Wednesday, 23 December 2009

Day in the studio...finally

Started to transcribe the dreams onto tissue, then the table underneath had been marked by the letters. Like the pattern.

Wrapped the dress in the dream.

Started to glaze the dresses. Solid white glaze - lets see.


Porcelain with wax dips.

Projection onto table

Tuesday, 22 December 2009

Dissatisfaction quote

Dissatisfaction is a significant key to quality. “Art,” said the American sculptor John Chamberlain, “is basically made by dissatisfied people who are willing to find some means to relieve the dissatisfaction.” In the midst of dissatisfaction ways are found. Without dissatisfaction it is swiftly possible to fall in love with your own mediocrity. Utter dissatisfaction can be liberating. “If the wine is not good,” said Michelangelo, “then throw it out.

Dissatisfaction (Robert Genn) - via Communicatrix on Twitter

Quote tagged as: note_to_self

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The Known Universe

American Museum of Natural History



Like the zooming back in best.

Monday, 21 December 2009

Late Bloomers

Article from the New Yorker

20th October 2008, Full Article

But late bloomers, Galenson says, tend to work the other way around. Their approach is experimental. "Their goals are imprecise, so their procedure is tentative and incremental," Galenson writes in "Old Masters and Young Geniuses," and he goes on:

The imprecision of their goals means that these artists rarely feel they have succeeded, and their careers are consequently often dominated by the pursuit of a single objective. These artists repeat themselves, painting the same subject many times, and gradually changing its treatment in an experimental process of trial and error. Each work leads to the next, and none is generally privileged over others, so experimental painters rarely make specific preparatory sketches or plans for a painting. They consider the production of a painting as a process of searching, in which they aim to discover the image in the course of making it; they typically believe that learning is a more important goal than making finished paintings. Experimental artists build their skills gradually over the course of their careers, improving their work slowly over long periods. These artists are perfectionists and are typically plagued by frustration at their inability to achieve their goal.

Justification?

Get Cezanne's biography.

Benjamin Ducroz

booutiful!

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Thursday, 17 December 2009

Tuesday, 15 December 2009

Messiah @ English National Opera


My first opera. My flatmate was in it, so I had incentive! but the stage sets were fantastic. This is the only picture I can find which sort of shows the glass coffin shaped boxes, but the set in Act 1 was also amazing, with hundreds of bulbs descending from above, and a glossy black floor, which sitting so high up in the cheap seats, was really reflective. More of a moving installation of sculpture, singing, projections and dance. All the old buffers in the audience did not seem to like this very contemporary interpretation, but for me it was a piece of 3 hour magic.

Sunday, 13 December 2009

Monday, 7 December 2009

Repulsion by Roman Polanski



Watched this week. Cool illusionary scenes where all the furniture is too big or too small when shes losing it. I did scream a little bit.

How Science Rediscovered the Mystery of Ourselves - additional quotes

pg. 22

The confidence generated by this remorseless expansion in scientific knowledge fostered the belief in its intrinsic superiority over the philosophic view, with the expectation that the universe and everything within it would ultimately be explicable in terms of its material properties alone. Science would become the 'only begetter of truth', its forms of knowledge not only more reliable but more valuable than those of the humanities. (Materialism).

pg.20

There is a powerful impression that science has been looking in the wrong place, seeking to resolve questions whose answers lie somehow outside its domain. This is not just a matter of science not yet knowing all the facts; rather that there is the sense that something of immense importance is 'missing' that might transform the bare bones of genes into the wondrous diversity of the living world, and the monotonous electrical firing of the neurons of the brain into the vast spectrum of sensations and ideas of the human mind.

pg.222

Michael Posner
The most striking feature of the neurosciences, 'unparalleled' in any other field of scientific enquiry, is how each of the phases of the progressive unravelling of the secrets of the brain has been marked by a further deepening of the perplexity of its links with the spiritual mind.

pg.224

Once again the seemingly irresoluble conundrum of the relationship of the physical brain to the spiritual mind has resurfaced, escaping the confines of science to become, as philosopher John Searle describes it, 'the most important problem: how do neurological processes of the brain cause those inner-first-person qualitative phenomena [of the mind]?'

