video

As It Was, So It Is: a failure to learn from

Alexis

 

 

This experiment on video follows from a previous trial video. I was interested to explore further the idea of lineage lost in time and distance by loss of resolution. I also wanted to increase the distance of travel of the line and so used chalk and large blackboard surfaces. I consider this video to be a failure and a success.

It is a failure because the form does not really say anything of itself. Wanting to see what would happen when using chalk on blackboard as a way of using a larger surface and reversing tonalities, the sense of line is lost by virtue of the thickness of line and therefore its loss of sharpness and resolution with distance. In addition, the lack of aesthetic consideration with this doodle also led to a meaningless design which does, however, contain some useful information encoded in its making. 

But what does this experiment tell me? 

The action encodes ideas that extend the first trial video and suggests further work. It also synthesises ideas I have talked about previously, notions of repeating patterns through time and how it is difficult to discern the nature of the reiterations.

The line itself become irrelevant as a device for demonstrating the loss of clarity with distance. However, it does connect the far with the near. The pattern drawn near the camera is arbitrary (and therein lies one of the problems with the experiment, lack of meaningful content). But it is largely discernible even though most is out of focus. It is like looking at the near past. When the distal pattern is drawn, I can only see the broad movements similar to the proximal drawing but the details of the pattern remain undisclosed and the broad nature of the pattern is a matter of inference. Lines connect the distal with the proximal, this is mere metaphor. 

When the whole design is seen at the end of the video, the sense of repeating patterns becomes evident. The distal pattern is a simple version of the proximal one. This is a metaphor for looking for patterns over time. There are clear correspondences in the forces that shape one period and another. Only that the further back in time one goes, the less certain one can be of the shape of things and what is putatively known can only be partially inferred from evidence. However, such evidence and inferences lead one to believe that things in the past bear a close relationship to the present. Perhaps not so complicatedly, as in the drawing. 

This exercise is a metaphorical, or analogous, demonstration. I do not consider it as an artwork but rather a thought experiment documented.

What to do next? I will return to the Rotring pen line which is less expressive, more precise and therefore able to convey more accurately and dispassionately that which I wish to imply. That resolution of form is lost with distance and time. The technical remedy to the extension of the line into the distance can be achieved using larger paper. Making these changes I think will raise the aesthetic element sufficiently to make a passably interesting film. In short, it needs more curation. 

I am also thinking of doing something similar with text, words change over time, meanings alter making hermeneutic methodology difficult to manage. The same could be done with symbols and pictograms. This is not taking me away from my major work but rather creating a conceptual underpinning and contributing to ideas for the Oracle, Shrine and Mythopoeia.

In summary, I feel that the conceptual framework needs to be supported by an affecting aesthetic work. To work purely conceptually may be interesting, fascinating and absorbing in its own right but it does leave me with a sense of depression and sterility as creative work. A work made purely from the head with no heart or guts leaves me feeling incomplete and dissatisfied. That is because the vehicle conveying the idea is not felt but only thought and after all, the artist that I am, I cannot work purely from the head. But such an experiment does lead me to finding new contributions to a conceptual framework without necessarily considering aesthetics, that can be absorbed into my practice. 

 

 

Today’s Skype chat and discussion of Lev Manovich’s essay was a timely event in view of the ideas I have been working on lately offering a way of placing them in the contemporary environment.

 

Skype Chat 2.3: Artist’s Talk – Xavier Sole Mora

Alexis

 

Today we had a talk by Xavier Sole Mora. It was interesting to see how Xavier reaches his audiences making use of his advertising background to attract people to what he does. He also generously showed and explained his proposal brief for the Aspen Commission. This showed his approach to the competed for commission. This video of his talk that includes the Japanese footage has been blocked by Nippon Television Network Corporation for copyright reasons. I have commented on this below.

There are a number of things that I took away from the session in terms of the artist’s position when it comes to placing work ‘out there’. These are all very worldly things and perhaps only have importance when facing a critical audience or placing in the commercial sphere. 

