Anthoney J Hart
(Imaginary Forces):
A Temporal Interval
A. J Hart’s manipulated recordings of trains draw on memories and emotional connections to these sounds, and creates other spaces and realities – psychological landscapes, drawing on J.G. Ballard’s notion of ‘inner space’ where nothing can be ordered neatly, chronologically, with distinctions – in a way our ‘everyday life’ is the dream, or the non-real, since we are all living within what Ballard called ‘stage-sets’ and Baudrillard simulacrums. The recordings allow one to disconnect, or connect, to step out, or in.
An objective, rational, and teleological view of the world grew out of modernity and today we suffer from the hangover. The train has functioned as a metaphor for these ideological, but obviously also for more physical, technological, aspects of modernity (J.M.W. Turner’s Rain, Steam and Speed; 1844, being the most obvious). The ghostly sounds of A Temporal Interval speak of the absolute death of modernity, or rather, its manipulation, distortion, into something else. These ‘trains’ speak of the end of teleological time and objective history, and introduces us to subjective temporality and spatiality – an infinite amount of psychological landscapes. [Edited Artist Statement]
Sudborough Green
Anthoney J Hart, A Temporal Interval
A. J Hart’s manipulated recordings of trains draw on memories and emotional connections to these sounds, and creates other spaces and realities – psychological landscapes, drawing on J.G. Ballard’s notion of ‘inner space’. An exploration of one’s psychological landscape, one’s inner space, complicates notions of time and space, reality and dream, the real and the surreal. Constructing “a paradoxical universe where dream and reality become fused together, each retaining its own distinctive quality and yet in some way assuming the role of its opposite, and where by an undeniable logic black simultaneously becomes white” (Ballard; Time, Memory and Inner Space 1963; Harper Perennial 2006). The point being; nothing can be ordered neatly, chronologically, with distinctions – in a way our ‘everyday life’ is the dream, or the non-real, since we are all living within what Ballard called ‘stage-sets’ and Baudrillard simulacrums. The recordings allow one to disconnect, or connect, to step out, or in.
An objective, rational, and teleological view of the world grew out of modernity and today we suffer from the hangover. The train has functioned as a metaphor for these ideological, but obviously also for more physical, technological, aspects of modernity (J.M.W. Turner’s Rain, Steam and Speed; 1844, being the most obvious). The ghostly sounds of A Temporal Interval speak of the absolute death of modernity, or rather, its manipulation, distortion, into something else. These ‘trains’ speak of the end of teleological time and objective history, and introduces us to subjective temporality and spatiality – an infinite amount of psychological landscapes.
T. Fredholm.