Lisa Brown MA Critical Research Paper 2009

8/14/2019 Lisa Brown MA Critical Research Paper 2009

1/33


2/33

1

All Masters students receive an assessment brief to help them maximise their potential, and it

looks like this:

Figure1.TheMAFineArtAssessmentbrief1.UAL2008-9

As a dedicated Masters student, I have set out to do precisely what the assessment brief

specifies especially in terms of the learning outcomes. To fulfil these, I must first of all fully

understand them. To this end, I will first of all decipher them then fulfil them one by one.

These outcomes then, form the chapters of this paper thus:

LEARNING OUTCOMES/CHAPTERS PAGE NUMBER

Articulate a systematic knowledge and understanding of the contemporary

and historical context for their practice and related research

3

Critically reflect upon, refine and present the theoretical framework for theirpractice

25

Analyze complex issues and communicate their conceptual understanding

to specialist and non-specialist audience

26

Formulate a clearly articulated research question or questions, propose

hypotheses applicable to their research intentions, evaluate research

methodologies and apply methods

27


3/33


4/33

3

It was a dark and stormy night. Three men were sitting around a campfire. One of the men

said, Tell us a story, Jack and Jack said It was a dark and stormy night. Three men were

sitting around a campfire. One of the men said, Tell us a story, Jack and Jack said It was a

dark and stormy night

(Kraynak, J., (2003) p.337)

It is impossible to pinpoint the origins of these devices. No one invented them but they occur

in practices and studies devised by humans where thought can be applied. The earliest use of

a recursive device that I can find is in the Liar Paradox. In the 4th Century BC Greek

philosopher, Eubulides of Miletus, apparently asked-

Does a man who says that he is now lying, speak truly? (Goetz, Philip. W., (1989) p.587)

If that man is lying, then in fact he is telling he truth, which contradicts his assertion.

If that man is in fact telling the truth, then again he is lying.

Either way, his assertion seems to negate itself or at least return to itself.

Aside from Eubulides mind game, the Mathematician Gdel has developed the theme of

recursion along the lines of Gdel

s Incompleteness Theory.2

Other areas where the devices occur are in the writings of Italo Calvino in, for example, If on a

Winters Night a Travellerand the films of David Lynch. I would like to point out here, Lynch s

film The Straight Story, his only film to date, which doesnt use a recursive device. The title of

the film, as well as referring to the subject, a man called Alvin Straight who learning his

estranged brother has had a stroke travels from Iowa to Wisconsin on a mower to be reunited

with him, it also alludes to the fact that it is a very straightforward story; there is no plot within

the plot. The viewer is lead to a happy ending and not to an undetermined closure as with his

other work. This being his only film based along one line of action going forward, he titled it

so. To me, it is an obvious example of the exception proving the rule.

2ThisconceptisexploredinHofstadtersGdel,EscherandBach,whichisessentiallyanexplanationof

recursionandrepetitionintheartsandtheeveryday.


5/33

4

But, perhaps the basest form of recursion exists in plain thought, as demonstrated by

Descartes when he stated, I think, therefore I am. Descartes took this thought as proof of his

own existence, because even if he doubted it, doubting is thinking. Therefore his existence

cannot be in doubt. The phrase forms the basis of recursion because it essentially indicates

thinking about thinking. (Descartes, R., (1968) p.53-54)

Some examples which I will reference more thoroughly throughout the essay are as follows:

the drawing of M.C. Escher and most closely related to myself, as we have conceptual art in

common, the work of Bruce Nauman and Robert Morris, and their relationship to Robert

Smithson. I will also reference the ideas of Douglas Hofstadter in his extensive writing on

recursion.

Having stated at the outset that recursion is the basis of my practice, I will now flesh out my

attempt to use the same devices in my essay. By using the title page to refer the viewer to the

end to find the research question I am attempting to make the essay into a material loop. And

by using the start of the Critical Research Paper process (Assessment Brief 1, Fig.1) as the

start of my paper I am aiming for the result to be directly equivalent to it, for the finished paper

to refer directly to the beginning. Throughout the essay I will keep referring to the learning

outcomes to make sure I am communicating what is expected of me.

