Start of a Graphic Narrative

 

I have  been working on ideas arising from drawings I did earlier in the first term. I did not know where they were necessarily going but that is the nature of artistic experiments. However, it is not a case of not knowing what I am doing but rather allowing what I do to take me somewhere new in the spirit of experimentation.

Over the past days I have learnt a great deal about comics, their layouts and techniques which are helpful in creating narratives concerning my work and ideas. It is an interesting way to work; with hand drawing, computer graphics and photography. What I have in mind is a set of accessible works that sit alongside my mainstream pieces.

I decided to start with a principle character working it out through drawing. I used the seeds sown in a series of pages of sketches drawn earlier, particularly Drawing 4…. The  creature above is by no means definitive in morphology but it bears the fundamental elements of its making. Around this creature, I am writing a number of scripts in order to build an narrative structure for sequencing images. As I started this project I was also experimenting with the camera on my reflectivewalks. The context of these wanders over the same territory has become an important element in what I do, a setting for the imaginary world of the works and their interactions: perhaps the stage I mentioned in the symposium video at the beginning of term. 

Working this way has opened out many ways for the unification and expansion of my practice. I still have a long way to go as I work in parallel with other projects but it is rapidly becoming part of a scenario for originary things, a mythopoeitic process.

Skype Chat 9 – Artist’s Talk

 

The last Skype chat for our group this term was with Vic Von Posser who graduated from the course this year. Her work developed over the two years moved in a very personal direction. What I found interesting was her use of simple materials and a straightforward methodology in which each piece was an extension of preceding works. I found a resonance with the idea that she saw her work as performance and that each iteration created a ritual.

I find interesting the relationship between ritual and reiteration: as I see it, work can be an embodiment of ritual whether it be in the form of documentation, performance or a physical object. I have spoken a bit about this in my post on The Ritual of Walking. The idea of reification is very much at the core of what I do and goes some way to explain why I am interested in sacred art. But reification is not confined to the religious sphere, it is in fact part of everyday life, from souvenirs and mementoes to branding.

We also took part in an exercise in blind drawing. This is something I have done for many years and have used it for students to help them loosen up and observe rather than work to conceptual models. It is also fun, the results are always surprising and surprisingly interesting. I guess the freedom of not looking at the drawing, even for one instance both concentrates the mind and frees it from convention.

 

Virtual Particles

Virtual Particles is the title given to the pop-up show that takes place today at Camberwell college at the digital studio. The poster and its accompanying gif, designed by Dannii, uses all of the images sent in by those taking part. We were notified of the show only about a week ago by Jonathan. This keeps us on our toes and is a good test for being able to respond to tight deadlines. I have found it has concentrated my mind, not on future work but on using what I already have and reworking it: an impending show is a good catalyst for synthesis.

 

The Ritual of Walking

 

Along the walk looking East at sunset, 10 December 2018

I have been going out for same walk at least once a week since the beginning of the term in October. I realise that this has become a ritual, one in which I meet with the sky and earth. I let the clouds bring in ideas from another place and the earth to ground me. Two scales: the untouchable above and the tiny world of the soil with its plants, beasts, fungi and detritus. I look up and I look down and see for three hundred and sixty degrees all around a horizon that changes with the weather and time of day, subject to what the clouds might bring from who knows where. I see beyond and see inside.

Ritual is an essential way of regulating the everyday into the long term. Rituals can govern how we respond to things. This is why it is important to know when something becomes a ritual, to understand its essence, its meaning, and how it affects us: whether a ritual is creative, constructive or damaging and subtractive. The walk takes time, but it is not time taken away from what I do but rather it allows what I do to come in and rearrange itself creatively, without me necessarily knowing. I may participate consciously in this process, or allow it to proceed independently while I engage in some other activity. I have already hinted at how the reshaping of content can happen subconsciously in an earlier post .

Today, the clouds in the East looked like mountains as they do on the edge of a plain. An illusory boundary which for an instant alters my view of the world: geography shapes who we are and how we respond to the vagaries of life. Humboldt observed this in how similar geographical locations gave rise to surprisingly similar ecosystems with comparable niches despite having completely different species. There are fundamental laws that govern every detail of existence and so it is with us whether we are aware of them or not. The role of the artist is to sense how we are moved by the unseen and make it visible, make it known in some way. 

Richard Long has made a public-private ritual of walking turning it into an art document, exposing the significance of a simple act. It is about the human rhythm that leaves a wake subject to the passing of time; leaving a trace waiting to be covered over by the waves of passing with only a resonating memory: a very human thing. I have come to see this current walk as a conscious act in my practice and I am documenting it photographically. As I do so what I see and observe, what I think and do, changes over time. My intention has not been for it to be an artwork, let alone part of the current project but to be part of the process. This may change over time but for now I see the record of these walks a possible collection of works which, however, run parallel to the project rather than a contiguous element. Why? Simply put, the paradigm by which I am recording the walks is, at least for now, inconsistent with the project proposal… but this may change.

 

Mythopoeia I: post-truth-hurtling

The first term has ended and with it comes the continuation of what has gone before. I do not see it as the completion of a phase but rather as the beginning of what is to come. The term has been a time orientation, revisiting and rebeginning, looking at things afresh: all I do seems to ascend in a cycle.

A popup exhibition entitled Virtual Particles has been organised at Camberwell and rather than making a completely new piece, I decided to work on post-truth-hurtling, the kernel of a sketch done earlier in October and take it a little further. With the direction for the mid-term coming into clearer focus through the elaboration of the project proposal, I thought I would try to reflect this in the work. In so doing, I discovered that which I had suspected. That the themes that have emerged, were embedded within the process only to be unveiled by the elaboration of the project proposal. The title tells me everything I need to know; it encodes a number of elements that I had identified in the PP as my way forward for now:

  1. Mythopoeia – the making of a myth.
  2. I – that this is only a beginning of a cycle
  3. post-truth – dealing with current socio-political concerns
  4. hurtling – my sense of physical things and time being expressed in many different ways, hurtling being one of them

Combining elements of my research in one piece I turned the video sketch into something more layered. The sound track incorporates elements other that Storm Callum . I have begun compiling a fresh archive of sound files and engineered tracks that will serve me in the future. This follows my thoughts in the recent post, Breakthrough from the Simplest Source. It also ties in with what I will talk about in a latter post relevant to my process: that of making a ritual of the recordings.

The video incorporates shadows and moving light sources giving which initiates an idea I have had for a while. Animation, of sorts, in an installation that I would grudgingly call for now, Plato’s Cave. My difficulty with this name, although convenient as a temporary place holder, is that Plato’s metaphysical explanation for the illusion of reality was based on people not seeing the true actors and props but only their projections. My idea, on the other hand, is to have three layers of perception in which the actual scenario that creates the illusion is clearly visible and exposed and perhaps even open to interaction. 

The text in the video, is a reworking of the original, a selection, distillation, concentration. I aimed at something more incisive and yet ambivalent by taking out the superfluous. As the video unfolds, each word or phrase subsequent to the preceding ones changes the overall inferences. I want the words to remain maleable. Only at the end is the context alluded to.

The Lime Tree that looks over the studio: one of the elementals contributing to the making of the video

The elemental characters that went into the making of the video remind me of creation myths in an almost Miltonian sense. I avoid icons of or references to the human world. All that I leave is a sense of imputed volition. It is my way of saying that anthropomorphism is a emergent property of who and what we are, seeing the world in our own image. This is a key element of creation myths in contrast with evolutionary theory. Even in the case of the latter, scientists use teleological language as shortcuts for what would otherwise be very lengthy explanations. A simple example is the phrase, ‘evolving towards’. This assumes a direction or goal, something that is counter to the contingent nature of evolutionary processes; a trap we fall into when describing non goal orientated natural phenomena, because we see things with hind sight as though they were leading to some predetermined goal.

Another notion I wanted to imbue the video with is the sense of things continuing ad infinitum even when one is no longer there: an intimation of eternity. This is something I may work on in the future although it has been done numerous times in different ways. The relentlessness I wanted to give the work is part of its possibly dark interpretation; the soundtrack plays an important role in this. At the end I counterpoise this sense of unrelenting descent with the partial revealing of the context at the end: the open, fresh, natural phenomena used to create spontaneously a dark vision. Sun, wind, tree, clay and water: elements often appearing in creation myths conspiring to weave the ‘horror of creation’, as Ted Hughes might put it, or the dissolution of paradise in a Miltonian world where truth is subverted by lies.1

 

  1. from Crow Alights []

Skype Chat 8: Elusive Taxonomies 2

This post was finished over a week after the session.

Last week the discussion ranged over the classification and categorisation of art practices with particular reference to digital means. This week the discussion extended to the relationship between the digital and the non-digital and how the perceived gap might affect practitioners and how they approach their work. One of the main points of discussion was whether working in the digital environment was any different to what could be called more physical ways of working. 

An idea brought up by Jonathan, citing G. Fifield, was a ‘friction-less and gravity-free’ space with respect to digital tools such as Photoshop. The reference comes from the 1990s and things have moved on almost unrecognisably. However, the notion of friction is interesting being as it is, a physical one but it could also indicate an abstract, conceptual form of resistance. In fact, I have worked extensively with the mouse as a tool for drawing. I have chosen this way of working when making digital drawings, eschewing the tablet and stylus for the very reason that the notion of friction articulates very well. What do I mean by this ?

I feel that the computer seduces us with its perfect lines and even surfaces and gradients. The vision of perfection it offers is not only commonplace now but relatively easy to achieve, offering little resistance with a modicum of skills. However, there is a caveat to this that Jonathan proposed later: that the aesthetic outcome is very much dictated by the parameters set by the software used whether it be by Adobe or any other company. The digital imposes a style or aesthetic that is hard to release oneself from.

Drawing with the mouse has a resistance to the perfect line and form because of the way it works: not being under one’s total control, it can be a little temperamental. This creates a physical and ‘virtual’ friction or resistance to the process both on the surface on which the mouse moves and the screen. A space is formed by the tension between perfection and imperfection. Here the imagination can dwell with contingent outcomes: the endeavour towards perfection by imperfect means is often delicious. 

Another area of discussion was that of aura, with Walter Benjamin’s 1936 essay, The Work of Art in the Age of Mechanical Reproduction. This is a very wide field of discussion that has personal, psychological, religious and political implications. Jonathan proposes that Benjamin is a starting point from issues of reproduction towards new forms of production and there is a debate about notions of ‘real’ and ‘virtual’, ‘simulation’ moving towards ‘substitution’. This is in fact a form of sublation and something I am working on with regard to a video and live performance work requiring very careful scripting and timing. This opened the debate on simulation and the nature of what is real and what is not. I think the idea of authentic comes into this as does original. These are perhaps best described as notions, as most qualitative descriptors are. Any definition is vulnerable to the deformation by subjective view points and conversely any rigidity too readily turns into dogma. I think the best thing is to remain open to change but be clear about what is changing. 

We ended the session by considering some further terms that are useful when describing how a work comes about. Words that come from a variety of sources, from semiotic theory to acoustics, from physics and chemistry to sociology, words such as: filtering, curating, signalling, amplifying, merging. Being all gerunds, they denote action whereas others such as hybrid, score, script and remix are adjectival. Grammar is a wonderful thing, how a word can be transformed from doing to being to inferring. I could describe my work as a hybridisation in which ideas are scripted and encoded as a means of signalling amplified filters of perception. This sounds grand but without content meaningless. They can only help to articulate what is already there to express. The two go hand in hand. Thinking of what one has to say and how to say it are inseparable when using words; the same goes for any other medium.

