Sequent was developed over a year long residency
by Cliona Harmey at Arthouse Multimedia Centre, Dublin.
It comprises of a exhibition of video installations and
a website.

Sequent the exhibition runs at
Arthouse 10 August till 7th Sept 2000

The website is hosted at Arthouse for one year.

Special thanks to all the staff at Arthouse.
Particularly Dave Quinlan - video editing,
John O'Connell -actionscript assistance
Dave Mc Ginnn -installation
Niamh O'Donnell- administration,
Also Tim Brennan and Paul Murnaghan
And last but not least my mentor
Denis Mc Nulty.

Catalogue Essay - Maeve Connolly

In ‘Sequent’ the experience of the ‘everyday’ is inscribed through various forms of technological mediation. The web-based art work is structured as a diary or a notebook. Each page seems to contain a random set of digital observations noted for further elaboration. Yet these fragments are not simply displayed as a collection of sources, or ordered into a narrative of artistic progress. Instead many of the clips are presented as samples, available for further processing by any reader. The blurring of boundaries between reading and writing in this work seems almost effortless, an afterthought rather than a design strategy.

The apparent simplicity of both ‘Rain’ and ‘Anemometer’ also belie the real investment in human time and in digital memory needed to realise each work. In these pieces, changes in the temperature or the flow of air currents seem to crystallise effortlessly into recognisable patterns. The work of digital signal processing, the translation of drops of rain into music or the harmonisation of motion fragments, is rendered invisible.

In ‘Monitor’, live footage of a collection of Livingstone daisies is transmitted on a television screen.. Symbolically daisies do not simply mark the passage of time through organic growth; they actually open and close in response to sunrise and sunset. However the growth of these plants is so slow that it must be tracked on a time-lapse recording. The televised image appears static to the human eye.

Through their very subtlety and apparent simplicity, the works in Sequent seem to articulate the condition of all writing within the age of advanced ‘media systems’. Friedrich A. Kittler writes: "The bulk of written texts…no longer exists in perceivable time and space, but in a computer memory’s transistor cells." 1 Writing now passes through other forms of inscription which, unlike older writing tools, can both read and write by themselves. The actual site of writing, the hardware, is now hidden from view.

The media of information storage, transmission and computation are deeply implicated in Kittler’s theorisation of subjectivity. He proposes that our "illusions of consciousness" are simply reflections or "interior views" of media standards.2
Kittler offers a vision of the world in which even ‘nature’ exists as a form of writing. Sequent resonates with references to the digitally mediated world and to an older project of inscription; the mapping and measurement of space and time associated with an earlier model of (rational) subjectivity.

The Cartesian perspective of the map offers an illusion of mastery, in which the natural world can be surveyed in all its minute detail. Digital encoding realises this dream of miniaturisation, offering even greater opportunities for the creation of exchange value.

In Sequent however, Cartesian objectivity is displaced by a fascination with the particular and the contingent. Instead of representing the natural world as familiar and knowable, these works reflect an experience of the everyday, which is structured through code.


1Friedrich A. Kittler, Literature, Media: Information Systems (Critical Voices in Art, Theory and Literature), Amsterdam: G+B Arts International, 1997, p.147. 2 Ibid., p. 132.