By attempting to structure this essay in the same way I structure my art I am aiming to make it

directly comparable to my art. Thus, I am attempting to define the function of my art, within my

art. Arguably, I am testing my practise via this writing; therefore my hypothesis is that if I can

see this piece of writing holding up, then metaphorically, I can perceive the same for my

practise.


6/33

5

I will now endeavour to explain how I use these recursive devices in my practice. I will do so

with a piece of work, which, being a narrative comic is different to what I normally do (Figure

2). The comic is based on a dream I had at the beginning of the MA, about the end of the

world. It depicts the Earth

s destruction due to the human race

s desire to build better, more

powerful technology. As the Earth spins out of orbit, people nonchalantly watch the terrifying

event unfold, as if they were watching it at the cinema. As the Earth crashes into another

planet and explodes, the comic starts to destruct too, burning in the corner. Both the dream

and comic, victims of their own story.

Given the belief that dreams are linked to our feelings and anxieties about our waking lives,

and the fact it had such a profound effect on me, I wanted to do make this dream visual, so

did so in a comic. It comes from both fascination and fear with the unknown, the undiscovered

and the idea of the infinite and what lies beyond the boundaries of our planet and then the

universe. Just as this dream (and comic) are victims of their own stories, alluding to their own

destruction, I also have a fear that my own story, of my recursive art practice, will ultimately

lead to my own destruction, ie, madness. I sometimes feel like a dog chasing its own tail when

it comes to my art so end up thinking, where can it possibly end but madness? I see the

dream and comic as a direct link to my fear of losing my grip on the world because of my

practice, particularly as I had the dream at the start of my MA. Just as this dream set the

scene for my MA, it helps me set the scene for my essay too.

Seeing as I am not an astronaut, scientist or mathematician, am happy to keep my feet firmly

on Earth, but am nevertheless drawn to ideas of the infinite and unknown, I explore them

through what I do know, my art practice.


7/33

6

Figure2.Doomsday,2009;A4collagedcomic


8/33

7

Another piece of my own

which obviously uses a

simple recursive device

is Obsessing (Figure 3).

Through the repetitive

construction of itself this

photomontage shows the

viewer exactly what it is

and ends up piercing

itself. The result is that

the viewer double takes

and doesnt see what

they expected to see, but

something infinite

instead. It works in a

similar way to Eschers

Drawing Hands, Figure

4. When looking at a

drawing, one doesnt

usually feel the need to ask at what point of the image was the drawing started and at what

point did it finish? With this drawing I find myself asking Which hand started drawing first?

Even though each hand is at the same stage of drawing the other hand, one of them must

have started first. And which one was it, which is the true hand? The shadow created by the

pen and paper on the surface of which the drawing sits, and the signature in the corner

suggests that the work is finished.

Figure3.Obsessing;2009;digitalmontage


9/33

8

That it is a finished drawing of an unfinished drawing adds to the confusion. Escher, like me,

had an obsession with the infinite. He wanted to represent it in what he did know which was

the contradictory world of the static image.

Hofstadter treats recursion like a mathematical equation, which is illustrated by the diagram in

Figure 5, which he devised to understand Eschers Drawing Hands. Through his diagram,

Hofstadter is saying that this is how to understand the picture without going round in circles.

The viewer has to take a step back and see that Escher was drawing both hands, which

allows them out of the loop.

Figure4.DrawingHands;MCEscher;pencilonpaper;1948


10/33

9

Recursion also appeared in the Conceptual Art of the 1960s, such as in Robert Morris Box

with the sound of its own making(Figure 6).

It is recursive in the sense that as an artwork, its reason for being is to present something to

the world and the thing it presents is its own process and creation. Its whole existence up to

being a completed artwork is the finished artwork itself and the completed work refers the

viewer back to its beginning. This piece makes me think of the ancient dilemma which came

first, the chicken or the egg? Chickens hatch from eggs, but eggs are laid by chickens, so

which one came first? We can compare this to Morris s box because art hatches from process

and method, and in this case, process and method is laid or presented by art, so which came

first? Like the chicken and the egg dilemma it leaves the viewer swinging between the two.