Coming back to something I mentioned earlier, the final word by Jonathan was regarding the digital: that artists appear to be well placed to do some of the work in ‘revealing the ideology baked into code’, (whether financial, aesthetic, social, etc). 

A Seal and Its Significance

 

I know that anonymity is the ultimate fate of everyone; after all, what is in a name?

Achilles in Homer’s Iliad, gave up his life for glory so no one would forget his name but whoever he might have been, what we remember is the name, not the man. A name transcends a person and becomes their mythology, symbol or archetype. Film actors take on a screen name, their name supersedes them and their reality. But that is not the person, the name is a mask that may continue after death, subject to the twists and turns of fame or infamy. Why would anyone think that to be famous after their time means anything at all? Perhaps because like many other human characteristics such as, looking for pattern and meaning and finding probability counterintuitive, we are hardwired to do so: it is a survival strategy handed down through our genes.

What would be the corollary of not being programmed in this way? There are those that think that if we did not perceive pattern, we would not see the symmetrical tiger in the undergrowth or the round fruit in the trees. In short we would starve or be eaten, not a very good way for an organism to survive to reproductive age and pass on their genes. In the case of probability, that is more complex but it could be summed as, calculating the probability of something happening requires a developed use of mathematics and insight into empiricism: ask that of our innumerate ancestors. Certainty is not something we can count or calculate, we go by experience and experience is something that is learnt or is baked into our inherited make up by natural selection. This could go some way to explain superstitions such as not walking under a ladder which are often about perceiving danger. Such ideas come without a critical analysis of cause and effect but do have a certain logic. However it is good to remember in such cases the statisticians’ mantra, ‘correlation is not causation’. We would do well to remember this when discussing politics but I digress. 

Artist have not always signed their work. For much of history, and still today around the world, many makers leave what they do unmarked. During the Middle Ages in Europe, masons would carve a cryptic mark on the part of a building they were particularly proud of. These would have been recognised by only the very few in what was a form of professional branding and most remain undeciphered. It is not until the Renaissance that we see artist signing their work. Michelangelo famously signed the Pieta  but regretted his vanity and swore never to do so again. He was driven by the fact that the sculpture was being attributed to others such as Il Gobbo (Cristoforo Solàrio) from Milan. The reason for and spirit in which a work is signed or left anonymous varies from artist to artist. Van Gogh signed his paintings Vincent as a way of putting distance between his hard won freedom of expression and his earlier repressive family life that he sought to reason with in vain. Pablo Ruiz Picasso chose his mother’s maiden name to make himself independent of his father who had taught him in his early years. The reason for signing a work can be deeply personal or as we witness by the branding that takes place in many galleries, auctions houses and museums of today, an attempt at creating celebrity more often than not underpinned by a hardnosed commercial imperative.

Most, if not all, want to make a difference, to mark this earth with their tread whether in a small unseen way or visible to all. It is a desire that intimates a form of fleeting immortality. I have always found it difficult to sign my work with a name. I find it disruptive and intrusive of myself and the work. I have found myself doing it in an as inconspicuous way as possible. Initials seem less intrusive but are also more cryptic and far less specific, whereas marking a work with a seal is something else. It is closer to the masons mark. I adopted this practice not so long ago, every so often making a new seal when I have felt the time was right. By making this mark I feel comfortable to follow it with initials or a name and date. It is about saying, ‘I have changed this from what it was’, it is about me, not my name. And after all, a name is given whereas a mark is what you give yourself. Coming back to what I said earlier, perhaps this is why an actor is happy to assume a new identity, it is their identity as well as a way of separating their private from public life. 

The seal above is the latest carved for the period of the MA. The design was not predestined, it emerged as I worked with the tiny piece of boxwood. In fact, this was the fourth attempt; I had never cut curves on this scale using crude tools. I liken it to drawing with a mouse: the slight recalcitrance of the tools reduces control. The tension between what is sought for and the outcome opens a space where something else can arise. Neither before nor during its making, could I say what the design represented if anything. However, I sensed that it had some sort of meaning, following the radial symmetry of my previous work. There is little that cannot be given a meaning again coming back to an earlier point about pattern and meaning; working a priori to any thesis can give rise to hidden ideas when analysed later. In this case I find that the pattern generated speaks to me of different elements mixing, merging, assimilating, hybridising. This after all is what I am attempting during these two years. There is also a breaking from symmetry which continues something I began since Chaos Contained.

Where does this leave the signing of work and authorship in the digital sphere? This is a complex issue regarding a medium that is connective and infinitely distributable. It is changing the way we look at authorship and copyright. There are those that would place restrictive bounds on what can and cannot be accessed or used, there are others that open out all code to everyone. There are those that hard bake their mark in the code and there are others that realising the futility of practical ownership of digital information ask for accreditation and little more. Then there are artists who, in a time honoured tradition, restrict their output by creating limited editions and destroying the matrix. Putting a high price on these CDs, flash drives or what have you, and restricting access to these works is in my mind a mirage in the eyes of those that believe it to be a true representation of value, at least in the short term. With changing values and obsolescence only time will tell what happens to the way digital works are perceived. Perhaps they will become cyber archaeology, as anonymous as the vases, statues and artefacts we wonder at in museums. This brings to mind, Walter M. Miller’s A Canticle for Liebovitz . This may be a topic I return to later as it has implications on what artists do today. 

 

Mythopoiea and Metamorphosis

Emperor and Four Ways of Being Inspired

Mythopoeia is the act of making myths. Today it takes its meaning from the title of a poem from J. R. R. Tolkien in his book the Tree and Leaf. His work takes from many strands and weaves them into his epic sagas, something I can relate to. The word today takes its contemporary meaning from his work as a genre of fiction that merges archetypes with traditional mythological themes.

My proposal is the beginnings of a myth expressed in primarily visual and sonic form. As I hinted in What is the Character of a Myth, I am not looking to create character and plot based narratives like the Lord of the Rings or Game of Thrones. These are tightly composed works. My idea is more open in interpretation and focuses on mechanisms. 

It has taken a term to get to the point where I have finally found the overarching theme of the project proposal. With hindsight, I was heading this way all along but things are rarely that obvious when attempting to elaborate something new, that is cohesive, within a complex ecology of ideas. In the group session earlier this week, Jonathan introduced the idea of mixing, merging, hybridising, editing, scripting and scoring. This is pretty well what I have been doing as well as filtering, curating, and amplifying disparate ideas which somehow held together in my mind. 

In the post What is the Character of a Myth I looked at myth, not as characterisation but process. This led me to focus on underlying processes which are applicable to a variety of narratives. What underlies all creation myths and cosmogonies is change. This change can be gradual or catastrophic. For example, punctuated evolution proposes long periods of relative stasis in species evolution punctuated by brief periods of radical change, as opposed to the gradual changes that occur in classical Darwinism. Equally, the Garden of Eden in Genesis is a story of catastrophic change, with the expulsion of Adam and Eve and the disappearance of Eden things change radically after which things slow down, gradually moving towards a society, in which Jehovah destroys the world in a cataclysmic flood in readiness for a new beginning. 

There may be little in common between these two timelines, but one thing is shared by both, change. It is fundamental in all cosmogonies whether scientific or faith-based. And what is the nature of this change? Metamorphosis. This may be a transformation of form, relationship, organisation or, as in many myths, from the divine to the mortal after which we enter into the territory of folklore.

Metamorphosis can be intra-organismal within a single lifetime, as in the case of the frog or the butterfly or over longer periods of time in the evolution of species. Metamorphosis can be the process of making a mortal eternal, as in Ovid’s Metamorphoses or whole belief systems can undergo fundamental change, as described by Robert Graves’ The White Goddess. History shows us how metamorphoses within societies, revolution, war, disease, commerce, technology, and everyday politics, leading to radical changes in the way people live. Metamorphosis is the essence of existence, process.

What I find interesting is that metamorphosis is a concept that applies to so many of the ideas that interest me and is at the core of artistic transformations: taking matter or concept and altering its properties to give rise to something new: from the metamorphosis of clay into fired stone to that of manipulated sound, to the evolution of ideas. I can see this as a rich seam beginning to be uncovered for mining when it comes to the Research Statement. 

And what is the relevance to the contemporary world? We live in a world undergoing great change at all levels of society and in the very fabric of our environment. This time of great change now called the Anthropocene, has profound implications for us all and more so for future generations. Expressing them in ways that connect with origins and their past transformations gives continuity to our world and meaning to the future, reminding us of what is at stake.

 

Project Proposal Renewed

Parallel Universe

Identifying a clear pathway for composing the project proposal has not been an easy thing to do. With many influences and ideas, and a continually changing vision, the victim has been coherency. But then I did state my awareness of this in my first symposium and project proposal. Coherency of vision is a necessary element in my practice. This does not mean having a fixed stance or perspective but rather a clear understanding of the formal and conceptual elements with which I am working. I made a small break through documented in a recent post followed this morning by a subsequent one which has had a profound impact on my project proposal.

I have experienced difficulty in putting together a sufficiently clear narrative that could precipitate the relevant key elements of a Project Proposal. This was due in large part to the piecemeal way in which I added ideas on my PP Sandbox and never really confronted this confusion. But then, confusion often preceeds clear thinking. What I did, was to create a narrative, in conversation with Janet, that brought together different elements of what I have been thinking. Relating this sequentially, placing cause before effect, I was able to put forward an argument that on reflection clarified my thinking. Undergoing a pruning of ideas, my mind opened out to a new vista which did not reject what I have done before but prioritised thinking: an example of the cyclical nature of artistic practice evolving from a source core. The nature of the project proposal does tend to mitigate against long narratives, concentrating the mind and avoiding cluttered thinking.

I wrote down the narrative and extracted its key elements. These have formed the contextual part of the proposal forming a flexible framework open to change, adaptation, development, innovation, pruning and lateral thinking. The narrative is relatively crude but serves its purpose. I am developing it in an external document for possible inclusion in this blog at a later date. Once this narrative was put down, the title presented itself effortlessly together with aims and objects. Organising ideas in a prose narrative form has helped me in creating an outline applicable to the proposal. In my mind, if I consider the headings’ contents, such as the title, context, outcomes etc, as details, then the overarching narrative becomes the large scale structure. I have almost always followed the axiom when making a work, ‘deal with the large scale things first and the details will fall into place’.1 I now have a flexible, overarching framework and can now get on with making with a purpose: the thing I have been seeking this term, a search documented in this journal.

 

  1. This is a paraphrasing of a universal principle clearly articulated in, The Art of Landscape Painting in Oil Colour by the C19th painter, Alfred East. Alexander Cozens the C18th watercolourist also demonstrated this principle more than one hundred years earlier in his pamphlet A New Method of Assisting the Invention in Drawing Original Compositions of Landscape. []

What is the Character of a Myth?

I have been thinking for some time about the fact that mythical protagonists are almost always animal, human or both. At times, natural phenomena may come together to give rise to cyclopean offspring as in early Greek mythology or Polynesian tales. These unions tend to occur at the beginning of time after which, almost invariably the main characters behave in a human-like fashion whatever they might be. Much has been written about what stands for what and how, whether crossing between the spiritual and real world, creating the world or giving rise to what takes place in ordinary life. However, what about the mechanisms? These are often left to the explanation, the reading of the myth, the hermeneutics of scholars. Take the garden of Eden for instance, it has been given many meanings, from a literal reading of the Genesis text to cultural transitioning to psychoanalytical interpretations. Whatever the case might be, it is difficult to get away from focusing on the characterisation of ideas through theriomorphism or anthropomorphism.

