12/10/2015 Tutorial

After having done my tutorial today I have developed new ideas on where to go next.

I am stuck between creating a massive space and small spaces(boxes). I feel like I am slightly moving away from my first ideas and after a lot of thought I realised that I can’t possibly make anything greater than what I have researched. Manipulating spaces and creating illusions has already been done and I need to make something more exciting. Therefore I will stick to small pieces and peepholes for now and see how they can develope in the future. I would like to create a bigger space and see how that would work, so hopefully I will get to do that, too.

Right now I am going to experiment with videos and see how I can make a hologram video for myself, look at sound and experiment with other ideas I’ve got for spaces.

I really want to develope my skills in Photoshop, Illustrator and animator. I feel technology is the way forward.

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Field – Overall Reflection PDP

Overall reflecting back at these two fields I am very pleased to say that I have experienced two totally different modules which have pushed me out of my comfort zone as well as informed me about my own artistic values and thus encouraged more ideas.

In Language Environments I was introduced to the idea of creating an environment through any means and mediums. I have never truly examined how an environment can be created through for example – opposite words – obviously presented in an informative way. But in my case I was introduced to book art and installation work which both were foreign to me. This module has really made me realise how affective it is to create an environment if you use the right tools and convey feelings within your work or how you install it. This module has encouraged me to create a book (I wanted to create something physical that an audience can touch) that was nothing else but frustrating. Having the audience physically and mentally feel and see its limits was the main aspect of the installation. I was really glad how well the installation went and how I have achieved to learn new skills including typography, paper making and the use of senses. I am 100% sure that if I hadn’t chosen this module I would have definitely not done an installation this year which would definitely be a shame.

In the second module – Art and conscious mind – I have definitely gained new ideas about consciousness and looking deep into what we are. How the theories and ideas discussed in the sessions have left me thinking about them after the sessions and even having discussions with people outside of the module. Theoretically I have been inspired to do more writing on the subject of senses and visual indeterminacy. How spaces and light can stimulate our senses. These ideas were definitely encouraged after seeing the work of Craig Thomas and how although this module has not particularly inspired my subject work it has though been the key to my dissertation research. Saying that this module has not inspired my practical work in subject does not mean it will never. I am planning to keep my dissertation connected with my practical work in subject next year.

I must say that even though the sessions were long I feel that I would never had an opportunity to discuss these important and still baffling ideas.

In the future I definitely plan to work in installation and with the ideas gained from art and conscious mind.

Now that I can relate both fields together I see that they both have a potential to become a piece together in the near future. As I plan to make spaces that affect our perceptions it means I am creating some kind of language environment.

To conclude, I am glad to have done these two amazing modules and I can definitely see them influencing my work in third year.

Field – Art and the conscious mind PDP

When choosing this module for my second field in my mind I had hopes to be a part of something that would influence my academic writing as well as my subject practice.

Looking back at this module I can see that there was plenty for me to get inspired from towards not only my dissertation proposal but also my subject.

The theories and ideas discussed in the 3 hour lectures were very intense but very insightful. In the sessions we have discussed plenty of topics, ideas and supporting theories that I don’t think I would have ever had a chance to discuss if I didn’t pick this module. I really don’t think I have ever been a part of a project that insightful in such short period of time. We analysed consciousness and its situation in our body, visual indeterminacy, self-reflection, spiritual art, hallucination visons, the unity and rationality of the consciousness mind and plenty more. These were followed up with questions to make us think of what is what we are analysing and seeing how different theories compete each other in very high level of understanding. These questions were most likely the only thing in those lectures that were interactive with us students. Which is a shame. But I guess this lack of interaction was lifted in the workshops that were set up each week for us. From meditation to unseen art and to my favourite workshop with Craig Thomas and his installation called ‘Labyrinth’. I was truly inspired by his ideas and his works. I really got into the idea of installations and their manipulation of consciousness. How we see the formless and our consciousness makes it up into forms. That is why light and space art is so great because it plays these roles in their works. This links up to the lectures by Robert Pepperell where we were discussing ‘visual indeterminacy’. These ideas made me realise that I want to have an intention to make people feel the intention. I am interested in body and mind and how you can’t separate both away from each other.  These insightful lectures and workshops made me look really into the retrospective art and artists such as James Turrell and Robert Irwin. I have ideas gained from this module that I want to explore in my future work and link my practical with my academic writing which I am doing right now.