Through evoking questions about its beginning and end, it points to questions about how life

and the universe in general began, and leads one to the futility of identifying the first case of a

circular cause.

Figure5.DiagramdevisedbyD.HofstadtertounderstandEscher'sDrawingHands


11/33

10

I was directed to Morris piece

after a recent project of my own

which involved sending a

package through the post by

recorded delivery (Figure 7).

The package was sent from the

Post Office nearest to Chelsea

College of Art in Pimlico to my

flat in Manor House. Contained

in the package was my

dictaphone, which recorded the

assembling of and then the

journey of the package. The

finished artwork is the package presented as it was posted, with the recorded delivery note

stuck to it, and the dictaphone inside, playing back it s journey.3

Honesty and trust are integral to this piece as it is with all my work. But also integral is a pinch

of deceit and illusion. Sending the dictaphone through the post is a deceitful thing to do. The

people carrying the package dont know that they are being recorded, and if they find out, I

might get in trouble. But the resulting piece of work is an honest representation of the package

being a package.

3Foraclipofa5minuterecordingofthepackagegoto:http://lisabrown

at.blogspot.com/2009/06/recordeddelivery.html

Figure6.Boxwiththesoundofitsownmaking ;RobertMorris;1961


12/33

11

Making this work, I wanted it to achieve the same, as Morris box, through presenting the

finished artwork, to

refer the viewer

back to it

s

beginning and

process of creation.

It also allows us to

hear the unknown

(to most people)

world of postal

delivery, the secret

realm of the Royal

Mail. It points to a similar futility, but unlike Morris box, it is not the presentation of its own

process which does this but the fact that it is a normal every day object, being used to try to

uncover the unknown, through a very everyday, normal institution- The Royal Mail. Through

my art I try to uncover what exists beyond ourselves and is continuously elusive, unattainable

and is therefore futile.

Both of these pieces have wholeness about them. When I had made Recorded Deliveryand

played it back, I was completely satisfied and when I heard about Morris box, I thought How

perfect. Both provide a feeling of completeness, but this is just initially. Given a few minutes I

realise that both of these works are a lot more than that. They use their wholeness as foils to

hide behind, to avoid being trapped by the rules and conventions of the art world, but in the

process Morris and I do end up trapped in the artwork, we have shot ourselves in the feet, but

this is the essence of the work as it comes back to futility.

David Sylvester wrote about Morris box, The cube being a paragon of completeness, the

object is symbolically as well as actually complete, yet it seems that the process of making it

Figure7.RecordedDelivery,2009;package,sentbyRoyalMailRecordedDelivery,

containingaDictaphone,whichrecordeditsjourney


13/33


14/33

13

infinity. But then the neon lights from which the message is constructed pull the rug from

under the work, as neon lights inhabit the capitalist world of advertising, which is not deemed

true or mystical at all.

Figure8.TheTrueArtistHelpstheWorldbyRevealingMysticTruths ,BruceNauman(1967)


15/33

14

Nauman is questioning both his own and societys opinion of the role of the artist, and

exposing the futility in searching for the Truth, what a big word it is yet how easy it is to say.

This piece was made three years before Robert Smithsons Spiral Jetty, which suggests there

was something in the air.

Spiral Jetty is both prehistoric and futuristic at the same time. If left untouched by humans it

could outlive us. It could be, in the future, what Stone Henge or the Mayan ruins are to us

now, a mysterious marker of the unknown past. This again brings the viewer back to the

monumental questions about life on the Earth and the universe as a whole. Because

Naumans The True Artist Helps the World by Revealing Mystic Truthswas made three years

before Spiral Jetty, it is not a comment on Smithsons work, but I believe it is a comment on

this kind of work. They both address the same fundamental human issues of our existence,

but as with all of Naumans work his monumental statement lies alongside a feeling of

lampoonery. He, like me is drawn to the unknown and discovering the Truth, and like me

embarks on this quest through what he does know, which is art, despite and also because of

its futility. Possibly its the other way round and Smithsons spiral was a comment on

Naumans. Maybe in the future, if my dream has come true and Earth and Venus have

collided, humans have died out and the Earth is inhabited by another intelligent civilisation,

Naumans spiral will be long gone, but Smithsons might still exist. Spiral Jettyis a message to

those future civilisations. Both works address the same fundamental issues of art and

existence but Spiral Jettyembraces the future whereas The True Artist Helps the World by

Revealing Mystic Truthssatirises it.