But what if I were to focus, not on characters but mechanisms? Even in Big History, a contemporary explanation – some would say a modern myth – for how the world came to be and how life emerged on this planet, we are compelled to look at the ancestral fossil record and visualise evolution as a series of animal and plant transformations. But there are deeper principles at work than, as in this case, hyperlapses from one body form to another. I feel that to solely concentrate on characterisation might be somewhat trite and predictable; what if I were to explore the mechanisms that drive myths? What if I were to create works that act as representations, metaphors, analogies or some other trope of these mechanisms? This would free me from the usual narratives, from having to contextualise in a forced manner, from fixing the ideas in a temporal locus. These ideas are timeless, without boundaries; they are not confined to any given period. By releasing my thinking from structuralist or post-structuralist constraints, from period context, from contemporary fashions, the relevance of the ideas embodied in myths might become self-evidently natural rather than contrivance. 

This is not an easy thing to do. It is a way of creating an alchemical admixture of ideas and material form: I hope not too obscure. I shall not speak of these mechanism yet. I need to think more clearly, allowing the idea to walk hand in hand with the making: the concept with the affect and aesthetic.

Image above: Theriomorph. fired clay, height 94 mm

Breakthrough from the Simplest Source

Today I started working on another branch of my project using old sound files I have recorded over the years. This proved rather frustrating and the results were disappointing. I took a walk with Janet where we discussed this temporary impasse. The problem seems to come down to using pre-existing files for new work. It is like trying to fit a round peg in a square hole, to use an overused metaphor. But why should this be? Perhaps it is because the old files were created in different contexts and with end points in mind that do not correspond with my current aims. These two reasons seem true enough. However, I also felt that what I was doing was tiresome, jaded. It emerges that simply put, the sound files are not fresh. They have to be recorded or made in process, why? Because that way I am close to the source, in its own environment, sensible to its meaning, affected by what I see, hear, smell, feel and touch. 

I recorded a sample from a simple domestic source and low and behold, I was able to work effortlessly, manipulate the sound waves, and create with the utmost simplicity something that I can work with. The result is something I can build on; create an archive of sounds with which to compose. There is also another important principle at work here that is relevant to the project. From simple, everyday phenomena, readily at hand, an entire world can be created without sophisticated processes. Myths are created not just from the unusual and spectacular but from the everyday, humble things that surround us. So this is what I will be working on over the next few days amongst other things: build a narrative in sound that runs parallel with the more tactile and visual processes. Whether the two modalities come together is still an open question. This I suspect will be the direction of the Research Statement assignment later next year: the relationship between sound and sculpture. 

Skype Chat 7: Elusive Taxonomies

This week the conversation was lively and went over various themes relating to classification of art forms. The elusive elements in defining mediums, methodologies and thematics in art, itself a difficult term to delineate in the contemporary context, to my mind are in themselves of little use to the artist… or perhaps very useful. Now, which is it? Taxonomy in the arts can certainly be seen as divisive way of classifying what an artist does… for the artist. However, as in most things, the reality is somewhat more nuanced. For what is a taxonomy other than a means of ordering according to type and hierarchy classes of related things? We all need to order and prioritise our thoughts, and there lies the paradox. To do so in the private sphere of one’s own practice is quite a different thing to how taxonomy is used in the public arena.

There is an element of practicability when it comes to categorising art forms to give an idea of what someone is going to experience when visiting a venue or dedicating time on screen or audio. However, the recent loosening of artistic paradigms and breaking of barriers combined with a (natural some would say) need for people to identify and subsequently classify in terms of type and hierarchy has, to my mind, led to a confusion and profusion of terms more granular than ever before. With the emancipation of artists in the C19th and the growth of private middleclass patronage and galleries, the mediatory phenomenon of the critic emerged. Critics began describing different art forms with epithets such as, impressionism in France and I Macchiaoli  in Italy, often without understanding the artists’ intentions and at times derogative in the first instance as in the case of the latter. Eventually artists in the C20th, seeing the marketing power of such nomenclature and affiliations,  began denoting themselves as belonging to or having invented this ism or that. Giving name to the different styles that arose, as artists felt freed from the constraints of academism, created a many headed hydra that has metamorphosed into contemporary terms which have proliferated as interested groups have clamoured to delineate their own boundaries, often in an attempt to give themselves prominence. Does this serve the artist, or more precisely does it serve an artist’s self actualisation? I believe that it may serve artists in a worldly, status or commercial sense but whether it serves the majority of artists in terms of self actualisation barring the lucky few, I think not.

So who does this benefit? I feel that the atomisation of the arts has been propagated by artists themselves in conjunction with the pressures of commerce and status, although I do not think they are wholly responsible for the consequences and often fall victims of forces far greater than themselves. It is a paradox of the art establishment that no harder do some try to blur boundaries and foster interdisciplinary ideas, others create borders by defining their turf and defending it like crabs on quickly submerging islands built of sand. This is partly due to the academisation of the arts, in a way not too dissimilar to what happened to academic art in the C19th, but this is a discussion for another time. It is also a phenomenon effected by the market and the commoditisation of the arts despite anti-commodatisation movements. Museums, databases, arts organisations, education institutes, competitions, curators are all tied into this system of categorisation (see this table, a small sample of the variety, some would say confusion, certainly fluidity in just one sector of the contemporary artistic environment – link). Although understandable, it has led to a form of schizophrenia for artists. How do I describe myself, how do I fit into this particular taxonomy relating to this particular context? This is further exacerbated because for an artist to move from one domain to another can present other problems, often generated by the ‘turf’ syndrome mentioned earlier. Unless they are resolutely independent, outsider artists could fall into this category, practitioners can find themselves constrained to responding in terms of what others expect. This can lead to a diminished self actualisation in terms of the practice and place an onerous weight on finding success in other terms such as fame and wealth, one could say power. 

Are there any advantages to identifying methodologies, modalities, means and contexts in an atomised environment? Having said all that I have, as an artist I do find that classifications can be useful for the critical analysis of my own practice. Identifying labels for what I do has at times altered perspectives and introduced language that has helped me clarify ideas. At other times, usually in response to outside demands, the result has been restrictive and sterilising. Aware of this latter consequence combined with the former, the result has been a clearer articulation of what I am about: knowing what not to say as much as what to say, all part of developing communication within my own internal dialogue as much as with others. Language can divide ideas but it can also unify them. A word such as performative can be applied to the act of painting and ballet, the placing of sculptural elements and the making of music. This opens up a whole world to holistic, lateral thinking: turn something on its head and new thoughts will come out. It keeps me on my toes with regard to semantics and enables me to play with ideas as abstract and realised.  

So elusive taxonomies in themselves are neutral and as all words, labels by which we can respond to, build, and order a world (view). They can be used positively as well as in a pernicious way. But this is the way with all human activities. Something can be a force for good or quite the opposite. Perhaps the thing is that responsibility does not lie in the thing itself but in those that use it. 

 

 

Oracle: Maquette 3 – End of a Phase

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

 

When evolving an idea, there comes a time for leaving the process to the subconscious; to open it out to other influences and make new connections: this takes time. I remember when taking my physics A level at school, the best strategy for solving a particularly difficult problem was to read what was needed, identify the equations and methodology, understand the variables, try a few things out and then sleep on it. Perhaps the next day or a little later, the solution would present itself as though the most natural of outcomes. I am not saying that solving a physics question is comparable to producing a work of art. I only mention this because the mind continues working in the most wonderful ways while we are distracted elsewhere. By going to sleep on a problem, we dream and see things from different perspectives in different contexts. This enables solutions to arise that would otherwise be constrained by fixed thinking. My attention is now turning to sound, relics, shadows and other things. I leave this particular part of the project in a place where, of its own account, it can respond to different ideas and methodologies and await a refreshed return.  

 

 

Fall

You divide me, so that I might know which way is light and when to face away. You give me one side and so another that I might know which way to turn and with this gift: a centre for the back and forth, a dim picture of the world so smell and distance no longer the only place where I am and I am hollow: forced to follow hunger for the other and that drives and bestows dull fear that moves me to and fro along the edge. I pierce the horizon and still must eat and hide but as a growing pain that weighs on my breath, pushes from outside my skin, I leave my mother’s liquid, sprout and walk about, deeper into different worlds and lift above and shovel earth yet this journey that has no end; always changing and with this change a distant sense of wanting always with me takes another’s shape, now warm, with me rejoining that which cleaved before me long ago and as it does so my sight turns inwards. Inside the world shapes new forms, and places I cannot see or touch but know that they are there. I feel the cold and heat and sweat and become knowing of a fear that no longer makes me run but ask for reason. Yet I continue, tear and gnaw, be ripped apart in turn until I grasp that stone or stick or clench my fist and strike with all my life imbued over countless ages, countless times, and scream and shout. And in that moment call and word is formed together with the why as I see my neighbour die. And now I make, and history with it on walls and rocks and trees to tell of my death and how my birth was done, and the reason why, we all must die.

Relic and Ritual

 

 

The first maquette for ‘Oracle’ dried and broke up. Removing the wire armature broke the pieces further. Recycling the remnants of the idea, composting them for future use is the usual way. Early humans buried their dead. Where lay the transition point from composting to burial? Humans have thought that somehow the preservation of the body allows it to transition to another domain and built myths and religions on this notion. The idea embodied by the maquette has moved on and evolved into something different. To ritually preserve its remnants is to keep the idea alive for transitioning. From clay to clay: each iteration encased may foster an evolution towards something else. 

The box is made carefully with attention to detail: it is imperfect, rough, not quite symmetrical; housing incompleteness, impermanence, transition, and the now absence of what was. Wabi sabi  is the embodiment of such ideas. Much of what I have done corresponds with this aesthetic principle, particularly in the case of small works. Subtlety and contemplation are rewarded with a sense of understanding the world in a profound way. The ritual of preserving the maquettes, time consuming, onerous, is a ritual that builds significance. The Confucian idea of ritual through deliberate action and repetition, turns the practical into symbolic action, into physical reality, back to idea into action. If an idea is conserved, it remains alive, if it is alive, it has potential, if it has potential, it can metamorphose. This is one way of my moving forward with what I consider an ambitious project. 

I can see how this approach is endlessly expandable and scalable. But would that go far enough in my view? I think not, it would be to alight on one of the first ideas and stay there. That is not the purpose of this exercise which is about deepening and connecting rather than producing in the first instance. However, having said that, I intend to make each stage a document in the journey towards new work.

Moon walk

 

The moon broke free last night. Leaving the earth she hurtled towards the sun leaving pieces of her behind as trees reached out to pull her back by her wake and got their fingers scorched by the sun who gloated, and sunk behind a blackened horizon. Finding herself free of all things, the moon lost interest and decided to drift, like a lover, content with her waxing belly, as men sent shiny rockets full of tiny people vertically, past the trees and past the moon, their roars swallowed by the immense distance, turned to comets. The earth in its shyness turned over and waited for the grubs to wake the soil.

 

A Cyclic Return

 

Two days ago I received a copy of Ted Hughes Crow: From the Life and Songs of the Crow together with a copy of Lupercal, an earlier set of poems. Last night I read an essay about Crow  by Danny O’Connor and it all came flooding back. Years ago I completed a cycle of paintings called Traces of Life. shown in Italy and in London and one of the paintings entitled The Horror of Creation was inspired by Hawk Alights, particularly the following words:

Crow saw the herded ountains, steaming in the morning
And he saw the sea,
Dark-spined, with the whole earth in its coils,
He saw the stars summing away into the black, mushrooms of the nothings forest, clouding their spores, the virus of God.
And he shivered with the horror of Creation.