Thomas Kuhn - paradigm shift

Thursday, 26 November 2009

Arthur Tress


He decided to do a series of photographs exploring the dreams of children. He interviewed a number of children about their most memorable dreams and nightmares. Using the children as subjects, he tried to visualize their dreams. The result…a peculiar melange of semi-surreal imagery depicted in a rather documentary fashion…was a book entitled The Dream Collector, published in 1972. The singular genius of the series is that Tress approaches the fantastical notions of dreams through a straightforward documentary style. He treats dreams almost as another form of ethnography, as if examining dreams were no different than examining the circumcision rituals of the Dahomey tribe or the practices of Hindu ascetics.

tress3

The dreams explored by Tress are diverse, but common. Being buried alive. Flying. The humiliation of failure in the classroom. Monsters looking in the bedroom window. Being lost or separated from everybody you know through a natural disaster.

Tress described The Dream Collector like this: "The purpose of these dream photographs is to show how the child's creative imagination is constantly transforming his existence into magical symbols for unexpressed states of feeling or being." I have absolutely no idea what that means. It sounds suspiciously like the typical artist's meaningless blather. I don't think it tells us much about his work, but I do think it offers us some insight into Tress himself.

Tress seems to perceive the world through the eyes of a mystic. He apparently sees still photography as almost an arcane act. He has written that a photographer is "…a kind of magician, a being possessed of very special powers that enable him to control mysterious forces and energies outside himself….[who can] can foretell the potential movements of his subjects and perhaps even by mental intimidation and expansion actually causes them to happen." Although I'm personally inclined to see this as somewhat delusional, the fact remains that this view of the world has given Tress's work a sort of internal consistency. Even though his subjects and themes may range widely, there remains a stable, congruous emotion through it all. That emotion is a sort of familiar reverence, a sort of comfortable awe.

tress8

Tress has stated that for five thousand years art was created with the intent to inspire awe. That intent, he suggests, has been diluted. "Where are the photographs we can pray to, that will make us well again, or scare the hell out of us?" he asks. Tress has attempted to make that sort of photograph.

With the exception of his nudes, all of Tress's disparate work seems to retain a consistent subcontext: the world is awful and full of awe, life is temporary and beyond our understanding, so we must bring our own meaning to it. That meaning can be found in anything from sports to prayer to science.

In a very real way, Tress's inarticulate mysticism is imbued in his photographs, and one can see evidence of it throughout his work. He believe in the child as a sort of privileged witness. He believes in oppression as a constant condition against which everybody must struggle. He believes in the release from oppression, and that death is always the final resolution.

Via:http://www.utata.org/salon/20499.php Wiki:http://en.wikipedia.org/wiki/Arthur_Tress

Richard Launder - tutorial

Talked through proposal objectives:

RL comments in itals.

1. 1. Record dreams. Rhythm, system. Voice recordings. Transcribing not good enough so have diagrams, maps, drawings but even those don’t get emotions. Sound is best.

Transcriptions from voice as unedited, not made into literary content or more flowing words. Not rewritten. Direct is best to the memory of the experience of it.

Objects deal with the landscape and the situation – excited by the stream of them – but not getting across emotion – sound must be in final show. Neutrality of an unknown audience, maybe an actor to do the voice.

2.2. Encompassment and transportation to imaginary places – how I came to be doing this project in the first place – fascinated by the places (fictional) I was dreaming about – where do they come from etc.

Encompassment – related to research paper, illusion in an art installation and film – location.

Installation – either room size or mentally (because all my work is quite small). Small worlds – that you have to imagine being inside.

Wax scene – he interpreted waking life in the office then sucked off into the dream life in the jungle.

Increasing the oddity – what will give it this dream like state? If there is something wrong about the dimension. Its almost right but then a bit off. Weirdness is not everyday – play with it.


JB – I started to do that with the porcelain pieces. If sitting in the chair can’t get in the tent.

Alice in Wonderland – scale.

JB – stream 2 or 3 metres.

Work is kind of baroque. Getting nicely overloaded on the jungle side. The dream state is more confused. Have the chair positioned so you would fall directly through the computer.

Porcelain re-shrinking. Intensely detailed but tiny.

3. 3. Link the emotion based associations. If I make this big scene I want to link these scenes together based on the central emotion I have of each one. Naïve way – from angry dreams to calmer? Mimic the way you file things in your brain in an emotion based way – based on the way you might have felt an experience in the past rather than in any logical based reasoning behind that. Thought could achieve by listening to the voice recordings.

Yes, I support that because our intellect kicks in so rapidly upon waking. That’s what makes sense for you. EQ, Use it, look at systems of conveying EQ. Fascinating contra world, and its being given more recognition that it used to.

In terms of context. Find an equally tight and concise quote as that for the emotional side to counter that. Argue double case – both sides but then clarify and choose one.