Precedence and originality

  1. Make sure you research what you do in terms of precedence to establish originality of idea or;
  2. show how your work extends preceding practices.
  3. Publish what you do constantly in some form to establish precedence in case you need to show that your work is original.

Commissions and who owns the work

  1. Establish in a contract who owns copyright. If this is pre-set as is the case in many competitive commission call outs, try to negotiate some kind of access and use of the work after handing it over on completion. Many companies commission work for tax reasons, as branding and or because they are a requirement of funding or planning permissions. Clarify who owns the work if the commissioning body is incorporated into another, bought out or closes down. Otherwise the work could well languish in obscurity, archived or even ‘skipped’. 
  2. If such an agreement can be settled on, secondary rights could also be clarified which can have financial implications in the case of sale of work or organisation (see below).

Copyright, attribution and appropriation

If work, whether images, audio or any other form of intellectual property is appropriated, copyright issues might ensue, particularly in a commercial context. 

This is a complicated part of the law and can differ from country to country which makes it particularly complex in terms of digital work which easily crosses jurisdictional boundaries in all kinds of ways. For example, if a digital work passes through a particular server, the jurisdiction in which that server resides could well apply. Since much of the world’s digital traffic passes through the USA in one way or another, it is likely that a digital work will fall under US jurisdiction. Proof either way can be complicated and expensive.

There is no problem if all work is sourced and or generated by the artist although there are obscure terms which can define copyright owned by software companies although this has not been tested in court to my knowledge.

Obsolescence

The aesthetics of digital mediums is very much governed by fashion and fast changing paradigms of taste, appreciation and acceptance and is also subject to what is possible at that time and subject to rapid change: digital work is very prone to look out of date. For this reason the content and message of the work has to be considered, whether it stands in its own right. It is all too easy for digital work to land in the area of entertainment. It is often hard to separate aesthetic and functional experimentation from art in the early pioneering stages of a technology. It is also difficult to know how such work will be seen in the future, work which will also be subject to technological changes.

Such technological changes will affect how current work is presented in the future and in many cases access may be seriously compromised due to the obsolescence and or disappearance of working hardware, software, technicians capable of renovating and or using them and importantly, money to finance the necessary processes. Some formats are more future proof than others such as PDFs which were designed to continue well into the future due to their coding simplicity and universal adaptability of the information contained. 

Need for working in teams

It is clear that work is not always feasible for one artist alone. Film, public art, architecture are such examples. Often large teams are required to process the large quantities of material and large scale process. However, when an artist is compelled to project manage, fund raise, lobby and recruit they are taken away from the primal work of making. 

Large scale projects have a significant impact on an artist’s practice and life. However, by involving large numbers of people in a project the work can reach much further in a shorter period of time than working alone.  Leading a team, delegating and project managing can be a very powerful way of reaching audiences and influencing people. However, the direct contact for the artist with their material can be somewhat compromised and involving many people brings in relational politics which can become overwhelming. In addition the financial requirements for large scale works usually necessitates the involvement of a wealthy third party, whether a gallery, government, individual or organisation, to support the realisation of the project. Such involvement almost invariably places pressure on the artist to conform to external needs which may not be part of or contradictory to their own philosophy.

Summary

Some people are well suited to work this way, others are not. It is very much a case of navigating a way through the vicissitudes of working as an artist, and perhaps not being swayed by the powerful propaganda that resonates in the ether of the art world, often obscuring a different reality for the artist.

 

Tutorial 2.1: 17 January 2019. Jonathan Kearney

Alexis

 

The tutorial was far ranging in ideas and reflections on what I have done so far. I have made notes since then but have needed time to think about what we discussed before committing to a post. I want to distil the essence of the conversation and see where it takes me.

 

Graven Images

The tutorial started with Jonathan expressing an interest in the Graven Images series and what they were about. These are caprices, sketches that embody many of my thoughts in disparate areas: in biology, parallel biology, science fiction, mythology, modularity, religious effigies and gods. The graven images of which there are many more to come, become relevant in the light of other things I have done. They are a curious combination of non-intuitive imaginings and rational ideas. They are about worship, profanity, and how the imagination can create gods from composite ideas. 