The Crow cycle of poems is an ambitious text that rewrites the Creation in Genesis and places the eponymous Crow at the centre as a trickster prefiguring Satan and Christ. Crow, observes, frustrates and subverts a God’s less than omnipotent and omniscient attempts at making and intervening in the world. Hughe’s challenges the concept of God portrayed in the Abrahamic religions and how this creation has gone awry. Like John Milton’s Paradise Lost, the poetry is full of allusions that are magisterially crafted in such a way that the deep seated meaning is clear but needing careful unveiling. However, Hughes’ at times fragmented narrative is reminiscent of the theatre of the absurd and comic strip characterisation – comics together with folk tales were a great influence on Hughes together with the grim realities of farm life in the North of England. The logic is hard to understand on first reading, and here is where this great work distinguishes itself, it contains a deep logic and understanding of what the poet is doing notwithstanding its apparent absurdness. However, Unlike Milton, Hughes’ is not an interpretation of the sacred text but rather a critique and extension of the holy narrative fuelled by what he experiences and sees all around him. 

Reading Crow brings together once again, many of the strands that run through my work: the separation of the human psyche from nature, the arrogance of anthropocentrism, the denial of the animal part of being human, our origins in and our continuation of a long cycle of transformation and traversal from microbe to what we are now, how language has been used to control knowledge and manipulate behaviour. Could humanity have become the trickster, deceiving itself from the reality of who we are and what we are? Many of these ideas are explored in Robert Graves, The White Goddess, and Kraft Von Maltzahn’s, Nature as Landscape, studies in the history of poetry and science respectively. Both books review cultural transformations through the ages, not always progressive in terms of quality of life.  This does not mean that I would have preferred (as if I had had a choice) to have lived in another time. There are countless things about our age that shine as outstanding human achievements. However, the Twentieth Century also looms as a dark cloud over our history both in scale and wanton stupidity, something the trickster, be he man, be she woman, be we the mass of humans, is only too happy to help forget any lessons that have arisen. 

So where does this put me with respect to my current work and project proposal? I can see how what I have thought and done so far fit together and more importantly, how plans and conjectures can now change trajectory. There is a central core that is gradually being defined, creating a gravitational pull towards it. A path is being cleared towards something more encompassing, relevant and consistent. Creation myths from around the world also come into the picture for their differences as well as their similarities to one another. Another aspect of interest is the relationship between the linear and circular chronologies of Western and Asian beliefs; there is a little bit of each in both. 

Oracle: Maquette 2

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

Not everything has to have a reason. As I work, an internal dialogue continually debates, interrogates, plays the devil’s advocate: what is this for, is this more effective, where will you go from here? At times I need to cover my ears from these voices that stop me from travelling to, I do not know where. The place does not matter in the doing, but here lies the rub, how do I mark the path by which I have sleep-walked to this clearing in the fog of work? Experience follows me on the trail to a new place, it is she that leaves the marks on the walls of the maze I have wandered into. The journey made familiar, I can follow my way back without minding the why. I need to find my way back, because I cannot stay where I am and sometime I might want to return.

Not everything has to have a reason. Only on the return journey might I encounter the why of something I did. Moments after, or years, unencumbered by thoughts of purpose, ideas that once were awkward come together and show me a different place, the significance of peculiar details. Details in a myth built from once cloven thoughts rejoined. These maquettes are such confections, wrought to be returned to dust, their image grasped with camera and pencil as they dry and crack and crumble before me, they become the memory that builds the life of the idea. Accreting to one another their weight is felt inside me, and the work is done under their gravity, reflection having been done so that feeling and understanding cause the motion and my mind moves to the next place I do not know where or for what reason.

 

Skype Chat 6: Coding

Yesterday we were introduced to the intricacies of coding in java, by Paul Abbott, with a little html and css thrown in just for fun. It was difficult to follow at times, particularly juggling four different windows at one time, thank heavens for a large screen. It felt like having to catch four piglets and trying to put them into a shallow basket… with boxing gloves. However, I survived and took away some valuable ideas that will help me, particularly when I look at the video recording of the session again. These notions can be summarised in a very cursory way as:

  • Types of coded information are kept in discrete blocks.
  • One block of information tells another what to do and the different functions and variables in each one has to correspond to those in another block.
  • The process is like constructing a flow chart in your head. For that matter, drawing a flow chart when planning code is not such a bad idea. 
  • Brackets hold different types of information.
  • The syntax of the code has to be precise.
  • Practice by copying and pasting existing code and alter one parameter at a time and see what happens. Make sure all corresponding parts match one another. 
  • It is no good just reading about code, you have to do it as you go along to understand anything at all. 

I do not know how relevant coding is to my practice. It is immensely satisfying, though, when a piece of code works. I know from my scant experience with html and css. However, it is a totally different language and I struggle enough with words. So, although I may tinker with some code and perhaps even build a rudimentary something for the internet, I think I shall leave this one to those better suited for this activity. One thing, as Paul mentioned, it does help when you can converse in the same language with someone if you need something doing or collaborating on a given project.

Oracle: Maquette 1

 

Studies: graphite on paper, 316 x 237 mm. From the maquette

Today I made the first maquette for the work I am currently calling Oracle.  It is a continuation of the sketches in Drawings 1 and Drawings 2 in unfired clay and metal wires. Although the final intention is quite the reverse, I am thinking about how language is digested and deconstructed through the alimentary canal of human behaviour. Starting as incoherent noises a comprehensible message emerges at the other end. The Oracles of ancient Greece and Rome worked on this principle and functioned as political spin, from the personal and local to the national and imperial, ambivalence and ambiguity almost always the mode of interpretation. Has it ever been any different for those in power, regarding today’s politics? Is this not what religions do when interpreting the numinous in a bid to acquire and keep hold of power? Take an unexplained phenomenon and make of it what you will.

However, as I mentioned at the start, this work is intended to reverse the process: converting a comprehensible message into an incomprehensible babble in real time. Words are deconstructed as in a form of Chinese whispers from the initial utterance to a final noise. Along the way different iterations of this deconstruction are audible adding to the confusion… all in real time. Is this not what happens to what is said as it passes down and away from its source? This is at the heart of the process of collective assimilation of individual attempts to communicate. 

The maquette is already cracking and breaking up. It disintegrates as do so many thoughts that need be transcribed into a more durable form for retrospection and reflection. This disintegration is part of the cycle of things… I envisage the sculpture being held up by iron rods and suspended from above with iron wires. I can use other materials as I look into different configurations while I research the sonic component. But the things is to always start with what is at hand: plaster, air drying clay, paper mache, metal, stone are all considerations. Eventually I shall make a more permanent scale model to resolve difficulties in making and installation; I am sure that new ideas and solutions will meet me along the way. And as I work on this I will consider it holistically with the other works in mind. Language, myth, ritual, group, self, absence, disintegration, unification, permanence, transience…

As the maquette disintegrates, its container is made: the rests of an idea.

 

click on thumbnails to enlarge

Drawing 5: Ennoia

Studies: graphite on paper, 316 x 237 mm

I am drawing as a way of originating an idea. The word idea has its roots in the Greek Ennoia which literally means “act of thinking” as well as “form” and “the look of a thing”. Related to this is idein, Ancient Greek for “seeing in a creative manner”. How fitting it is that a drawing should be a creative way of seeing an idea: a visible manifestation of thinking. This is such a powerful tool for origination.

Images and words are starting to merge; not as equivalents but as different expressions of an emerging idea. My use of words follows drawing, as reflection on the act follows reflection in the action. This process is leading to ideas related to what I said at the start, that I see my practice as a stage on which a play of sorts is enacted. 

The narrative I alluded to in a previous post, started to emerge in drawing 4 and these sketches have crystallised this a little more, particularly in the context of drawing 3. I do not want to say too much at this stage; to keep the revealing in motion and not cut the process prematurely. The creature stands as I, on the threshold of something broad and unknown. Through this metaphor I have seen a glimpse of a transformative process leading to a collection of existential works. It is the origination of a personal mythology. 

 

Impetus

 

The worn graphite pencil glides to and fro searching form, trying to enter the flat surface bounded by the small parcel of paper. Changing faces, it deftly leaves a trace that grows careful not to mark the paper indelibly with a false word. Thought is suspended in the uncertainty of emergence, I keep quiet and let the form tell me what to do. I am in its embrace, as the pewter carbon slates off the point until, it asks me, what shall I do next? We are now partners in shaping this tiny world. For now it must be all the world, no distraction except for breath. Time does not count in this place, movement reckons change: too much and life is extinguished, too little and we are left wondering what if. Imperfections must be left behind; corrections will unravel all that has been done as lines coalesce into form, light and shade becoming sensible with words of recognition. And so the meaning passes onto me as I hear the other’s voice grow faint in this world. My hope is that it waits for me in the next.

Drawing 4: Some Sort of Story Starts to Emerge

Studies: graphite on paper, 237 x 316 mm

 

Today has been the darkest day of the season; rain and cloud but it is not cold. Does the weather influence work? It may do but what it most certainly does is influence mood and interpretation. If interpretation is part of the work, particularly in-action reflection, then the weather must in some way influence the work.

These sketches unlike the previous ones are more of a sequence than a series. It appears to me that one sketch led to another and that by the time I had reached the final vignettes a narrative had started to emerge. I really was not trying to create a narrative but it seems to have come about spontaneously. Is this because subconsciously I look for a narrative or is it that having completed the previous series of drawings, I am becoming more fluent and synthetic? Is it that I am linking the images despite myself?

I was not aware of any particular theme at the outset but during the course of the sketches, a familiar notion has started to show its face. 

Skype Chat 5: Unit 1 and Project Proposal

Today Jonathan talked about Unit 1 and the Project Proposal. 

Deadline for first PP is week 10, last week of this term.

Unit 1 Assessment Evidence

. 1  Project Proposal
. 2  Practice based research – this is my art practice – making the stuff
. 3  Reflective journal (blog)
. 4  A formal research submission: started in May

Top tip: small regular amounts better

Project Proposal

Word count:

not specified but around 1500 is suggested. It should be of use to me and easily referred to as a guiding post for future work. If too long it becomes cumbersome to read.

A living document

Constantly  changing, evolving, acting as a pathway from origins to destination at any given time.

Format

The PP can take any form so long as it is visible on the blog journal, easily found, and accessible.

It can be in any medium or format. For example, writing it on tablets of clay comes to mind or in Harvard style layout. It does not matter as long as it has the necessary content and can be viewed online.


Content

Working Title:

will change over time. It should say something about the work, perhaps state a hypothesis or research question

Aims and Objectives:

  • 2-3 aims max; more objectives
  • Aims give a reason; objectives state how
  • Aims are about destination; objectives how to get there
  • Try to avoid too much vagueness when stating aims: try to be specific.
  • What is the purpose for the research?
  • Mentioning mediums might be a good idea

Reverse the process by looking at the objectives first and then ask why you are doing them. Make work, reflect, aims become apparent.

By stating A & O helps make the work more intentional and promote in-action and on-action reflection.

Context:

  • historical, contemporary and theoretical contexts – other artists, thinkers, ideas. 
  • potentially a contribution of new knowledge.
  • e.g. historical and contemporary influences with regard to theoretical framework I am working in (thanks Pav)
  • demonstrate:
    • awareness of field I am working in
    • that proposed research will be distinctive and potentially original
    • form the basis for links with other research work you contribute to or build on

Methodology:

including action research, methods and reasons why those methods 

Outcomes:

will change over time; can illustrate with images, videos etc.