General comments from RL.

Nice terminology, landscape of dreams. Capturing (active word not passive), bridge from the subconscious to the physical.

Must model the real world as well. Animated objects – the chairs. I felt the power in the wax scene centred around the chair. Desolate, like the person was just there, mark of a person. Abandonment.

Technical things – molocite might work better to stop warping and cracking and shrinking to stabilise. Can buy it down to dust size so can add to small porcelain pieces, not as rough texture as the paper clay method.

In industry if there is a nightmare shapes – will plate on a plate and have clay supports – then remove after. Or fire lying down – think about sagging.

The wax has a delicious quality. Try mixing wax and porcelain – either direct mix or dip things (both ways round to try). Then some will be permanent some transient material and set in a room. Film melting, show will be in summer… use a window? Then that’s another piece of work. Getting as many works out of a piece as possible.

IDEAS

Dipping either way round porcelain / wax.

Model real life – sucking into dream world (intense)

The flat? Bedrooms in the past?

Sound is real important for emotions.

Molocite – multiple shrinking. Make better support for structures – they are not throw away or tests now, try to treat better like final pieces.

Wednesday, 25 November 2009

Carriage-half and kiln


The carriage has moved a bit now - maybe I need to make a few different ones. Wheels and axle stuff to be added on after (somehow) maybe glued but it could look crap!
Unfortunately this firing aborted so now its in again, fingers crossed for some (fairly) translucent objects on Friday.

Mia Fernandes

BA 3d lecture

Drawing doesn’t need language. Its about communication, experience and memories. Solidifying these things.

Travelling lifestyle all her life – stimulating and comfortable for her.

Makes a visual diary.

Had a show with Anthony Gormley – that’s how abroad stuff came about.

Check out Bermonsey Gallery.

Collaborations with dance, sound, performance. A bridge to forming understanding.

Mistakes are an opportunity. Have a look / work then to unravel.

Repetition / series – what if I make 10 carriages??

Rosseau / Steiner – working from the heart.

Brain mapping. Expensive – have to do a phd at Royal College. Networks.

Tuesday, 24 November 2009

Anthropologie store on Regent Street

New shop on Regent Street - Anthropologie.

Loved this grass/forest wall, its BIG:


CERN's first particle collisions

First images of particle collisions at Cern’s £6bn atom smasher. Two protons collide inside the giant Atlas detector at Cern’s Large Hadron Collider near Geneva. The image was recorded on 23rd November 2009 and shows the first low energy event recorded by the detector. Photograph: Cern.

Aaaand BOOM. That was fast. Even if it’s still low-impact stuff. We’ll have to wait a while for anything more big-bangy. Still, pretty cool, no?

No?

— In The Guardian, from London.

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Thursday, 19 November 2009

Critique Presentation

The Dark Pool (1996) is a multimedia installation piece by Canadian artists Janet Cardiff and George Bures Miller. As described in the exhibition catalogue for A House of Books has no Windows, which was presented jointly by Fruitmarket Gallery and Modern Art Oxford in 2008, this room full of objects; ‘books, record players, speakers, models, notes, drawings and peculiar mechanical devices’, are seemingly abandoned. ‘Opening an old door, we feel we are trespassing on the workspace of some kind of mad scientist or investigative writer. As we move round, we trigger sounds – stories, conversations, music – that speak of the ‘dark pool’, a mysterious place where people disappear’.


I’ve always loved to escape, whether it was through walks, books, films or dreams, and it’s only now that I realise what I’ve been doing this past decade. I’ve been creating portholes into my other worlds.

(citied in Cardiff, Bures Miller, 2008, p11)

This sense of displacement from reality, by stepping into another world is exploited by their choice of objects and paraphernalia within the room. Many things are old or at least appear to be, perhaps Edwardian or Victorian – yet they are mixed with strange devices which seem to use modern technology. This sense of timelessness helps us to forget the here and now, as within this room, it is not possible to know where, precisely, we are in time.

Sound is also a key component to The Dark Pool. They were drawn to using this medium as it allows the possibility to mix up time and space. By layering sounds, they create different layers of reality as some of the recordings they use are from the ‘present’ i.e. Cardiff’s voice, but some (as described in an interview for the catalogue) are old recordings, hence they are layering together different periods in time. Enabling us to imagine ourselves in a third place – somewhere between the present and past.