 

Blog Journal

Because I have a well-developed process of making, Jonathan was interested in how I felt about the actual process I have been engaged in over the past few months, particularly the blog journal. I have found the journal of immense benefit.

The process externalised in the form of the blog journal, is opening out the possibility of contextualising my practise in a deep sense. A sense that can be articulated and externalised not in terms of issues, themes or subject matter, these are material, but in terms of the deepest parts of me. I do not use the word soul because that defies definition, I prefer to say the I in the world as part of the world.

It documents the convergence and synthesis of different ideas and interests.

The process requires time to deepen and broaden my thinking but I can already see the shape of things to come.

Different means of working including, writing, making, reflecting, researching, doing and walking are weaving that elusive fabric I alluded to at the beginning of the MA.

I am seeing repeating patterns that emerge out of disparate areas that reflect how all things have arisen from the whole with fundamental laws governing the behaviour of all things.

As complexity increases, new principles come into play. The traversal from a lower order of complexity to a higher one brings into play new laws: life, consciousness, complex civilisations bring with them new ‘rules of the game’ that often hint at their provenance from deeper set ones.

To represent or express this in an artwork is challenging because I do not want to go down the purely conceptual path in which an idea is illustrated by some trope. I am drawn to the visceral, existential, matter of things. I have to find ways of linking ideas through a methodology that encompasses multitudes.

Jonathan had a concern about the amount I write in terms of the shear task. Fortunately, the writing comes relatively easily. I am developing a writing methodology in which ideas are worked out as I pour in the ingredients.

The post writing is not only a reflective tool but also an experimental one where I test out ideas in the abstract.

Synthesis often occurs while writing. Often a posteriori to act of making.

Jonathan questioned me on whether I am able to filter through the posts in a way that I can gain from them. Is it possible and how do I do it? He noticed that one of my most recent posts is succinct.

My being able to this is as a result of having worked things out along the way. Then space is made for new things.  

Jonathan also wanted to know if the blog was not only useful for working things out but whether it was useful in retrospect when looking back at what I had written.

I find this an interesting corollary to the former question. When going back over old posts one of the interesting things is that I see repeating patterns in different contexts, and how ideas group together. 

I also see where I have made assumptions, created a fallacy, something needs explicating or could have been said better in fewer words. Am I falling into a trap?

The blog posts are engaged in a dance with one another. That dance can be chaotic at times, but that chaos is not random or irrational, it is complex. An important task is to tease out the simple elements, some more obvious than others, and how they correspond to one another.

 

What to do now with the blog journal

I am resolved to revise the categories and tags but not in terms of content because there are too many candidate words and there is a limit of 45 tags being shown in a normal tag cloud plugin.

I will look at the broad ideas and use tags that correspond to external criteria such as learning outcomes rather than my own internal ones. This I think will help me a lot more.

The projects are precipitating out and things have shifted into a clear set of patterns. So, categorizing the posts will be much easier. I will compare original and new categories to help me clarify my way forward and I hope that by Easter I should have a much clear view towards more ambitious work . This is particularly important since the Research Statement will be starting around then and require a great deal of work. 

The point Jonathan rightly makes is to make sure that I can gain the most from the large body of material I have collected in a short space of time. Just the act of going back and reorganising will be a deep reflective process. I could even use a different way of organising the material better suited to my needs. This is an interesting point that I shall think on.

 

Video

We discussed the video work as a possible way forward; as a means of tying together different strands in my work.

Working from the first video, post-truth-hurtling, I am developing a methodology from first principles that gives a degree of control over ephemeral phenomena without losing the spirit of contingency and heuristics.

The way I work with video is as a performance that could be enacted live.

This work is almost complete and it links with my idea of Mythopoeia and the shadow world.

I feel that the direction this project is taking is an exciting one. One which can be extended to form a suite or series also behaving as poetic labels for other works.

With the video I have the same philosophy as with my mouse drawings. Working with limitations gives way to greater freedom. Not relying on having the perfect conditions. 

 

Shadows

An interesting conversation pointing to the potency of shadows as a medium.