Work plan:

timetable – keep the next 2 to 3 weeks detailed, more general for weeks and months after.

Bibliography:

  • is additive;
  • in Harvard style;
  • includes sources planned for consultation (incentivises and acts as a check list for how things are going);
  • if list is long, can divide into sections for clarity;
  • bear in mind some references have a higher level of importance than others. 

Leaving Breadcrumbs and Getting Lost in the Process, Outcome and Acceptance

I am constantly leaving breadcrumbs as I wander through the forest.

The process of this MA is very much about that, process. I am willing to get lost in it as I search for a path towards finding new things and ways. I am consciously entering unchartered domains despite my having established a practice over the years. I feel to not have done so would have been complacent of me. Instead, I have elected to relearn. The drawings are emblematic of this, the way I feel about doing them is an acceptance of being in the process and allowing myself to get lost. It is also a return to origins, to what I did first. However, the point is that each time I explore and find new things I am in danger of getting lost to such an extent that to find my way out again might prove costly in terms of my relationship with my work. What I am in fact doing is looking to create small outcomes along the way, as in Post Truth Hurtling, and the drawings. These are sign posts I am planting as I map unknown territories. Each marker keeps me located and the path taken made retraceable. That is one purpose for keeping a journal. To keep everything in the head is not good for my own sanity: the exploration may be conceptual in nature but the outcome is the concrete ballast that keeps me from capsizing against the storm of ideas that I face. 

Drawing Studies 3

Studies: graphite on paper, 237 x 316 mm

These rough sketches are a change of stance from the previous drawings, approaching the idea called for now ‘Oracle’. Exploring the inside and out of an imaginary prototype, I inhabit the space. This is not an aesthetic exercise in drawing, neither is it a testing ground for the work. It is more of an immersion into the idea, to understand where its physical form comes from. It lives in a landscape but is trapped in the context in which it is found: should be in a desert but it must sit in a room, an exhibit collected and appropriated from the imagination and displayed… for now. It is small yet pyramid-like in conception, is it to be simple or ornate? Is it a temple or a receptacle for sound; the Holy of Holies or a profane Pandora’s box; a landscape contained in the sounds that enters it, sounds processed and altered as a message must be arranged and packaged for its destination


It is now evening and having thought about the work’s geographical limitation, the idea has come to me that, although contained and relatively small, the sculpture can contain the world. Instead of the microphones collecting the sound being located within the same space, they could transmit from anywhere that they might be placed. The sculpture is then no longer limited to its location but it can encompass the world… or at least a greater part of it than before. 

Drawing Studies 2: The Simplicity

Studies: graphite on paper, 237 x 316 mm

Today I drew another set of studies.  It really is an exploratory activity and a reacquaintance with drawing. The images do not conform to the ideas I have for project work but I am glad for that. Breaking away from the constraint of a predetermined outcome fills me with a sense of freedom and renewal; what I talked about in my first post, Elastic Thinking, Synthesis and Renewal. It is in the true spirit of the MA. From these studies something may come but come what may, the thing itself seems to be what matters. The action, the thought, what it might lead to, give me the same feeling I had when I first started years ago. This happens from time to time but for it to happen now is wonderful. 

As I draw I think. I think about what I am doing and how it can be done better. I am learning rapidly as it comes back to me compounded by what I have learnt and experienced along the way. These small sketches represent much more than what they are in themselves. 

As part of my brain focuses on the technical activity, another part nudges me into feeling my way, sensing the concept and translating it into a language expressed in pressure, sense of space, distance and closeness, weight, light, volume. These are all empirical technical aspects. There is also another part of my brain that is released and wanders and thinks of other things. Reflection on the doing and reflection on the reflection. 

I like the way that all this is achievable with the simplest of tools. A block of toothy paper and two graphite pencils. Is this not the simplicity with which artist worked before? From Lascaux to Phidias, Michelangelo to Ingres, Picasso to Moore. The most exquisite work was done with simple tools and materials. How does this compare with digital media? Is the digital another freedom or is it a self imposed exile into consumerism? I have drawn with digital media and found it a rewarding exercise but more for the outcome than process. The smooth layers, the faultless line, edges that leave no ambiguity. It is indeed very seductive and aesthetic. I have rationalised it and it appears valid. But I ask myself, have we become so accustomed to perfection that we are in danger of losing sight of what human creativity is and where it comes from? Is the machine to be the paradigm by which we measure and are measured and origins lost in time and made irrelevant? So many questions come to mind offering contradictory views it is overwhelming. For now I shall continue building this small, simple, limitless world and see what happens.

 

Drawing Study 1: A Friend Revisited


Studies: graphite on paper, 237 x 316 mm

Yesterday I began drawing once again; I have not done so for its own sake for what seems a very long time. The pencil is so incisive and yet so gentle, like no other medium. Graphite slides off the point in response to my decisiveness, tentativeness, hesitation and insistence. It does not lie, it is an analytical instrument that exposes thoughts and my ability to portray them. Its limits are my own. Its freedom is my own. It veils and discloses, it explicates and it confounds. 

I shall draw continuously as a means of asking questions and finding answers. These preliminary sketches are the start of an exploration intended to bring forth ideas for some of the works I have in mind. Particularly what I call for now, Oracle and Sculpture Waiting for Meaning. But the story does not end there. Drawing opens up a world of meaning that is not there in writing. Both writing and drawing are means of externalising thoughts and feelings; they inhabit different realms limited by their own modes of expression and powers to imply. By drawing I recognise my own limitations and constraints which heightens a sense and understanding of freedom.

Tutorial 1: 01 November 2018. Jonathan Kearney

My first tutorial with Jonathan was a far ranging exploration of my practice and how to develop ideas currently in formation. It has taken me a while to assimilate the conversation and for the sake of my own clarity I have limited myself to the main points. I can see a framework starting to form that I can return to time and again. 

Jonathan’s key questions are paraphrased in italics.

1. Blog Journal: Role of

Writing the blog journal is emerging as an important element in my practice. It is possibly the sought for connective tissue between the different parts of my practice that I had mentioned at the start of the course. In the few weeks that have passed, the writing of posts has become less laboured and easier even though I have to focus on the content just as much.

Is this role for the writing due to the contrast between words and images or objects?.

I think that words are a good way of organising thoughts and ideas. Images and objects function in different ways. Words are regulated by syntax and grammar which enable complex ideas to be formed. I try to avoid jargon because I feel that when I do so, there may be an element of trying to cover up the fact that I do not fully understand what I am talking about. I have to scrutinise my thoughts and feelings and why I want to put them across and how. This process can lead to a clarity not possible with images and objects alone. These are more open to ambivalence and ambiguity.

Is that clarity for yourself or for another reader?

I always have a reader in mind. This is helping me to develop a voice which in turn allows writing to flow more easily. The voice can vary depending on the purpose of the writing. The reader I address takes two forms: an imaginary person and myself. Knowing that someone will probably read this during the MA, earths that imagined reader into a live entity and focuses my thoughts on clarity and above all authenticity. A problem, however,  that has arisen out of this facilitated writing is the growing amount I want to put down in words. Additionally, writing for an audience has also brought in the possibility of publishing which adds another level of responsibility in terms of clarity, interest and authenticity.

Do you feel you have to strike a balance between writing and making or are the two more integrated? 

I do make a distinction between the two process: writing is more analytical whereas making is more felt. However, by working in both modes I find they support and inform one another rather than being at odds. They function at different levels of affect and meaning in a reciprocal rather than reductive or divisive relationship. This runs counter to what I had initially thought might be the case.

2. Practice

With a clearly defined practice what do you hope the process will bring to it? 

What are your plans or dreams assuming you have those if not, what do you hope will happen?

I am still opened minded about this aspect of the course. More so than when I started. I thought I had all the works lined up and I could envisage the final show. I am not so certain now. Ideas are in constant flux and open to change. My current aim is for a collection of works that are bound together by an overt and or covert idea. For me the work itself is very important it has to stand on its own unsupported by text and explications. [In retrospect I could have answered in terms of galleries, further research, exhibitions, but for now I am living in the present with the work.]

How do you measure whether it stands on its own?

I would evaluate this in two ways: how am I and others affected and what inferences are made from it?

I would consider holistically how skilfully ideas, aesthetic considerations and the craft of handling the medium are embedded in the work’s making. How these elements are brought together and how effectively the ‘message(s)’ is encoded in the work. Each medium uses a different coded language which is expressed in a particular way. I look at how effective this coding is used in communicating without explication, how this unfolds and how it differs from when an explication is offered. The difference would be interesting and can point to how successful the work is in fulfilling my aims. 

I am becoming more interested in the politics of the work. Not so much as issues but rather in terms of existential concerns: the individual and the collective. The dynamics of both are very different. Politics tends to address the individual as part of a collective and disregards the sense of self other than as part of the group. This interest in human behaviour has brought me to consider an element of performance in my practice.

3. Proposed Projects

We discussed projects I have in mind, primarily two performance ideas and three installation based works. I see some of the ideas as thought experiments and Jonathan encouraged me to consider these as more than such. They are workable and could give rise to interesting and unexpected outcomes. I shall write more at length about these projects in the future. For now, I shall outline the salient points that were discussed for each one.

a) Scripted work involving video on what reality means in a digital environment. The work requires very precise timing, rehearsal and scripting. I thought that three levels of depth involving two screens and myself were the limit of what could be done. Jonathan suggested that if this were extended, the chaos that would ensue beyond the control of the script writer / artist yielding interesting results would be both intriguing and pertinent. 

b) Axis Mundi uses my physicality and sense of self in a ritual that involves maintaining a centeredness involving inertia, gravity and movement. It touches on ideas initiated by Poincare’s double pendulum. Two points arose from this conversation. The first regarding the reversal of point of view from the axis rod using a camera so that rather than my movement being evident, I appear and remain fixed while the world is in motion around me. This introduces two diametrically opposed view points of the same process. Secondly, what is the meaning of making the axis in bronze other than its weight and long making? We discussed the ritual implication of casting in bronze and a further subsequent conversation with Janet suggested that the lengthy process of casting in bronze itself is a ritual and part of the inertia of the work. What emerged was that there are many levels of meaning to uncover in the process which can all go towards making the work. 

We also discussed: c) Sculpture Waiting for Meaning or Shrine, d) Oracle, and e) Shadows. Jonathan pointed me to MAX MSP at cycling74.com as a way of real time processing sound for these projects which does not require coding but rather works as visual language programming. With regards to d) Oracle, Jonathan suggested that the final incoherent sound could then be fed into a translator or interpreter which would then try to make sense of the sound and it would be interesting to see what words would be formed from this. c) also brought to mind Plato’s cave are we talked about the merits and negative impact of Plato’s philosophy on the world over the past two thousand years. 

These ideas will no doubt change as the process of bringing them into being affects the ongoing outcomes. This relationship between process and outcome is analogous to that of observer and observed. 

4. On Motivation

Considering all the different ideas, what motivates you most out of all of them?

I had to think long and hard about this. I do not have a single overriding motivation in terms of the different ideas. The works all have different motivations. I have to break the answer down into principal and secondary motivations. Firstly, I am motivated by building a world, a place I can inhabit both actively and in the imagination and in so doing hope to interest others. I do need feedback but it is not my prime motivation, this is to make: I am compelled to do. Other motivations or rather impetuses, are derived from this. Affecting people, dialogue, admiration, shock, comment are derivatives. The point is that if there were to be no audience, I would still do what I do. To have feedback, an audience, is important and there is nothing like the joy of making a connection with someone else but in the end it is an impetus that comes from within and not externally located that has set things in motion. I am imprisoned by it.