Cardiff has been working with sound for many years. One of her most famous pieces is the ‘audio walk’ Her Long Black Hair (2004), in which we listen to her voice whilst on a walking tour of Central Park in New York. This complex work explores our notions of time as we are guided through the pathways, listening to the narrative, imagining what she sees in the past – following a mysterious woman with long black hair, whilst observing for ourselves what is happening in the present. Also, at points during the tour we are prompted to look at photographs, introducing another observable element to the work.

8. Cardiff (2005) Her Long Black Hair Central Park, New York

‘Many critics have observed that Cardiff’s audio-walks are cinematic, transforming the world into a film set with the viewer as its central protagonist’ (Bishop, 2005, p99).

Within The Dark Pool, our location is fixed but the layered soundtracks invoke an illusion of past and present. One of the most engaging parts of the installation is where, sitting in a chair placed between two speakers, we listen to Cardiff and Bures Miller discussing an imaginary scene taking place across the room: with a couple dancing in the shadows.


9.
Cardiff, Bures Miller, (1995) The Dark Pool

As the observer / listener the conversation is hypothetical, we are listening to a dialogue that is purely fictional, and yet we can imagine the couple dancing, allowing a space to exist in our imagination where we can invent the scene.

The use of sound in the installation helps us to expand and enrich upon the story presented to us, attempting to displace our sense of reality, by confusing our sense of chronology and distorting our sense of location. Ultimately, this work immerses us as viewers and for a short space of time at least, presenting to us as described by Cardiff ‘parallel’ world, free from the constraints of reality.

Tuesday, 17 November 2009

Project Proposal - revision ~2

Working Title:
The representation of my dreams in sculpture.


Aims & Objectives:
The most significant question / problem trying to tackle:-


By capturing the dreams I aim to gain a deeper insight into the ‘dual nature of reality’*, how life and memories are linked and dreams help to untangle/solve problems by linking things in an emotional based filing system, rather than chronologically or the same way our conscious brain would make associations.


*'the dual nature of reality', can be described as the ‘first order’ philosophic view, composed of a non-material realm, epitomised by the thoughts and perceptions of the mind, that includes not just how we perceive an object or experience through our senses, but also the memories, emotions and feelings with which we respond to it. The 'second order' scientific view is limited to the material methods, an objective material realm. (Le Fanu, 2009). Our experience of the world relies on both types of reality, they are interdependent.


For example, if this is hard to grasp, lets take an example of a tree, my subjective impressions of the trees outside are influenced by my memories and emotional feelings about trees in general. This view/experience is non material, individual and subjective, interpreted and comprehended by the powers of reason and imagination. And yet we can describe the tree in scientific terms of its physical structure, an objective, material view.


The brain can also be described in this way. Our subjective thoughts, memories and dreams versus the physical structure of neuronal circuits and synapses. Neither are fully adequate to describe a brain fully and yet it is so far impossible for science to combine these views effectively.


I am interested in this border or the edges of our conscious experience - interfacing between the ‘real’, material world and my subjective experiences. Therefore capturing these dreams, which are a direct representation of subconscious thought and transforming them into physical, material objects, I aim to combine these different experiences of reality.


OBJECTIVES:

  1. Adequately record the dreams as raw material to work with.

  2. Encompassment and transportation to imaginary places.

  3. Portray my own emotion-based associations of scenarios by linking dream-scapes together not necessarily in a chronological order in the order that they were dreamt but more to do with the different feelings associated with each dream.

  4. Encourage interpretation of my dreams by an audience, invitation to a normally private world.


METHODS/HOW TO ACHIEVE OBJECTIVES:

  1. The metamorphosis from dream to sculpture (mind to hand) is extremely important, the first stage will be to collect snapshots of my dreams. I plan to record voice notes upon waking to better recollect the emotions and feelings involved in the dream. From the sound recordings I can make sketches of the scenario and narrative. These can then be developed into three dimensions.

  2. Encompassment by creating an installation environment which the viewer can enter either physically (room size) or mentally (if the environment is made in miniature). I plan to use the following materials for their specific ethereal qualities: porcelain (fragile, translucent), wax (temporary, melting nature of the material), bronze (paradoxically crystallising the dream in something so permanent and solid) and possibly film (scope for more emotive qualities, sound, narrative, indefinite visual imagery).

    By constructing these scenes in miniature, I could create a tiny parallel world, as it involves the viewer in an intense, focused way. A tiny work can seem to exist in a state of haunted isolation, a permanently vacated scene. Physically, the audience can only enter the scene through their imagination, a tiny parallel world, closer to an imaginative one.