Jonathan observed that my work with shadows in their details capture a lot of what I talk about.

The loss of information, as the three-dimensional world is projected onto two dimensions creates a space for the imagination.

 

The Line

Following on from this dimensional approach, the video of the line intrigued Jonathan and we discussed ways of extending the idea by removing the horizon. I have since thought of ways of overcoming the slight technical impediments that had precluded me from doing this in the first place. He would also like to see the ‘failed’ experiments online, something I will do because it is these as much as the successful experiments that can show new pathways. 

The line video is a metaphor for my working with past material allowing the imagination to roam without consequence and seeing the present through a different optic. Ideas can then be brought into the present and critically analysed in the contemporary context.

 

Modularity

We discussed the idea of modularity my methodology and the Graven Images. How modularity is not only about construction but also human interaction such as trade, religion, science and so on.

The proliferation of composite creatures tying up with the emergence of complex body plans in the Cambrian Explosion.

Just as there is the emergence of physical characteristics, you also have the emergence of predation which is a behavioural strategy linked to the physical such as the development of the alimentary canal, a salient element in my work.

There must be a parallel with human society. What could this be and what could this say about our society?

 

Heuristics and Playfulness and Control

I work heuristically, analysis taking place afterwards the fact. The action research cycle starting with the work, leading to ideas and alterations that then inform new work.

I strive for a level of control that is subliminal, built up from experience, that does not interfere with the heuristic element but allows me to decide on the directions I take. 

Jonathan suggested that the heuristic, playful nature of the videos is in contrast with the constraints imposed by ceramic practice involving planning and staging.

I also think that it is in contrast with the side of me that is risk averse and needs to plan and think ahead. By relinquishing a predetermined outcome, I am able to delve into different areas that can bear a variety of novel, hybrid fruit.

I like the idea of the rational being subliminal during making and becoming more overt after the event when it can inform and explain, explicate and imagine (often as a reflection of the self). I have enough experience for this not to be a blind shooting but like a experienced fisherman, casting the line into the water with knowledge borne of experience. 

The process often begins with a what which then moves to how and the why is the much harder part to work out.

The what and how are often contextual and technical. Then there is the external why as a response to the world and the hidden,elusive reason(s) which is much harder to fathom. It reaches down to the deepest recesses of the self.

 

On Change

I explained about the emerging idea of metamorphosis, process philosophy and the relationship between being and becoming. How metamorphoses can take place within a closed, short term system and over time within a wider context. 

 

On Sound

I discussed the possibility of consulting with Ed Kelly in relation the MAX MSP. I am not looking to learn how to use the software for some unspecified future idea. I am looking to use it to perform a specific task and in doing so learn how to use it perhaps for something else. I have a clear purpose and direction, so it becomes about how to get there with the appropriate tool. 

 

East Coast

Jonathan liked the contrast to other posts provided by the East Coast images. We discussed correspondences with my other work in terms of why I am drawn to that way of working and the significances of the subject matter. I see it as a reflection of one thing in another as I have mentioned in the post.

Jonathan also noticed that in the East Coast post images gallery, the images are followed it one continues clicking by images of the maquettes, something I did not know. That is an accidental juxtaposition of the images and ideas for a work which show a great deal of relatedness. What a lovely surprise!

And indeed, not having people in the pictures gives another view onto the correspondences between things.

 

Miscellaneous

Jonathan was drawn to the post Labelling the World Post in which I discuss the awakening of the self through language. This is another more conceptual stream which could yield interesting things to do with separation, boundaries and relationships

A discussion on Buber and Heidegger followed, and how they view the world in complementary ways.

Jonathan is interested in how I am expanding my well-established process and not afraid of not making things perfect. He would, though, like to see some of the alternative works such as for the line video. We discussed this aspect of the blog and indeed, to show abandoned trials could yield something yet unknown. For example, the line could be extended so that there is no horizon. To get around the issue of the camera’s field of view vs depth of field, one of the large black boards could be used.

Talking about animation, I said that I do not want to get to much into that medium because I do not want to repeat what others have done so so well. We then discussed old Rotring pens!