Overall I do realise I have chosen a module that was lacking practical and personal work. I really do wish we had more time to really discuss ideas and perhaps do work that could practically influence my subject. I feel that this experience will definitely influence my future work in Cardiff but at this moment my academic writing has influenced the most from this, hopefully soon I can put these ideas into my own practical work.

Field – Language Environment PDP

I was really excited to start this module at the start of the term. I was looking forward to working outside my discipline area and working with other people. I have never done any installation work nor any performance writing. I found the workshops very broad and each week we were introduced to different ideas and ways of working which have broaden the ways in which we could base our final piece on. I have enjoyed all of the sessions/workshops and Camilla Nelson was definitely very helpful and informative in order to help us be creative and think deeper into what is language environment and how we could create our own. Each week we attended different workshops consisting of experimenting with different languages; sound, book art, body performance, nature, etc. After finding out what I would want to base my final piece on it became rather easier than harder. I was sure I wanted to do something that I have not done before and being introduced to book art and its artists I was very excited to start it and think about what I want to convey and where I want to install my piece. I have never worked with book art and that was definitely outside of my comfort zone but having helpful tutorials and people around the school who know how to do book binding was extremely useful for me. I really enjoyed spending my time in Typography room letter pressing my books, doing interesting research, book binding and planning where to install my book.

The piece that I have created was aimed to be frustrating inside(content of the book) as well as the outside(environment/elevator). Looking at how I wanted to create my language environment, I concentrated on the emotion my book wanted to convey and the location I wanted to pick. I wanted everything to come together in one and connect, did not want anything being anywhere randomly. My purpose of the book was for the audience/readers to feel it, take it in their hands and read it. Read it like a normal book. But I wanted to add things to the environment for the viewer to enhancer their experience. Therefore my book was installed in the elevator in the B Block and the content of the book involved the viewer to be ask things to do that were impossible thus making them frustrated thus creating a language environment, eg. ‘Meow like a dog’ or something physical as ‘Tear this’ and attached was a piece of metal.

I feel that Language Environment was a great module with a lot of possibilities. A the end of week 2 and our workshop sessions I had a lot of to choose from which is very important for us students as we don’t want to be stuck doing something we don’t enjoy or we don’t have a choice in choosing. Also these sessions pushed me into the typography room and paper making. It meant I was doing something completely new and therefore I am grateful to have done this module

Overall the sessions were very well delivered and I feel I have really engaged in them all and importantly in a new field of study which was Book Art.

End Presentation : Art and Conscious of Mind

After all the intense but extremely informative lectures and workshops I have definitely gained a lot of new inspirations and ideas for my dissertation and subject.

I have never covered so many ideas about consciousness and our minds in this depth before, which was quite mind blowing at times.

I thought the workshops were very interesting and I found ideas that I want to continue to explore;

  • We see the  formless and our consciousness (mind) makes it up into forms. –> this really got me thinking when we were in Craig Thomas workshop and seeing his ideas on consciousness and his installation ‘Labyrinth’.

IMG_6286I realise I want to have an intention to make people feel the intention. I am interested in body and mind and how you can’t take both away from each other.

To challenge people with their perception through light movement and colours. To make people feel their body more.

I am very interested in Retrospectives and it is my key subject in my dissertation.

The work of James Turrell is a key for my inspiration. His art is amazing regarding the perception of light and environment.