  3. Possible through listening to the qualities of my voice recordings? Sadness, lost etc

  4. By displacing this content from another reality, one that is naturally forgotten and revealing/displaying the dream content, this encourages interpretation.

landscape/environments, narrative and emotional content captured.


CONTEXT:

All in? check reflective round up.


Historical:

Artists have been and still are fascinated by dreams. Since Freud’s important text at the turn of the century, which influenced artists such as Giorgio de Chirico and subsequently the Surrealists, artists have continued to use dreams as a starting point for their work. In a contemporary context I will be studying artists across a diverse range of media encompassing sculpture, film, video and drawing. For example: Susan Hiller, Joseph Cornell, Charles Avery, Keith Tyson and filmmakers Michel Gondry and Luis Buñuel.


Recent exhibitions in the UK such as Flights of Reality, Kettle’s Yard (2002), The Dreaming & Sleeping exhibition, Wellcome Trust (2006), Miniature Worlds, Jerwood Space (2006), Charles Avery, Parasol Unit (2008) Riddle Me, Danielle Arnaud (2008) are just a small sample showing that artistic interest in the themes of dreams, fantasy, illusion and imagined worlds is very much a current topic.


‘from the eighteenth century onwards scientific knowledge has been prioritised, through its ability to 'reduce' the seemingly inscrutable complexities of the natural world to their more readily explicable parts and mechanisms.’ (Le Fanu, 2009)


Unconscious is not a private region inside us but the underlying and unknown pattern of our relations with one another, mediated by language. (Lacan, 60s)


From a philosophic point of view, consciousness studies, which are closely aligned to neurological studies helps to put my project in context by looking at parallel theories in this field. Philosopher, Thomas Nagel perhaps being one of the best examples of my views: Taking intuition seriously, objectivity and science is not a test of reality, just one way of understanding reality. The brain is more than neurons, no universal theory can explain it all.


The 'Decade of the Brain' was adopted by US Congress 1/01/90, brought about many innovations, meetings and conventions which made consciousness studies fashionable. There was the first symposium about the science of consciousness - University of Arizona 1994, 1,000 delegates. Spawned numerous new journals and articles.


Contemporary / Scientific:

‘Our emotional brain [centred in the limbic system] is physiologically able to overwhelm the rationality of the cortex. We can conclude that emotions play an important role in our behaviour, perhaps a role even greater than that of reason.’ [Through studies of Synaesthesia]
(Cytowic, 1994)


Theoretical:

‘Superficially, one could claim that both art and physics have some similar areas of interest. Both explore the physical nature of materials but their reasons for doing so are different. Physics analyses; art makes, or manipulates in unusual ways. In respect of contemporary physics however - quantum theory, relativity and cosmology - there are potentially close connections because both are concerned with questions about the ultimate nature of reality. Both are concerned with how we see ourselves in relation to nature, whether as objective observers or as subjective participants.’
(Ede, ed. Calouste Gulbenkian Foundation, 2000)


‘[…] investigating these psychological borderlands where areas of unconscious intersect with what we think of as ordinary, everyday consciousness. Or another way of looking at it would be to describe these states of mind as altered states of consciousness, but whether they are consciousness or unconsciousness is not really something I want to debate; I am just interested in the fact that there are these very different ways of perceiving reality that many artists are interested in.’
(Hiller, 2000)

Why do you want to make the sculptures?

Excited to bring into the ‘real’ world, fragments of our subconscious thought.

Why exciting?

Displaced from another reality, one that is naturally forgotten to allow room for our everyday lives to continue?

The displacement and revealing/displaying of the dream content invites interpretation and encompassment of the audience in a normally private world, transportation to imaginary places.

I plan to continue using sketchbooks and theoretical written notes collated on my blog as my reflective journal. I will need access to the ceramics, 3D and sculpture workshops and the library. I plan to take full advantage of the exhibitions, talks and collections on offer in London. I will also need tutorial support through group discussions and one-to-one sessions.


OUTCOMES:

I imagine my final works to be miniature in scale and presented within an installation environment.


WORK PLAN:

tbc

your monkey called

good blog

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Creative Photoshopping by Erik Johansson | Bored Panda

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Sunday, 15 November 2009

Robert Kusmirowski - Bunker

The Curve webcam is down for maintenance. Please check back later.

Really reminded me of JC & GBM installations but the absence of any sound felt me feeling that it was lacking in atmospheric content. From blurb:
'Though illusion is a central tenet of his practice, Kusmirowski confounds notions of the past and present, complicating ideas of time and place and questioning reality and artifice. By digging up the ghosts of the recent past he forces the viewer to reflect upon the present.' = didn't I just say that in my research paper!