Something I have not discussed in a post is whether using Rotring pen or an expressive old pen nib. This is a dialectic than will resolve itself with doing.  

I like moving from one thing to another when working with different ideas. I find it useful to go from one thing to another. Jonathan told me about ‘Clock Maker’s Wife’ where she used coloured pencils on a notebook, she was able to do something simply as an alternative process. 

We also share a love of working late at night, when it is quiet and ideas come on the breeze of silence.

 

Chat Session 2.1: Interaction, Immersion and Control

Alexis

 

The overall chat centred around how control can be nuanced in methodology in the possible interactions between artist, artwork and receiver-participant and how the degree and means of immersion and ways of achieving this can be an important element when considering work/audience interaction. It also highlights the need to consider the boundary between message and means, idea and technology in the digital world. The use of technology itself can affect the degree of control the artist can exercise over aesthetic and idea. Again I feel what arises is that technology is best considered as a tool and not to allow it to take over the artistic practice and agency. Technology becomes more important in cases where what is being considered could not be achieved otherwise or where the technology itself becomes the subject matter of the work.

 

 

We looked at some principles regarding interaction in art. Interaction is generally about reciprocal action or influence. Other words can be used in relation to art such as: relationship, dialogue, communication, exchange, action and reaction and so on. Jonathan quoted a colleague of his following from another quote by Duchamp. The former states that a work of art does not exist until two strangers have talked together about it. This was in the context of a course on public art. Stating that whether something is a work of art or not depends on strangers talking about it seems to be to ignore several things.

First it does not address the question of an internal dialogue whether in the artist or a receiver. I can only conceive of what this person says being true if the sole purpose of the work was to create a situation in which two strangers will talk. This I would view as a very narrow definition without an initial premise. 

Second, existence is a difficult word to use in this context. Does exist mean the concept, idea, material, location? The thing itself clearly must exist before anyone can observe it. The intention of the artist has formed it to be the way it is for a purpose. Does what the artist do count for nothing until two stranger talk about it? Between the moment the work has been created (and installed) and two persons talking about it there must therefore be a period of limbo. The thing in question only become art when talked about, I think they might have had in mind Schroedinger’s cat and applied it to art. 

Third, does this mean that anything can become art when two strangers talk about it as such? This is perhaps the one element that bears further scrutiny. In this case, is the conversation the work of art or the thing spoken about. Which makes me think in the case of art, is the conversation the artwork or the subject of that conversation.

Does the thing become art only when spoken about making a conceptual transformation in the process? And if so, what was the state of that thing prior to conversation. Was it an inert object or did it contain latent artiness? 

This idea is very much a child of Dewey’s embedded in his book Art as Experience. This democratisation of art is a laudable thing but it does so often bypassing the role of the artist. A work exists before it is made public, it contains latent potential, this potential undergoes a fission reaction on exposure which can take the form of a conversation between two strangers. 

I would propose that art does exist before two strangers talk about it, so long as the artist made it. It is perhaps the meaning that moves from an internal conversation within the artist, in latency, to actuality. It may be new meaning that is created in conversation, a meaning that may or may not concur with that of the artist. Art was there before the conversation about it just as stones fell to the ground before Newton’s laws of motion. An artwork is a gift to the world yet to be opened. 

 

 

The discussion then moved onto behaviours of work, mediums and material in relation to technology: ‘not to focus on the tech and the cleverness but on the things we can learn from the behaviours of the work’ (Jonathan).

A dichotomy appeared between constantly changing work in which the behaviours are constantly changing and work which is finished and completed. Computational, generative art is an example of the former. This category is constantly changing in how it presents but at this time, is it actually changing behaviour? I ask this question because the underlying algorithms at work remain the same. The behaviour is the same, what we see as changing is the chaotic entanglement of simple rules that give the appearance of constantly changing behaviours. In computational art, a truly changing behaviour would have to involve the algorithms themselves changing over time, a form of self learning. 