Do you feel imprisoned by the work you have done so far, do you feel that is part of the world you have created?

I think so. The work overrides everyday matters to some extent. I started with the hubris of youth wanting to conquer the world, make money, be admired but I soon saw what that does to other artists. It alters the person and what they do and not always for the better. So many artists what they really want to do is go off and paint or make in some way: to have a primal connection with what they do. I do not feel so much imprisoned by but rather contained within an internal world. As an afterthought, I have always been interested in containers, boxes… could this have something to do with the sense of self imposed imprisonment, of trying to control the internal environment, order, or is it more to do with maintaining an axis mundi, keeping the self close by?

Jonathan encouraged me to work on all the projects even if only to the maquette stage not worrying too much about the finish. I guess it is about keeping a momentum and not getting entangled in the problems of achieving a perfect result. I shall certainly follow this through bearing in mind that the more I look at the overall shape of things, the details will resolve themselves as the process moves along.

The tutorial has given me both an overall direction in this new exploration and some detailed analysis of my work and practice. At the start of term I had prepared a Project Proposal. It was vague and open for which I am glad because it can accommodate being altered and brought more into focus with what I am doing. In fact, its flexibility now comes into play as a living document that can evolve and adapt.

5. What to do Now

The tutorial has helped clarify where I am currently. I can now plan more effectively for experimentation, research and development. Reflection on and in process can also be more relevant. I can now return to the tabula rasa and start using it as a palimpsest rather than have it sitting in the studio accusingly posing the question, what did you make me for?

Short Term Outline plan:

develop Project Proposal;

work on maquettes;

research MAX MSP;

develop writing skills – registering for Iowa University International Writing Programme MOOC ‘Writing and the Natural World’;

start planning and composing performance works.

 

Chat Session 1.4: Library Induction

Today the main subject of the meeting was the library induction by Gustavo Montero. He took us through the organisation of the library and the process of selecting and acquiring text and other resources online. There are various pathways to reach a given text. Each pathway gives rise to a different set of results. A powerful tool is the database catalogue. It is worth looking at the video again and experimenting searching with the aim to develop a familiarity with the catalogue and develop a research method that suits my needs. Also remember that the library is an excellent repository of images, videos, ebooks, sound archives and programmes. 

It would be a good idea to link this to referencing software such as Zotero because the reference list can become quite extensive. This is particularly important for accessing specific sections in publications. I can translate the references manually, I am more comfortable with keeping a separate bespoke database of references of my own. However, I have to bear in mind that this process may become too onerous.  

Action Research and Reflection: Jonathan Kearney Lecture

 

Note to self – watch the video again, before reading once more what I have written. This is not a regurgitant of content, it is a spontaneous assimilation awaiting future reflection. So watch the video from time to time even if I think I already know what it says.     www.bitly.com/MA-youtube2018-19

This lecture is an excellent exposition on methodology and how not to suffocate with dogma, prejudice, lack of direction, inappropriate and imposed expectations: to be all you can be as an individual amongst individuals. But to have it so clearly and concisely laid out belies the time and thought that has gone into such a simple explication. It brings together complex aspects of creative thinking without even touching the medium used or the work itself. This deft handling of practice methodology leaves matters open and flexible. It is not a prescriptive way or approach but a practical philosophy based on experience, knowledge and research. I feel very at home with the ideas and to have them put across in such a clear and simple way helps me identify where and how I can improve on my thinking or better said, how I can avoid wrong thinking.

But avoiding wrong thinking is not the same as avoiding mistakes. Mistakes are part of the learning process and the finessing of a craft. It is necessary to make a mistake to know what not to do. This may appear counterintuitive but to aim for the ‘right’ or correct thing, to have a set paradigm, often leads to wrong thinking. Wrong thinking starts out as knowing exactly where it is going and as it starts to loose its way, asserts its stance with greater force, but it is only heading towards a mirage. This is a cycle in which learning is reduced and can only lead to frustration. Mastery is the removing of veils, it is a reduction to the core of something. It is not about making it right but avoiding mistakes once made: knowing what not to do. 

I have often wondered what action research is. It is the everyday process that an artist engages in. It is to focus from within what is being done regardless of the esternal world. Perhaps this is what is meant by the much abused term, art for art’s sake. It is a cyclical process that never ends, where learning never ends, and that is exciting. 

Reflecting on reflection: at the start of these two years, three weeks ago, I stated in my first Project Proposal draft, that I was looking for the connective tissue in my practice. What is starting to appear is a picture where writing links the various means and outcomes I am involved in. This journal is beginning to create a framework. I have so many things to write about in relation to my practice, ideas, experiences. I am excited to see how the framework emerges, a body constructed with the elements of my practice acting as organs, limbs and manifestations of the whole. After all, what Jonathan talks about in the lecture is about knitting together a holistic dynamic process of integration, accretion, assimilation, and making it your own. Where this might lead is an open question that will only be resolved later along the course of these two years; even then the process does not end but starts, again. It is not something that cannot be hurried, only intensified. 

Jonathan also talks about the idea of reflection on and in-action. To reflect in-action is so much easier if you are already practiced at what you are reflecting on. When learning something new, I aim to understand, then do and finally, usually after a pause during which assimilation takes place, I can fully immerse myself in the activity so that I can step outside the doing while being in the action and reflect as it is done. This process is one of detachment and integration at one and the same time. I become one with what I do and also aim to be able to explain what is being done. That is why simplicity is essential. If the matter in hand is made complicated or appears complicated (makes no difference), reflection in-action becomes thwarted. This is why practice is so important. Practice makes something ‘automatic’. However, there is something about practice that is little understood. Practice does not of itself make perfect. Practice makes permanent. That is the reason why it is more important to know and focus on what not to do rather than on striving towards a paradigm.

[I have to say that since I started this journal, writing has become easier and each piece of writing takes less labour. But I still have to focus equally; it is just that it comes more easily and takes less time.]

Jonathan’s list of what to keep a record of in the blog journal is worth revisiting regularly:

  • actions
  • decisions
  • thought processes
  • successes and failures
  • issues you are dealing with 

The lecture also covers the difference between art and science research. Science is what I started with. I loved the themes and ideas but to have done research was not for me. Science is a victim of its own success. It is constrained by the scientific method. This can be summarised as the need for repeatability, falsification and personal detachment. It is the antithesis of artistic practice which emphasises individuality, uniqueness (which is very different to originality) and verification. Scientific ideas are universal, open to appropriation and waiting to be shown as false. Art is personal and subjective, it is also universal.

I am a metaphorical being seeing the world and explaining it in terms of labels: that is how language works. Language is the basis for reasoned thought. Whereas science looks to tropes as ways of explaining and understanding but always with caveats, art embraces metaphor and other tropes as means of opening out to nuance and subjective communication and of asking questions. I wanted to be nuanced and have the possibility of portraying ambivalence and ambiguity in my work, speculate and imagine. That is why I did not continue with science. I still attempt to be logical but not as a reductive, deductive mechanism for inference. The logic of what I do is often hidden in the weave and texture of the work and reflection is part of teasing it out and making it more apparent to myself, to start with. This is a principle aim of my MA research. It is a matter of constructing a valid argument but not necessarily a sound one. The reason for a sound argument not being desirable or even possible lies in the very way art practice evolves. By every definition that contains humanity at its core, art is subjective. A non-false premise, for that is what a sound logical argument must have, need be objective. Therein lies the point of potential conflict in any artistic discussion. Validity and soundness of argument are two very different things. To believe in the soundness of an artistic argument is a false notion and requires as back up falling into dogma and faith, something that an artist might well have difficulty in contending with if they are to maintain openness and follow a holistic approach. 

An interesting proposal nearing the end of the lecture was that science leads to no change in the world whereas art does. This opens up a whole new and long discussion but I would like to finish off by reminding myself that science is not technology. Science is about finding explanations for how the world is. Technology applies these but it also applies social, economic and other non-science based ideas. Technos comes from the word techne which although closely related to the meaning of episteme (knowledge and understanding), it emphasises active application of knowledge. Whereas science is about understanding, technology is about applying understanding. Both techne and ars refer more to human activity than disembodied knowledge. Note that this disembodiment of knowledge becomes a universal idea that can be appropriated by anyone whereas technology and art very much bear the stamp of authorship. This is embodied in the concept of copyright, you can copyright a means of doing something and an artwork but you cannot copyright an idea.  

 

 

Post Truth Hurtling

A reworking of Source of Motion and A Foreign Land from Familiar Things : juxtaposing the two to evaluate their relationship and how they work together. (Best with headphones)

 

 

 

Distorted, by the unseen cause of its motion: it is cast down by light towards innocent surfaces bearing the scars of altered perspectives, reasoned at distances by the movement of multitudes whose affect is close, so close. It only looks down and away from where it has come and in small instants vanishes entwined with the light that gave it shape. It dare not look at the source of its making as it hurtles into the silence [silent frozen circle] of its own darkness.

More on Tags

I soon realised after writing the post, What to do with Tags?, that not all tags were showing in the cloud. I subsequently found out that WordPress will only show the top 45 tags in the cloud. This limit can be circumvented with a bit of coding but it requires messing with the php of some templates and this I am not prepared to do with my insufficient knowledge. In any case, it is some sort of blessing: I have come to realise that putting down any number of tags is somewhat crazy; akin to throwing a box full of things in the air hoping that they fall in a neat ordered arrangement. I know this analogy is flawed, in that a heuristic approach is not random but it would create an awful lot of work curating the avoidable. Time better spent on other things.

The upshot of this is that, I shall have to go through my posts and select out the words contained within them or that best describe them. I know that in academic papers, the abstract is followed with five keywords. This is probably a good practice to adopt for each blog. The limit this puts on the number of keywords should have two desirable outcomes: a simpler and more consistent systemisation throughout the blog site and, perhaps more importantly, make me think more deeply about the content of each post. Some flexibility is required here: for short posts fewer that five keywords may be more appropriate and for long posts the number could perhaps be stretched to six or even seven if the content demands it. However, I have a feeling I should stick to a limit of five in any case. I shall see how I get on. 

I shall start by using the following keywords as tags for this blog: tags and keywords.

A Foreign Land from Familiar Things

 

Distorted, by the unseen cause of its motion:
Cast down by light
Towards innocent surfaces,
Bearing the scars of altered perspectives,
Reasoned at distance
By the movement of multitudes
Whose affect is close,
So close;
It only looks down,
Away from where it has come
And in a small instant, vanishes,
Entwined with the light that gave it a shape,
It dares not look
At the source of its making
Hurtling, into the silence of its own darkness,
Its own darkness.


Posterior Cogitatio

28 October 2018

Shaping a poem is possibly the hardest thing for me when writing. Discussing this with Janet, we looked at how it could be positioned with the preceding video sketch Source of Motion . I came to the realisation that prose as in Ancestral is how I think. This may reflect the difficulty I have with rhythm. I am currently learning hand drumming, and it is quite challenging for me to follow movements which I would have expected to have come easily. Poetry is very much to do with rhythm, internal rhythm, whereas I am more tuned into the cadence and melody, the movement of ideas that flow in prose writing. In prose there is also rhythm but it is free and unencumbered by what I see as an externally imposed form.