'[S]uperrealism is more than a tricking of the eye. It is a subterfuge against the real, an art pledged not only to pacify the real but to seal it behind surfaces, to embalm it in appearances.' Hal Foster, The Return of the Real

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My Photos:

Half Life bunker stylee

Anish Kapoor





Anish Kapoor - amazing. Svayambh (2007) didn't realise it was actually moving through the galleries until I read about it, then went back and saw it was just really slowly. The smell reminded me of the fourth floor at Peckham Rd, lovely melted wax smell.

and Slug (2009)

Saturday, 14 November 2009

Project Proposal - revision

Today's desk:

bloody geeky to take a photo of this I know but its important. Now I have a laptop I can GO places, revolutionary, and I seem to be able to think so much better out of the house where I can't be distracted by a million other things or stare into space for hours. whoop.

So...the proposal....yes, er, well here are some random words cobbled together, its in progress people:

Working Title:

The representation of my dreams in sculpture.


Aims & Objectives:

The most significant question / problem trying to tackle:-


Capturing the dreams to enlighten/gain an insight into the way life events are linked to previous experiences and dreams help to untangle/solve problems by linking things in an emotional based filing system, not chronologically or the same way our conscious brain would make associations, quest for truth etc etc. quote – from gul book or maybe who we are? Or something about deeper truth – might be synesthestic bk.

Why do you want to make the sculptures?

Excited to bring into the ‘real’ world, fragments of our subconscious thought.

Why exciting?

Displaced from another reality, one that is naturally forgotten to allow room for our everyday lives to continue?

The displacement and revealing/displaying of the dream content invites interpretation and encompassment of the audience in a normally private world, transportation to imaginary places.


AIM: to capture the dreams to enlighten/gain an insight into how life and memories are linked in an emotional/un-logical way.


OBJECTIVES:

  1. Encompassment and transportation to imaginary places.
  2. Portray my own emotion-based associations of scenarios by linking dream-scapes together not necessarily in a chronological order in the order that they were dreamt but more to do with the different feelings associated with each dream.
  3. Encourage interpretation of my dreams by an audience, invitation to a normally private world.




METHODS/HOW TO ACHIEVE OBJECTIVES:

  1. Specifically in sculpting the dreams, the sheer physicality of the objects I plan to use the following materials for their specific ethereal qualities: porcelain (fragile, translucent), wax (temporary, melting nature of the material), bronze (paradoxically crystallising the dream in something so permanent and solid) and possibly film (scope for more emotive qualities, sound, narrative, indefinite visual imagery). Talk about miniature, quote into world but separated from it.
  2. Possible through listening to the qualities of my voice recordings? Sadness, lost etc
  3. By displacing this content from another reality, one that is naturally forgotten and revealing/displaying the dream content, this encourages interpretation.



landscape/environments, narrative and emotional content captured.


Felicity Aylieff

waiting for someone on Percy St, errr need to go to this when its open (at CAA) considering worked with her, so decorative!?! where is the brick clay methinks

The Man Who Tasted Shapes by Richard E. Cytowic

Pg.56

Kandinsky’s conviction, was that art, if it was to portray reality, should not concentrate on rendering things but on an intuitive process that he exercised in abstract painting, and in which he believed the spiritual could be found.

‘lend your ears to music, open your eyes to painting, and...stop thinking! Just ask yourself whether the work has enabled you to “walk about” into a hitherto unknown world. If the answer is yes, what more do you want?’

Cross modal associations – cross sensory? This is the foundation of language, i.e. naming of objects.


Pg.96

In non-humans, the only readily established sense-to-sense associations are those between an emotional stimulus, like pleasure, and a non-emotional one, like vision, touch or hearing. Only humans can make associations between two non-emotional stimuli; because of this we can assign names to objects.

Cross-modal associations occur at an unconscious level. A small number of the human population, called synesthetes, act as if there is a conscious mixing of some of these sensory channels, as if a normal perceptual process that is usually hidden has somehow become bared to their consciousness.


Pg.109

[On the question of whether Synesthesia is a sensation]. Dreaming is the most obvious example of one facet. Where, for example, does the ‘I’, the person you think you are, go when you dream? You live a whole other life while dreaming; but you wake up with a sense of continuity to conditions in your waking life, as if your mind never went away.