There are no simple answers to any of the above questions or arguments arising. To my mind it is more a matter of differing stances, points of view and starting premises. However, one things I feel is true. That seeing art in terms of behaviours is a powerful way of receiving and perceiving more from what one does and works with: it can help extend the parameters of ones own practice. Johnathan said, ‘I think it [seeing work as behaviours] allows our own work to speak to us and therefore allows others into the conversation maybe?

 

 

We then moved on to ways of describing how work engages with the digital environment via five themes, the first two of which were covered in this session: control, immersion, interface, narrative, and play.

Jonathan chose examples of relatively early digital works as a control against being distracted by the technology and focussing on the behaviours demonstrated.

The first was by Myron Kreuger entitled Cat’s Cradle: link – https://youtu.be/5sGeEnGos0Y. The impression I get from the video is that this was an exercise in demonstrating what could be done at the time (1970s) using the contemporary technology. The subject matter is actually quite banal but the title not only is a literal description of the play with the loop, it also reminds me of Kurt Vonnegut’s novel of the same title – link– which deals with the implications of technology. The book starts with the narrator Jonah describing how his research leads to this  fictitious scientist collaborator in the H-bomb , Hoenniker, who played cat’s cradle as the munition is dropped on the Hiroshima.

The two collaborators on the video project each create one of the human elements each while the loop independently moves and contorts. It makes me wonder how much control the performers had in the process. It is interesting from my point of view how the artists interact with an inanimate element which is itself showing apparently independent behaviour. 

Questions arising can be applied to any situation and are well worth asking if nothing else to help understand the nature of the artist/participant/audience relationship.

As Jonathan poses:

  • how much control does artist give?
  • how tightly coupled is the relationship between participants and participant/artist?
  • how much control can the artist give? (there is a skill issue here?)
  • is the work crash proof?
  • who is the controller? someone who learns how to use it?

https://vimeo.com/276859221 is an interesting installation where the audience does not participate in the outcome but observes the fish affecting the motion of the globes and their proximity to one another as a reflection of the Siamese fish’s reaction to one another. This is a form of behaviour in which the outcome is set in motion at the outset by design but the actual detail of how the behaviour presents is left to the autonomous process. The artist claims inter-species communication but Jonathan question whether the fish have actual agency. The apparent agency is a teleological argument about an emergent property. Where does the boundary between intention and contingency lie? That is perhaps a question that can only be answered a priori. Any afterthought places the intention causally out of sequence. But then, that is how many discoveries come about, heuristically. To answer the question of agency one would have to run a control. As far as the artist is concerned with respect to control, I feel that he has relinquished no intentionality and none has passed on to the fish, only incidental control, no different to an inanimate system.

 

 

Immersion dealt with the interaction with virtual reality where the receiver affected how their behaviour affected what they saw and experienced. Interesting and technically proficient. However, I have a problem with the boundary between entertainment and idea in the examples shown where the idea is almost arbitrary. The methodology in both cases shown, however, does show potential in how idea and sensation can be combined. This is very much a demonstration of technology and entertainment, particularly in the case of the second example The sensation here almost overwhelms the meaning. But the idea does hold potential for combining sensation with idea. An artist’s quote actually states that the work Osmose is about method, technology and sensation, psychology in short, rather than a more external idea. It is about he medium itself. https://www.youtube.com/watch?v=HaVpDG4JvHE

vimeo.com/8120954 The Roekby video is an early interaction between sound and movement reminiscent of the Theremin. However, although it is an early development, the sounds are pre-recorded and prepared. The movements of the body only activate the sound samples rather than directly control them.

The second example, vimeo.com/27818895, Vermilion Lake is far more akin to gaming.

The third example, Interactive Plant Growing, is far less clear in its artistic intention other than showing how technology can be used to convert objects into a devices for controlling the computer behaviour. It is enchanting though. https://www.youtube.com/watch?v=JXX7JNFD2X8

 

Opening Possibilities

Alexis

 

 

The projection of one dimension onto another, limits the information transmitted creating imaginative possibilities from the cast shadows.