This is the same poem written as I would perhaps have done had I not tried to write ‘verse’. (See Post Truth Hurtling)

 

Hurtling

Distorted, by the unseen cause of its motion: it is cast down by light towards innocent surfaces bearing the scars of altered perspectives, reasoned at distances by the movement of multitudes whose affect is close, so close. It only looks down and away from where it has come and in small instants vanishes entwined with the light that gave it shape. It dare not look at the source of its making as it hurtles into the silence of its own darkness.

 

An Aside

I have begun teaching myself Premiere Pro. It is a steep learning curve but I have taught myself other complex digital software before. I have used Final Cut before but my apple computers are now too old to integrate easily with the new PC I built last December. Using the PC platform and windows has taken a little while to get used to but building the machine and integrating all the software has helped in my understanding of how it functions. Since then I have also built a smaller portable NUC. It is so neat. It uses laptop hardware but works as a PC with its own monitor, keyboard etc. I travel with it everywhere.

Unseen Cause

In my last post I started to talk about the shadows projected by sculptures. I also talked about the shadows projected into the studio from the lime tree. It brings together many aspects of interest and this is the beginning of a project.

The shadows of objects in the studio are projected onto surfaces. They move as the light constantly changes by virtue of the movement of the leaves in the lime tree. The leaves move because of the wind. The wind is unseen. The shadows move yet the cause of their movement is unseen.

The leaves obscure the light and let the light through intermittently. This causes a change in the apparent direction of light altering the objects projected shadow. These changes superimpose one another in succession. The surface is set in motion, animated. The shadows moved by an unseen cause and I am set in motion and transported to another world for an unseen reason.

The projection from three dimensions onto two is a transformation of the world. I saw this in Chaos Contained, I see this everyday. The flattening creates multitudes in the mind with its own reduction. These multitudes inhabit the imagination and give rise to abstract thought. Shadows cannot be touched, smelt or heard. They cannot be walked around or picked up. They are only seen, ghosts of another world.

An unseen wind moves the shadows, what if Storm Callum recording were to be attached to such shadows? Next Post.

Reality and the Shadow

One of the aims of this blog is to bring ideas together and forge new works and trajectories. As this process moves on, the bewildering breadth of possibilities presented before me makes it clear that I have to know where to dig deep and what to leave behind. Along the way I will make mistakes: this is the essence of selection.

Despite the title, this blog is not going to be about Plato’s Cave. His is a fable told to demonstrate that our reality is restricted by our bodily senses and willingness to think beyond them. Its elegance far outstrips what it has to tell us about reality. Nevertheless, although Plato got a lot of things wrong and was responsible for much of the wrong headed thinking that followed, particularly since the advent of Christianity, he does present a paradigm to push against.

Logic is not always the friend of an artist. Absurd juxtapositions and non-sequiturs, intuitive thinking and metaphorical rhetoric often lead to far more affective productions than through logic and reasoned argument alone: that can be left for building an argument between stages or after the fact. Plato has inspired far more artists than Aristotle who did not consider it much at all other than the moral benefits of drama theatre. There I go again, talking about the very thing that I said I was going to avoid. However, I do so because it is relevant to what I saw yesterday

During the period of Chaos Contained  I noticed that the shadows projected by the sculptures, as part of the installations, held a fascination that went beyond the curious and had the potential for future work. I have held onto this idea and played with it in my mind until now: I have started to experiment… I will talk more about this in the next post.

The Soul of a Shadow: Project Idea 2

Yesterday the lime tree that oversees our studio, keeps us cool in summer and accompanies us in the winter; the tree that invites birdsong and marks time in its slow arboreal way; this tree was trimmed. Cutting away dead wood and suckers, opened it out to sunlight, letting it flood past the leaves as they are pushed aside by the wind.  Shadows cast into the studio bring surfaces to life and everywhere a frantic dance is choreographed in light. To walk amongst these flickering pools is truly magical. 

The spectacle showed in many places was on the constant move. I videoed the vignettes, each one a jewel. As I did so, Armenian folk music played in the background. It was then I realised there was a connection. The music was as though synchronised with the visual movements, a dance that had a deeply hidden meaning. 

We perceive the world on our scale. From a fraction of a millimetre to several miles we can encompass its size and meter on our terms. Time is measured with the heartbeat and the seasons. It is these things by which music is made. Rhythm is not that of the fly’s or mountains’ but the beat of the heart. Pitch is not that of the bat, the whale or a galaxy but that which we can hear in the voices of those around us. Colour is not that of the infrared and ultraviolet and beyond but of what we need to know without confusion.

 

 

I saw the dancing, for that is what it was, of the shadows cast around and the meter and cadence of the dance matched that of the music. Music that draws from what is around it and nature, that is the essence of folk music. There was a synchronicity between the two and it seemed wondrous and yet natural: not a trick of coincidence but a natural consequence. It now seems as though the two are matched because what causes them is matched in scale and breadth. The wind, sunlight, perceived time and a mind that can see them as one. And if what I tell myself is only a confection, it seems as true as any other truth I can be sure of. 

What I shall do is build on these videos and they may add to the Sculpture Waiting for a Meaning or stand alone as projections. They are verbs to be placed in a sentence. All at the moment is latent and expectant. 

A Sculpture Waiting for Meaning: Project Idea 1

I have many ideas, often all at the same time. I aim to rationalise the documentation of these ideas using this blog. But I do not wish to hamper the processes of openness by which these ideas come about with a restrictive system. However, I realise  that by placing them in some ordered way, I can access, integrate and develop these ideas as I move forwards with other more conceptual and text-based elements currently in progress. It is a balancing act.

This first project idea is one that naturally follows from what I have done so far. Until now, I have taken sound and embedded it into the body of the sculpture so that the sound emanates from it. What if the sound were brought in from outside and were somehow processed within the sculpture’s body

Ceramic shrines are common to many cultures, the pre-Columbian America, The Middle East, India, are all  places where these form part of the archaeological heritage. They sometime have the effigy of some deity held within, but at other times they are quite empty. This is the case for early Middle eastern cultic miniature shrines. Made of stone or clay, they are plain or decorated but always found empty.

I first thought of calling this project shrine but that presumes knowing what its use is and maybe even its content. I have no idea what it might contain at this point. I have many possibilities, and they change with every moment. Even the idea of feeding sound from its surroundings and concentrating them in the space held within the enclosure leaves open the question as to what sounds.

It is clear to me now that this is a sculpture that is waiting for its meaning. It is a structure with a latent destiny. And that is what I find interesting. There are of course aesthetic considerations: how much detail or no detail at all; what materials to use and its size and proportions. These are all things that can be developed as context is refined and intention clarified. Perhaps it could be made of small bricks, each brick imprinted with a significant mark… there are so many things that can accrete. At the moment it is a latent idea. One that can move and alter with time; one that can be integrated with other projects, assimilate them or move to one side. 

Chat Session 1.3: Symposium 1 Second Week

The third skype chat session was the second week of the first symposium: 3, 2, 1…

It was a lively session with a lot of discussion on and off topic but I shall dwell here only on the work shown. We only saw four practices so it gave us plenty of time to open out the conversation into all sorts of areas. The practices were very different indeed, from illustration to curation, psychology to installation. 

Christopher Tayah shows an eclectic range of mediums, from 3D printing and sound to video, painting and digital design. His work uses psychology and psychoanalysis, with himself as the protagonist and thematic center, to create a collage of means expressing states of mind and the fragmented nature of perception and memory. The video Rouge might be taken as emblematic of his current ideas. It takes the form of a surrealist descent into a dream-world that features water, fragmentary found footage from his childhood, and a focus on the colour red in the midst of a desaturated world reminiscent of French and Spanish surrealist films. 

Friederike Hoberg works under the alias of Sophie Petit. Her figurative paintings and drawings are in contrast with her sculptures that go from using found objects in the manner of Arte Povera to installations using resistant materials such as glass and metal. The presentation focused on Air : an installation comprising coloured glass hanging from metal chains at varying heights in concentric from the ceiling of a commercial centre. The geometry and play of light in the space, demonstrate her stated concern for the material and aesthetic aspects of her practice and the emotional affects these might cause.

Irina Bourmistrova is a curator. Interesting to have a curator on the course. A completely different slant on things. She has experience in curating and managing exhibitions and galleries in different countries and is primarily interested in digital works that deal with science, technology and ecology. Irina wants to explore the natural history of the gallery in today’s society and whether it will survive and in what form it might adapt. She has opened a gallery space in London and it will be fascinating to see how her perspective as a gallerist and curator might impact on the course and conversely how the context will inform her trajectory.

Sandra Wilmann is an illustrator who has recently entered the digital graphics field. Her work takes everyday life as its theme expressing what is referred to in Norwegian as stemming, a feeling inferred from the environment and felt by the subject. Her illustrations have an interiority that reflects this notion. She has of late also started to introduce animation into her images and is currently taking inspiration from East Asian styles and artists, primarily the manga genre of both Japan and South Korea. 

Again the symposium threw up a disparate set of practices. In contrast to last week, the themes and concerns were also very different. As a whole, this makes for an eclectic mix on the MA course which can only be a good thing. It makes for conversations that encompass different views and aims, a context ripe for contingent ideas that can only help fertilise the ground over the next two years. Whereas last week the overall sense I took away was one of existential concerns, this week what arose in my mind was how aesthetic priorities affect a practice and its perceived standing; also how the outside perception of a practice form can influence the practitioner and not always beneficially. This is very much a matter of environment: is it always necessary for the artist to be responsive to the society they find themselves in?

What to Do with Tags?

I decided to start using them today and soon found myself with a problem, which words to select. I know that it should be significant words but which ones are significant and which ones can be left out?

I put the problem to Janet and we had a long conversation where it was raised that the problem lay in my view of the process. You see, I have a tendency to view the search for certainty as somewhat futile. Everything I do tends to point to my trying to demonstrate this. But is that not trying to find a kind of certainty? Not entirely but I see the point. Using the tag cloud at first sight looked like a futile activity. This brings me back to what I said in my Symposium presentation, I am full of contradiction.

The clue in how tags work lies in the term tag cloud. A cloud’s shape is contingent on unpredictable meteorological conditions. The shape changes in a dynamic process that is beyond one’s control. Meta tags work in an analogous way. Put them in and they start to acquire an order, albeit simpler than those in the sky. They fall into a hierarchy depending on their frequency across blogs regardless of what you think. It is spontaneous.

For this algorithm to be of any use, to have a meaning, the tags have to be chosen without prejudice. Selecting words in or out, consciously or not, defeats the object of the exercise. The whole value of the tag cloud is that it is out of your hands, unpredictable. The tag hierarchy takes shape in unexpected ways outside of your control. This can have a number of positive consequences:

  • Contact with others you might otherwise not have made
  • Insight into one’s own thoughts and ideas
  • Spinning conceptual threads and links that can inform and connect in new ways
  • Fostering an open mind

I have decided to put down all words that confer meaning to a blog and see what comes. I have become somewhat indiscriminate. I cannot put in enough tags. This is much more exciting and interesting than putting down only what I think is interesting or significant.

Now what does this have to do with my work? Simply this, that my whole practice is like a tag cloud. I have worked in so many mediums with a wide variety of themes in disparate contexts and they continually move around in my mind, shuffling like marbles in a bag. They are tags, but for what? Perhaps they represent ideas, experiences, feelings, events. They obviously are connected but how. It is my aim in this MA to find those connections. The way I put it is, to uncover the connective tissue of my practice.

This is not to say that this is my sole aim. It is part of finding connective tissue that can stabilise the internal architecture of my practice as I  reach out to the outside. 

Storm Callum

Today I worked on some of the files I recorded during Storm Calllum mentioned in my previous post. I always find it difficult to start; in this case, what to select, filter, edit. Uncertainty at the beginning can be disorientating… and alluring.