Pg.110

[Important comparison between the mind and duality principle of light]. The duality principle states that while each photon is an individual particle of light, called a quantum, it is also a continuous wave at the same time. Modern physics has proven that something which is totally individual (a photon) can also be something continuous (a wave). The wave and the particle are both true and valid descriptions of what light is, and an analogy can be made to the human mind, which can also be different things at different times, or even different things at the same time.


Pg.115

Schoenberg Die Gluckliche Hand – (opera) eliminate any distinction between waking reality and dreaming.


Pg.161

The hippocampus is a point where everything converges. All sensory inputs, external as well as those from our visceral (blood), internal milieu, must pass through the emotional limbic brain before being redistributed to the cortex for analysis, after which they are returned to the limbic system for a determination whether the highly processed, multi-sensory information is salient or not (true / relevant).

[Basically, there are far more inputs from the limbic system to the cortex than the other way around, showing how important our emotional judgement is, its influence is greater.]

In discussing temporal lobe seizures that originate in the limbic system, I mentioned that they can produce involuntary actions (automatisms) that seem purposeful but for which the person has no awareness or recollection. TLE can also cause compulsive thinking, florid psychosis, and episodes in which one cannot distinguish between dreaming and reality. The overlap between the behaviour of TLE and that of psychiatric disorders is striking: 50% of those with temporal lobe seizures show psychiatric symptoms compared to only 10% in other types of epilepsy. Thus the emotional brain is physiologically able to overwhelm the rationality of the cortex. We can conclude that emotions play an important role in our behaviour, perhaps a role even greater than that of reason.


Pg.167

We know more than we think we know. The multisensory, synesthetic view of reality is only one thing that we are sure has been lost from consciousness. There could be a lot more. If you want to try to reclaim some of this deeper knowledge, I suggest that you start with emotion, which to me seems to reside at the interface between that part of our self which is accessible to awareness and that part which is not.


Pg.176

Synesthesia does seem to have a lot in common with the eureka moment of insight, mystic experiences and religious rapture, what we call noёtic experiences. Its an old argument in philosophy and religion that reason is not the only way to truth. Reality is not restricted solely to what is given by sense experience.


Pg.202

‘Science has become the sole legitimate form of understanding.’ Joseph Weizenbaum – MIT Professor of Computer Science.

Alternate values have been cast side. Attributing absolute certainty to the scientific method has ‘delegitimatised all other ways of understanding. Once people viewed the arts, especially literature, as sources of intellectual nourishment and understanding, but today they are largely perceived as entertainments.”


Pg.212

That the logic of emotion is dissociated from reason is most readily evident when it operates in creative and spiritual realms.


Pg.217

Satisfying art is a product of deep knowledge and understanding within the artist. It is true that art is informed by the intellect and with acquired technique. But the function of the artist is to penetrate the visible world to illuminate the mystery behind it. That mystery is a ground of universal truth that supports the human condition. If successful, the artist’s expression resonates within the inner life of the reader, viewer, or listener who experiences what I have called an intuitive recognition. Ultimately, the art of fiction is not an intellectual achievement, but an emotional one in which intellect serves only to articulate the human truth, not to explain it.


Pg.220

Because metaphor joins reason and imagination, the conceptual system on which reality is based is in part imaginative. Likewise, creative ideas are partly rational in nature. Objectivity fails to see that our system of concepts is metaphoric, involving an imaginative understanding of one thing in terms of another.

[Analogy between imagination (dreams) and reason (reality/physicality) being linked by metaphor, like me trying to make imagination into reason - sculpture].


Pg.221

We are grasping for a sense of unity because modern life does not fulfil the needs of the human spirit. By embracing subjectivity, the Romantic tradition carved out a niche for itself in the realms of art and religion. In terms of real power, however, modern life is driven by technology, politics, and economics, surface issues that worry the rational mind. Precisely because these superficial drives are so strong, we habitually ignore the depth at which we really live.

It is a curious fact of modern life that we live on the surface and deny the force and reality of our inner experiences. [...]To follow the dictates of society, even though it leads to a type of prescribed happiness (that which society considers good), is to live an inauthentic life.

Thursday, 12 November 2009

Porcelain objects - progress (slow)

Palm tree paper porcelain hell...these need proper care and attention, more sponge

stairs, some tents, the office, bit of jungle

paper in the porcelain definitely making a difference, this one was breaking off but the fibres enabled me to fix it but still weak, might collapse in firing of course as the paper burns out, we'll see. Noticeable difference between the pure porcelain and paper clay type. Former is SO unforgiving but yet so smooth and gorgeous!, expecting the paper clay to be so much lighter after firing, i hope they don't look too different as the whole scene is a mixture of both.