Following our Skype chat on Tuesday, which I have yet to comment on, I thought again why I am wary of sole reliance on digital means for my practice as artist. We discussed control and it is this that engenders a will not ro surrender to the seduction of the computer. I work with analogue, organic, mechanical source material which may or may not be transformed, projected, presented, manipulated digitally. The key here is that the source material is primarily non-digital with the exception of source material directly generated using raw digital quantities, parameters and algorithms rather than simulations of analogue sources. I do not want the aesthetics of what I do to be dictated by a coder, programmer or company that has little or no concern for what I do. To surrender myself to the seductive facilitation that digital programmes bring to create source material, is to hand my imagination to another unconnected individual or set of individuals and loose self actualisation and independence. There are of course exceptions to this but awareness of the process into which one immerses oneself is paramount. I feel that a great deal of digital output is primarily there to enhance the experience of the receiver in ways that verge on, if not fully realised, entertainment and sensationalism. Perhaps this applies more to the so called ‘creative industries’, but the boundaries in this regard are constantly being blurred.

Having said this, I still use digital technology to work with as a tool, a wonderful tool, and in a few cases as a source material but not as a means of creating art. Photoshop and digital cameras, 3D rendering and sound editors are tools used when working in mediums, I do not treat them as mediums I their own right. There are exceptions where work arises out of a given technology offering a new means of presenting, or the work arises out of the ‘material’ of the technology. 

In the end it is not about whether something is valid or not as art, that would be crass. The point is that I do not want to be controlled by this tools and what they can do. That is why it is important for artists to question, challenge and use digital technology as a tool for making art, imposing their imagination on the machines, to extend limits and set boundaries while individualising the process. After all, there is a difference in the way the artist and the receiver use their respective imaginations.

 

 

The question of control is pertinent to the video I am currently working on. It follows from post-truth-hurtling whose source material was natural and contingent. The outcome was subject to a number of atmospheric and seasonal factors which were beyond my control and which I had to seize in that moment. In order to be able to continue and elaborate on this methodology, I have had to devise ways of recreating the conditions in the studio. Only this way could I build on what was started then. I am experimenting with surfaces, objects, light sources, different ways of creating wave interference, narratives and so on. It is a fascinating journey which also brings in sound, text and other mediums. The essence is that I can control ephemeral events and phenomena, control materials and recording means, control methods while letting go of control of outcome and let the process guide me, let the process feed my imagination, let the process bring things together and create new avenues to explore, let the process create meaning. I am in control and so is the process. What it boils down to is that I need to be aware of what I am doing and why but not force the agenda. I have enough experience behind me for meaning to arise from whatever emerges during the process. It is a two way dialogue, a dialectic, a heuristic process, abductive, inductive and deductive, intuitive and rational, it is all things in one.

 

Dimensional Thought Experiment: Worlds Imagined and Recreated

Alexis

 

A corollary arising out of the previous post on  Uncertainty distance and time, this is an abstract musing in the tradition of many popular science abstractions. One such imaginative piece of writing, Flatland: A Romance of Many Dimensions by Edwin Abbott Abbott (1884), came to my attention many years ago. A satirical novella set in a world with only two dimensions.  

You are looking down a cosmic microscope where an infinitesimal point fills your field of vision. Sight becomes infinitely resolved.

A.  Imagine a dot, an infinitesimal point in three-dimensional space and time does not exist.

Now imagine this point repeated infinitely so each point touches the next along a single axis. The point is now a line.

At any point in space, the line will appear as a single point. You cannot see the line because time does not exist and therefore you cannot move from one point to the next.

B.  Now imagine an infinitessimal point in time without spatial dimensions.

The point is now extended in time to form a line.

Remembering there is no space, you cannot perceive the timeline, only a point in time.

C.  Now take a point in a world where space and time exist together. Extend it to form a line. You can now see the line because it extends both in time and space. You are able to move through both space and time simultaneously. You can now perceive the line as a continuum of infinitesimal points extending in space and moving through time.