James Turrell5                 James Turrell - After Green 2003

In his ‘After Green’ 2003 piece (right picture) you enter a dark room and your eyes slowly adjust to the environment and in this process of adaption phenomena will occur, you will start to see things that aren’t really there. Things that our eyes ie our mind produce. This is due to our brain needing to be entertained and therefore creates images in our minds. Things you will experience here in connection with yourself, with the infinity of a given space are completely unique. It’s like looking at an abstract art and our mind picking out shapes that are familiar to us. But in this case these examples are about object less art/spaces.

Turrell is able to able to place the viewer in a ‘theta’ or even ‘alpha’ state of altered conscious, something spiritual almost like meditation.

  • Multidimensional power of light and the complex and the instrument that is human being – light projected on the back of your neck and you’re able to feel a specific colour without it entering your eyes. Literally ‘seeing behind’.

I also started looking at the ‘Void’ and literal meaning of the word. ‘a completely empty space’. The void functions as a normative term, referring indirectly to something that should be be there but that isn’t. It’s like hidden imagery. Like looking at a painting’s x-ray and you can see another image underneath. But in this case when you come into the ‘void’ you will create your images, you are going to be challenged. So on the surface you won’t be able to see anything but as you emerge in the space and light your consciousness will receive different perceptions.

Void is nothing and yet it is something. 

‘The Voids’ – A Retrospective – Yves Klein ‘The Specialisation of Sensibility in the Raw material state of Stabilised Pictorial Sensibility’

klein

  • Investigations on the monochrome and pure sensibility.
  • ‘Now I want to go beyond art, beyond sensibility, into life. I want to go into the void. ‘ – Yves Klein
  • To create ambiance of a pictorial climate that is real and for that reason even invisible.

Different perceptions of light that will travel through your nerve system and some may get lost on the way to your conscious making some unconsciousness ideas get lost. Colours do not exist in the real world , these colours are brain’s responses to the spectrum. A pre-reflective perception , no time to reflect just a perception of the space at that moment.

In my future work I want :

  • the interest of light and how it affects the viewer to be explored more.
  • I want light and colours to be my main subjects of projections, as Turrell said once ‘All descriptions of near death experiences, epiphany, etc. all things link to enlightenment. In the beginning there was light – it has a strong relationship with us humans.’
  • Perception psychology
  • Understanding colour
  • Create intention and make people feel the intentions.

Art and Conscious of Mind – Lecture 4

The Self Awareness of the conscious mind

lucas-cranach-the-elder-adam-and-eveLucas Cranach ‘Adam and Eve’ 1526

The painting depicts the particular moment after Eve has already eaten the apple. She is already able to reflect upon things in a different way than Adam, who is scratching his head wondering what is happening. We can see on Eve’s expression that she knows more than Adam at that moment. Only after eating the apple they become aware of their own bodies, their minds and their self. Before they lived not knowing of their own existence. After eating the apple they are able to see themselves as something that is distinct from the world and not part of it. they have their own mind and awareness. They become embarrassed of their bodies.

 

Everything to us is a continuous blissful state. Things don’t work the way we want them to , and we never have problems with the world. Everything has minds but we as humans can reflect on our own minds  and existence. Capacity we have that we know we exist and we know we have a mind.

We know Adam is puzzled and that Eve knows more than him because we can reflect our own minds into the situation.

 

What is the self that is aware of itself?

Descartes – ‘I THINK,  THEREFORE I AM’

If you are thinking at all you must be existing.

Logical problems with the self conscious

A camera can’t take a photograph of itself. You can’t turn the mind on itself. Hammer can’t hammer itself. 

Mallarme – Spent a year trying to work out his own thoughts. We are not use to think about the thing we think with.

Paradox of Introspection:

What we believe we are thinking can be different from what we are actually thinking. People do not realise their minds have wandered, or are not aware of mental responses that are given away by physiological behaviour.

Paradox of Self consciousness

Thoughts about ourselves presuppose the cognitive and linguistic capacity for self thought, If I think about myself, who is thinking?