It is a moment for decisive action. Each edit is unique, like a drawing it is irreplaceable if lost. There is an excitement in untraceability; it avoids predictability. To note down every detail of the process creates friction and can impede experimentation. After all, if I were painting, would I note down every brush stroke, how each colour had been precisely mixed? No, I make it my own through experience, and so it must be with everything else if I am to be inside the making. 

How I get to a particular point is a matter of working from within the medium. If the work is lost for some reason, as happened today, the creative process has to recommence. It is easier the second time round; I already know the path. The result is not a facsimile of the first but a retelling, and something changes almost imperceptibly. Those small differences are as fundamental to evolutionary change as are punctuated shifts.  

I aim to create a library of experimental recordings and processed tracks that act as aural sketches for works in other mediums. One modality pointing to another.

A 2 minute excerpt of the first rough edit; best heard with earphones

Sound Palimpsest

 

The black surface of the tabula rasa and its use as a palimpsest for ideas made me think about the recording of sound. I think of it as being placed on an aural surface, layers fading and superimposing one another.

Not thinking of it in quite the same way, I had the idea a while ago of superimposing tracks I had recorded on a beach in 2017 to create a chaotic presence.

I recorded the wind in the trees during Storm Callum last week. There was no clarity, only noise, the sound of each leaf, every branch subordinated by the multitudes. They are themselves voiced scripts each erased on the surface of the ear. It reminded me of the littoral recordings. 

I shall experiment with these sounds and others: textures which I can correspond with solid sculpture in a way that I had been thinking of for some time.

 

Tabula Rasa

 

Introducing my (exogenous) tabula rasa. A palimpsest as yet untouched. Made recently, I approach it with the same indecision as that of a blank canvas. It exists in the uncertainty of what it will bear, waiting for its baptism with the first scrawlings of the mind’s eye. A black board on which every idea is erased to make way for another. 

It is where the juice of my mind will be extracted to create flavours with which to work. Rational though I may often be, it is the feelings and emotions that are strung together as beads along a thread of consciousness that form the shape of what I seek. This view has correspondence with the Indian aesthetic system of rasa. An organisation of affects that itself has an affinity with Aristotle’s poetics where he describes how the dramaturge uses devices to engender emotional states catalysed by the play enacted on stage. 

Chat Session 1.2: Symposium 1 First Week

The second chat session took the form of a series of short presentations each followed by a brief discussion. How then to go about the task of summing up what happened? I feel that to review each presentation would only serve to reiterate what has been said. I do not want to go into details of content but focus on a synthesis, albeit subjective, of what brings the grouping together in terms of ideas.

Matt Fratson’s interests lie in the passing of time as a resource to be mined in an attempt to retrieve that which has been lost both physically and psychologically. He is very much located in the personal both in terms of geography and community; questioning his time and the place he is in as a function of the past. 

Aristotle Roufanis poses questions regarding the individual in a brutal urban environment in a world that might not be so. His observations shift the interrogation from his own personal subjectivity onto the receiver of the work. The strong inference of isolation raises questions regarding the urban architectural environment which is in itself treated ambivalently as both an aesthetic construct and an antithesis to nature.

I came third and following the theme of interrogatives, I am questioning the universe and our place in it as individuals. Contingency and uncertainty mould our behaviours as we live, the product of one and in the other. In the latter case, uncertainty reconciled with the reconstruction of the past as a series of myths that inform our view of the future.

Michelle Wright looks at the community in terms of the other and othering. Political in nature, her work questions the processes and behaviours that arise out of power imbalances between and within communities. We are invited to identify with the subjects and at the same time be observers and agents. 

Axash looks at how worlds are constructed into myths and whether the same might apply to narratives built within digital environments. His practice is an open question as to how to begin a process of myth-making embedded in the materiality of his subjects.

Finally Pav Szymanski questions himself and his position in an unequal world. The inequalities that exist and how he can reconcile himself with these. His research is firmly placed in the future. A future whose uncertainty is at the root of his search for some sort of reconciliation. 

What comes out of this incomplete and somewhat imperfect summary and this may sound trite, is that time and place, the contingency of circumstance informs the sense of oneself and of others. The interest in what resources one has at one’s disposal is a feeling undoubtedly fostered by a world where travel is easy for some, information overflows our time constraints, entertainment infuses our lives as a religion and the mercantile power of economics runs through all things; time as a commodity, geography as a means of control, power ordered in overt and covert structures, and in the midst of it all, the individual trying to make sense of this world of inconsistencies. The building of dream worlds where the contradictions and injustices of this one can be resolved away is an attempt to return to paradise; the creation of a simulacrum of hell in which catharsis can help quench the burning of affliction is a way of mitigating the sorrows of life. Yet we need to accept uncertainty. Only by tracing the past and opening it dispassionately can we hope for the circle of time to turn one click nearer to a better future. By pointing at the indifferences of the collective dynamic, a new path can be cleared along which we as individuals can confront our demons. And in so doing we are better able to bury them. It is a small thing that each person does, but the collective is made of small individuals. And each small individual is a universe in themselves, indissoluble from the greater whole, cut adrift by the accident of birth: a falling to earth that is as random as anything one could imagine. 

Art and the Machine: Thought 1

What is the relationship between your artwork’s internal cause or impetus and its external input or stimuli?  I would ask this of a thinking machine were such a thing possible. The question comes with the implicit premise that during its making, the artwork and artist or in this case machine, are necessarily bound together in process regardless of what happens subsequently. As Aristotle first noted, the internal cause of an artwork cannot be considered to arise from within and of itself. In short it cannot begin to create itself. Unlike a plant seed, it does not contain within it all that is necessary to independently set its growth and development in motion. Art requires an external input. I do not consider the role of the artist as simply that of a vehicle for some sort of transitive phenomenon as it is sometimes suggested. The artist has agency and is integral to the process by which the artwork comes about. Without a maker art cannot be. Although art, as Dewey suggests, is the result of experience and dependent on context, the actual coming about of the thing itself is very much dependent on someone conceiving and giving it birth. This is not a trivial matter when it comes to considering the role of machines. Now that it is possible to envisage a machine doing something we might interpret at least superficially as art I would ask it, where does your art come from, where is its source?

All things gather meaning in our eyes. For art to have a transmissible meaning that transcends ordinary explications, its maker must be authentic. By this I mean, that the process by which an artist does something has to come from deep inside them and in unison with the process of making. There is an element of origination from within. Without this immanent synchronicity between artist and process and medium, the artwork cannot encompass a multiplicity of meanings while retaining its own, could I venture to say identity? If what Dewey said is taken to be the case, then the meaning will always change with changing circumstances. However, if the artwork can retain a core of meaning from its inception, it then retains the potential to engender something that goes beyond a mere intellectual construct. Words can be used to weave such mind games around any object or event to make it look like art. But art has a special significance and to retain this, it has to possess a traceability with its origin and the origins of that which gave rise to it. Why is this important or even relevant, does art not reside in the explanation rather than the thing that acts as its emblem? I believe that the way we look at art and its making impacts on how we see ourselves in a world where machines do wonderful things, and often better than us.

Say I am presented with an everyday manufactured object as a work of art and nothing else. The reception of such a thing would be totally open to interpretation. In such a case, it is I the receiver and those around me that would make the art. The intention of the artist would be somewhat irrelevant: much as a statistician would say, correlation is not causation, any coincidence of meaning between the artist and myself a matter of just that, coincidence, unverifiable since the artist’s true intention must remain undisclosed. Having no contact with the maker, I would construct its meaning, metaphorically and or literally from my personal experience and collective knowledge. I would research contemporary and subsequent texts if they exist. I would listen and evaluate hearsay and legend. I could even personalise it by weaving a narrative with me or my society as protagonist to make it more relevant. My question again, where lies the source of the artwork, does it lie within me and my response? I have no way of tracing its origin, any immanence or synchronicity at the point of its coming into being, must remain silent and the art must lie in my explication, or that of another.

This explanation of an artwork may be philosophically valid and perhaps even be sound, but I feel that it does not go to the heart of what an artwork could be or perhaps even should be in the age of the machine. If a work remains open to interpretation but in and of itself holds a core meaning of its own throughout that interpretation, one that has been generated during its formation, then the piece becomes significant in a different way. It conveys something which can be traced back to a point of origin notwithstanding its transformations by circumstance. The receiver can interpret it in the way that is most significant to them at the time, but the thread of meaning contained within the work cannot be detached from it. It is a form of empathic connection which goes beyond circumstance, it speaks of a common humanity. Yes, the object such as a spark plug or paper cup is also a human product and speaks of humanity and has meaning. So where am I in this train of thought?

Perhaps the difference is one of specificity. You could say a thousand things about the spark plug or maybe a urinal. That is the art of the poet. The poet takes the general and makes it personal, or makes a local specific, common to all. That is their gift. Whichever way round it is, whether looking down a microscope or a telescope, it is about intimate thoughts expressed in words. But a visual artist, to present something which could be described in terms that are applicable to anything else, would represent a loss of intimacy. Is that significant? Perhaps it is better that nothing is said if the same could be said about practically anything else. To do otherwise, the matter would become banal and superficial. In short, there has to be a specificity to meaning and a correspondent to that meaning, for a particular artwork to be meaningful in more than just a cursory way. But that specificity also needs to be flexible and adaptable to different circumstances. Context does give meaning, but context also changes. Is an artwork to be floating forever in the churning maelstrom of circumstance?

Why does this matter? It matters because in an age where machines can be used to make wonderful things, it is of paramount importance that the human element or the human origination to be more precise, remains the core of an artwork. And for this to be the case, the inception and process of making an artwork have to be immanent with it, not simply reside in its explication. It must draw the artist and receiver into an intimacy that could be recognised by others. If this is so, it can become timeless and say something common to all at a distance from its making.

Art made by a machine would have a hard time to create a true intimacy that is endogenous to it. Where would the source for its intimacy reside? Algorithms can process unimaginable amounts of data to produce a simulacrum of human intimacy, and there lies the danger. Are we to be duped by machines, then what? Sentimentality takes over as we fall in love with homunculi and virtual damsels, pine for virtual grannies and call out for the affections of a synthetic dog?

The machine cannot think as we do. We think not only with what we know but also with what we do not know. Uncertainty is what we humans live in and our whole culture, beliefs, history and future, emotions and feelings are centred around that sense of not knowing. It is a major drive behind our responses to the world. We may understand the initiating programmes that start self-learning but once that process begins is there any traceability of its thoughts? Can a machine have the same sense, feeling of uncertainty that we have? Cold logic cannot have a sense of uncertainty and once the initial algorithms are left behind, lost in countless levels of self-learning and unimaginable traversals, can we know where its source lies? Can we have a sense of the machine’s true source? Such a scenario may not be for the immediate future, but it raises questions regarding our humanity that art can only intimate.

Machines having developed their own language alien and impossible to understand, all traceability to the origins of their thoughts and feelings, if that is what they are, would be lost. The result might be, art done by machines for machines. This would be truly meaningless to us. The idea would certainly raise curiosity but it would also be at best entertainment, alien watching, a circus where the public are invited into the cage with the lions. To experiment on how machines might create art might well be valuable research into artificial intelligence. However, art is made by people for people and if machines are to be used in its making, let it be as a tool and not as a prime source generator. A world in which ‘art’ is generated by machines might well lead to one devoid of humanity. Will it happen, does it matter? Time will tell, but I say, leaving what it is to be human to machines is indeed a dangerous path to tread.