The paper porcelain was so god damn long winded to make, trying not to use it only for essential structural elements which i think need the support, otherwise just using the original porcelain.


Thursday, 22 October 2009

Keith Tyson @ Parasol Unit

As I was going to the Grayson exhibition, thought it was worth popping next door to see Keith Tyson's latest show. Slightly disappointing, had not so great reviews anyway. Still some good diagrams worth noting but not the excitement for me as Large Field Array.

Grayson Perry @ Victoria Miro

Update: 22/12/09 - I'm still fascinated with Grayson's maps. Here is a link to the biggest one I could find on tinternet.

uni trip with Amanda Fielding.

really glad I decided to go because the quality of Grayson's work was incredible, layering of glazes fantastic but my favourites were the diagrams, wonderful.



Sunday, 18 October 2009

Sophie Calle & wandering...

New exhibition, first major one by Sophie Calle at Whitechapel opened on Friday. Of course by Sunday it was packed but I really wanted to go based on the description:

The exhibition premieres the English language version of Prenez soin de vous (Take Care of Yourself), a highlight of the 2007 Venice Biennale. Calle invited 107 women from a ballerina to a lawyer to use their professional skills to interpret an email in which her partner breaks up with her. The poignant, amusing and poetic result forms a large-scale installation that transcends the personal to provide a monument to the women involved.

Really excellent review of her work I felt, elegantly curated (although I hate the layout of the Whitechapel). Bought a book of texts about her work as the exhibition catalogue was £56!!! ridiculous. This was the only photo I took as I love the fact that the text is slowly faded out by the sandblown glass, a perfect metaphor for someone not listening to the story or it being obscured, such a lovely idea to represent this concept.



oh and then I was awalking, so bloody cold but stumbled across my favourite building, nice to see it close up, very green.


Strange and Charmed - Science and the Contemporary Visual Arts

by Calouste Gulbenkian Foundation

bought this in Portugal

research:
Martin Kemp - column in Nature: Structural Institutions: The 'Nature' book of art and science (Oxford Uni Press, 2000)
Arthur I Miller: Insights of Genius: Imagery and creativity in science and art (NY, Copernicus,1996)

Arts Catalyst
The Laboratory - Ruskin
Interalia
Wellcome Trust
Gulbenkian - Two cultures programme

pg.55
Good open assessment about art can show how a continually renewed vision of the world leads to new metaphorical forms of expression to assist us in the continuing human struggle to understand, explain and improve our lives. If we see differently, we might think differently and act differently.

pg.64
The complete freedom enjoyed by artists to make what they wish of any subject is a curse as much as an opportunity. Solely responsible for their work, they can fail miserably and have to harden themselves in the face of flippant or casual judgements. Scientists have to get used to a highly charged competitive ethos but they work in teams and they are less vulnerable as individuals, even though they face the risk that years of research may be rendered useless if another team publishes its results first.

pg.75
Thinking and visualising are not mutually exclusive activities and the term 'visual thinking' has been coined to represent a mode of perception and understanding which is quintessentially beyond logic and words. The significance and weight of 'visual thought' can be gauged by the number of instances in science where a set of images derived from the world of sense perception has been replaced by 'artificial' visual images, and even more so by models, which go on to generate their own reality. Thus geological maps, at a macroscopic level, and models of the atom, at the opposite end of the scale, have come to exert extraordinary explanatory power precisely because they are easier to deal with than nature itself. Some might even claim that visual thinking is the most important form of understanding, so that science's crowning achievement - the formulation of explanatory theories - becomes an exercise far more akin to the process of making a picture than formulating a sentence with rational language.

pg.108
A content-addressable memory allows us to recall our knowledge of a recognised item, it allows us to recollect, literally to collect again, the information we possess regarding the object before us. Importantly for art, this information includes any emotional associations that we carry with us. [...] All these associations are learned by experience, encoded in some of the million billion connections, known as synapses, that join together our 100 billion brain cells. It is because our knowledge is stored in the pattern of connections between cells that the study of such highly interconnected brain systems is called 'connectionism'.

pg.120
Superficially, one could claim that both art and physics have some similar areas of interest. Both explore the physical nature of materials but their reasons for doing so are different. Physics analyses; art makes, or manipulates in unusual ways. In respect of contemporary physics however - quantum theory, relativity and cosmology - there are potentially close connections because both are concerned with questions about the ultimate nature of reality. Both are concerned with how we see ourselves in relation to nature, whether as objective observers or as subjective participants.