Paradox of explanation

Can an object (like the mind) explain itself? We are limited to our own form and consciousness.

Infinite Regress:

Conceptual regress: Things go on forever and ever. eg infinite regress in mathematics 1.3333333 -> idea of 3 going on forever.

Physical regress: Physics sort itself out somewhere in the way. Grounded in solid physics of the world.

 

Self Awareness in Art:

bartisch-1583-eyesbackinhead

Bartisch 1548, Man whose eyes have been turned inward. Possibility of something looking at itself. 

johannes-gumpp-self-portrait-1646-1342563079_org

 

Johannes Gumpp 1646, Self Portrait – You don’t see the artist’s head but only the reflection and his painting. It’s referring to it’s own existence as a painting. Painting a painting. Conceptual development. It allows us to see 4/5 things at the same time.  A  bit like turning the camera on its own. Complex set of relations turning on itself. Someone is watching him over his shoulder and catching him in the act of painting.

braque_still-life_with_violin_and_pitcher_1910

 

Braque, Still life with violin 1909 – Refer to itself. The act of making it. You’re not looking at a still life, you’re looking at still life of a painting. It paints its own condition of painting.

 

Camera Feedback:

 

Camera ———— Monitor  (face a camera close to a monitor playing the camera image)

– Based purely on something looking at itself. 

-Feedback gives us complex physical organic process.

 

 

Art and Conscious of Mind – Lecture 3

The Unity and Rationality of the Conscious Mind

6160502943_00c0d60012Lichtenstein’s Rouen Cathedral SET V

-> Visually striking

-> Dizzy and Disorientated

‘Is your experience of seeing the painting unified or multiple?’

– If you believe you see dots and cathedral you are being irrational.-

Do you have one mind or many ??? Is your mind rational or irrational???

By seeing the dots and cathedral we are suggesting that our brain can move from one to another. But would that mean we have more than one brain? One seeing each thing, dots, other cathedral?

Decartes – ‘there is a vast difference between mind and body, in respect that body, from its nature, is always divisible, and that mind is entirely indivisible.’ Anything that is physical can be divided into smaller pieces. But you can’t chop your mind. It means its a unity and one experience.

The Binding Problem: Smell, see a colour, feel a shape..they happen at different times but are not connected to each other in the brain. Yet when we see a red square they seem to appear at a coherent time to us humans.

Dennett argues that we don’t have a unified mind. There is no place in the mind that everything comes together. Observing your own existence. Someone has to have the same mechanism in your head. Who’s looking at that one place? infinite_regress_of_homunculus The Rationality of the Conscious Mind

William James:‘normal waking, rational consciousness’ in contrast with other ‘entirely different’ forms consciousness of a mystical or religious kind. He experimented with substances to alter his consciousness.

Are we rational?

Kajneman + Tuersky 1979

LAW OD EXPECTED UTILITY

We don’t behave in the same way. Pick one out of irrational reason. Irrational decision making. You are more anxious when you fly rather than when you drive even though there are more deaths in car accidents than in planes. No link between throws of a coin. Irrational to be believing what the result of a flipping coin could be.

The nature of UNITY and RATIONALITY

What do we mean by saying rationality and unity?

Definitions of UNITY:

1. The state or quality of being one, oneness (UNITY 1)

2. The act, state , or quality of forming a whole from separate parts (UNITY 2)

MOST DEFINITIONS OF CONSCIOUSNESS ARE OF THE KIND UNITY 2.

Rationality: We like to believe that we are rational beings living in rational universe.

NON- CONTRADICTION Aristotle says ‘ the same attribute cannot at the same time belong and not belong to the same subject and in the same respect’such that ‘it is impossible for any one to believe the same thing to be and not be be.’

-Its impossible for something to be one thing and not be another.

-Something can’t be true and false at the same time.

-You cannot have contradictions.