retrieved images and a preliminary favoured selection are presented in the booklet ‘Image Products & Product Images‘, which can be downloaded here.
If you are an artist of any kind, scientist or writer, and would like to base a project of your own on any image from this pool, please download the booklet, choose your image (refer to letter and number grid) and get in touch with me:
+44 (0)751 233 1561
Please note that images already chosen are market with a small red cross in the lower right corner of each image
© by Rupert Jaeger, all rights reserved
‘Surreal Business Cycle‘ was the first in my image & light installation series. I had been experimenting with the juxtaposition of video and printed images before, but for this project I combined them to create a sculptural piece that was literally made out of images, with a video at the core of the sculpture. Technically, ‘Surreal Business Cycle‘ is a 35 x 20 x 20 cm glass box that is almost entirely covered with semi-translucent images. A video screen is installed in the lower centre, in portrait format at a 45 degree angle, playing mostly split-screen stop-frame animation.
The concept of the piece is part of a bigger experimental narrative, which follows the trail of images and events that originated in the revisiting of a moment that originally took place in Barcelona, Spain, on the 22nd of September 2001 at 15:17:28 hrs. The ‘protagonist’, like a time traveler from the future, forensically examines the remnants and their visual surfaces of a time bygone, with a particular obsession for the currencies of ‘Old Europe’, found in a seemingly random manner on walls of cities across Europe and beyond.
The printed images form a collage of memories, snapshots of urban decay and fragments of a loose narrative, while the video illuminates the object from the inside, thereby creating a semi-translucent object that takes on different meaning depending on the angle of the observer.
© by Rupert Jaeger 2012
‘Surreal Business Cycle‘ was shown as part of the ‘Mnemonic City’ series. The exhibition took place in the Doomed Gallery, Dalston, London under the banner ‘Mnemonic City: Plato’s Cave’ with other work of 12 artists of Magma Collective.
‘The Nostalgia Machine’ was the second installation, where I combined (back)-lit still images with video, after the ‘Surreal Business Cycle’ a few months earlier. This time it was in the form of a traditional light box, with an opaque, back-lit plexiglass on the front that had a number of images and text printed on, and a video screen fixed in the centre of the plexiglass.
The video in the centre of the light box is about 20 minutes long and plays on a loop. It consists mainly of stop-frame animations, following the trail of printed stickers in various locations, whereby each sticker depicts an image of the pervious location. The camera, in stop frame manner, continuously moves towards or away from each sticker, and then jumps to the previous or next location, thereby creating the illusion of ‘flying’ from on place to the other. The stickers were placed in particular places within (mostly) urban environments, in various cities and different points in time. All of the trails converge on ‘Ridley Road Market’ in Dalston, London, in spring 2013, which becomes the focal point of this journey into memories and urban space.
The images on the light box show the key moments of each time/space trail and are accompanied by the precise location and moment in time of capture. This key image also becomes the sticker for any subsequent potential trail, and in such cases is accompanied by the measurements of the stickers and its price of sale.
The text, underneath the video, describes the workings of the Nostalgia Machine in technical detail:
‘Beauty and Love were frozen: Seven years, three months, two days, twenty-three hours, fifty-nine minutes and thirty-one seconds. After that they were simply absent, non-existent. In this emotional vacuum devoid of strong affection and personal attachment and without any perceptual experience of pleasure, meaning or satisfaction, a structure slowly became apparent that would eventually display characteristics akin to notions of beauty and love: Time, reflected through the abstract arrangement of inter-related, interconnected and interwoven points, instances and moments.
The most critical of all points in this structure is what could be called the point of inversion. At this point, all previous moments, which were irrelevant at their time of occurrence, and the abstract arrangement as a whole, which was hitherto unaware of its own existence, take on a retrospective meaning that transcends ideas of nostalgia, as the true meaning does not lie in any properties the points may reflect, but in the pure appreciation of the moment(s) as an experience of time itself.
In appreciating this pure experience of time lies the true beauty and love of the process, while the structure, as an abstract arrangement, is the manifestation of this process. Images, however destructive and obstructive to the process in general, are instrumental in a number of ways, but have to be defended against the attacks of the ‘Nostalgia Machine’, which would logically attempt to intrude and infiltrate the process, thereby rendering it ineffective and incorporating the process in the Nostalgia Machine’s all encompassing representation of life as an audio and visual surface of perceived properties of beauty and love. The Nostalgia Machine’s inherent propensity to fictionalize life functions proportionally successful to its ability of presenting an ever perfecting narrative, seemingly in tune with the eternal rhythm of beauty and love. ‘The process’ must resist such tendencies and embrace the sensual pleasures of time without notions of past and future. This effort of identifying narrative-free moments in time can only succeed, if the following two preconditions are observed:
(1): the selection of images need to follow a ‘process’ of elimination.
Each identified moment is to be positioned against a set of images, which must gradually decrease in numbers for each successive moment until the point of inversion is reached, the precise occurrence of which is identified through one single image.
(2): While the use of seemingly nostalgia laden images creates a growing emotional attachment to each moment in time, the experience of this emotional attachment has to become less personal with each successive moment. At the point of inversion, one single image, intolerably nostalgia laden, yet devoid of personal memories, breaks the memory-nostalgia relation, which results in a climactic experience, at once full of euphoric revelation and profound disappointment.’
© by Rupert Jaeger 2013
‘The Nostalgia Machine’ was shown as part of the ‘Mnemonic City’ series. It was shown at the Doomed Gallery in Dalston, London, just off Ridley Road Market under the banner ‘Mnemonic City: Moving Streets’ with other work of 10 artists of Magma Collective.
The dimensions of the light box are 90 x 65 x 14 cm.