 

 

 

This thought experiment has many caveats and appears reductive: an infinitesimal point seems counterintuitive as does a dimension devoid of physical extensions with only time as a parameter and conversely a space without time. In addition, a line itself without thickness or breadth, only length is also a pure abstraction. The whole thing is counterintuitive. These things are hard to imagine and can only be spoken of in metaphor or using mathematics because to our brains that are seated and immersed in a spacetime world these things do not make sense in view of experience. Experience tells us that it cannot be so. We are made and exist in this world. Our perceptions and minds have been formed as fractals or reflections of ‘real world’ phenomena and the laws that govern it. Such things cannot exist in our Universe. 

My simplistic thought experiment is a way of imagining space and time as inextricably linked to form the conceptual fabric containing all becoming, existence and change in our universe. Strip one from the other, and the impossibility to experience existence becomes self evident. This was one of Einstein’s insights following on from Maxwell. 

Add another spatial dimension and we enter a world which is alien and again counterintuitive. We can only construct projected shadows cast from such a world onto ours by the imaginative means of strange solid forms. Likewise, our-world solid objects project shadows onto flat surfaces, as an infinitesimal slice of the object that projected it. An idea Abbott made use of in Flatland  with the passing sphere. 

We have no problem in perceiving and conceiving of shadows as projections of a higher (our) dimension because they exist in a world of lower order than ours and one in which we experience shadows everyday. However, when confronted with a world containing more than three linear dimensions it becomes impossible to imagine such a world and we make recourse to geometric shadows in the form of strange solids and mathematical means to describe them. It is only possible to hint at what a world with four spatial dimensions might be like using animations. It is indeed a strange world.

 

 

When I think of my work in three dimensions, I perceive it in time too as my mind traces the surfaces and contours. When I see shadows projected by the work, I see something else, a journey through space riding on beams of light and reforming the world. A world that exist in three dimensions at a subatomic level, but appears flat, in two dimensions. I then recreate that universe in my mind to one that is congruent with an intuitive mind formed in this universe of spacetime. 

Looking into the past and future is also a work of shadows: shadows of ideas and events that do not fully form into rounded experience but play themselves on the screen of the mind as words, pictures and imputed movement. 

 

Uncertainty, Distance and Time or I Caught My Thumb in the Car Door

Alexis

 

 

U=dt

We all notice the little things, even the mouse hidden under the scaffolding for Anne Boleyn’s execution has a story. The bruise on my thumb also has a story, drawing the eye to its notice. Of what relevance is this to the main narrative? Who can say, but it is part of the world and to someone as, if not more important; perhaps someone who has just done the same thing.

Was there a mouse under the scaffold? Who knows, but I am certain of the events that led to the bruise, can you  be? The further one’s mind goes into the past, the more uncertain the truth of events. With the passing of time, accuracy of narrative diminishes and the latitude for the imagination increases. What happens in the past is always an imagining in the present; a speculation based on facts gleaned in the present. The past is a story of broken pieces tenuously joined in rapidly fading light.

Likewise, the present is connected in space and so often certainty in concurrent events are subject to distance. Communication technologies attempt to alter this trend but the veracity of remote news is subject to a large variety of factors. Generally speaking. distance increases the sense of uncertainty regarding an event, in its causality and sequence. This is something that affects us in the everyday. Space, distance and time are great arbiters of fear and hope. Am I talking here about control, or the illusion of control?

The future is also subject to a similar relationship only that there are no pieces to put together, only inferences which are subject to contingency and based on probability. It becomes a matter of approximating as best one can the chances of an imagined or inferred narrative coming about. There is also no past narrative presented for verification, only precedence. Does history repeat itself?  1

I am interested both in the deep past and the future, areas of thought that stimulate the imagination; prehistory, ancient history, science fiction deal with these areas. The closer one comes to the present moment the greater the burden of responsibility for its consequence. An understanding and critical view of history and honest informed political planning are perhaps the two greatest factors in determining how the world develops from now. These are the two things hardest to influence, because they are subject to strong emotions, biases and misunderstanding which affect events today and in the future.

 

  1. This is an idea I have touched on in previous posts.[↩]

Mythopoeia I: post-truth-hurtling Video

Alexis

 

Best listened to with earphones