16/33

15

Smithson wrote about his contemporaries

in his essay, Entropy The New

Monuments. The New Monuments he

refers to include the work of artists Donald

Judd, Robert Morris, Sol Le Witt and Dan

Flavin amongst others. Although he

doesnt refer directly to Nauman, he does

refer to the materials Nauman uses and

his Conceptual Art counterparts.

Instead of causing us to remember the

past like old monuments, the new

monuments seem to cause us to forget

the future. Instead of being made of

natural materials, such as marble, granite,

or other kinds of rock, the new

monuments made of artificial, plastic,

chrome and electric light. They are not

built for the ages but against the ages.

They are involved in a systematic

reduction of time down to fractions of

seconds, rather than in representing the

long spaces of centuries. Both past and

future are placed into an objective

present.

(Smithson, R., (1966) p.10)Figure9.VisualcomparisonofNauman's The

TrueArtistHelpstheWordbyRevealingMystic

TruthsandSmithson'sSpiralJetty


17/33

16

He states that his contemporaries provided a visual comparison that in the ultimate future the

whole universe will burn out and be transformed into an all-encompassing sameness (1966,

p.9). This allows the viewer to see an infinity in a second. With Smithson s work, the infinite is

also a concern, but is far less instant, instead drawn out over centuries.

It cannot have been a coincidence that space travel came to the fore at this time. Being a

child of the eighties I take for granted that human beings landed on the moon in 1969 after not

only decades of tests and research, but also thousands of years of people wondering, what is

actually up there. To witness it happening on a television screen must have been mind-

blowing, just as my dream about the end of the world was for me, and that wasn t even real.

The enormity of the moon landings, alongside all other world changing events of the period,

must have forced artists to re-evaluate their place in society, on Earth and in the universe,

resulting in the kind of work they produced.

. . .

Douglas Hofstadter writes about recursivity and the many specialist areas it appears in, such

as language, maths, music and art, and also how it emerges in everyday life. I agree with

Hofstadter where he suggests there is a fear of recursivity. I too have a relationship with

recursion, which jumps between fear and fascination. He describes a trip with his parents to

buy a video camera when he was young. He recalls asking the shop assistant if he could point

one of the display cameras at the television to which it was connected, to which the

assistants reply was No! The shop assistant feared that making this loop would create some

kind of feedback and break the technology. (Hofstadter, D., (2007) p.56-63)


18/33

17

The technology was quite new at the

time and since then Hofstadter and

many others have done experiments

with cameras pointing at the screens

to which they are connected. Thanks

to their experiments we know now that

completing this loop doesnt break the

technology, but does create

interesting infinite patterns, much like

when you look in two mirrors, which

are parallel to each other. Hofstadter

describes them as corridors, or video

feedback, and you can see some

examples in Figure 10.

At the time when Hofstadter made his

request, neither him nor the shop

assistant knew what would happen. It

demonstrates Hofstadters curiosity of

the unknown, and the shop assistants

fear of it.

Figure10.theresultsofHofstadter's'corridor'

experiments,madebyconnectingavideo

cameratoatelevision


19/33

18

Nauman has made a series of corridor works throughout his career, (Fig. 11) which he used to

influence the physical and emotional responses of the audience.

The corridors are too narrow for the viewer to squeeze into so they are forced to peer to the

end where they will see a dim, distant figure which turns out to be themselves, reflected in a

mirror, as with this particular work, or in some other corridor works, staring back from a

Figure11.CorridorwithMirrorandWhiteLights(CorridorwithReflectedImage) ;BruceNauman;1971


20/33


21/33


22/33

21

Figure 13 is a simple diagram of the work:

Fig.13,diagramofTheWyre

This helps to make sense of the work on it s own, but doesnt help in placing the viewer which

is the most important part. To understand the work in the simple form of the above diagram

would mean the viewer continues forever going round and round in circles, left to float in the

works own metaphysical space, at some point the viewer has to leave the loop, which of

course they always manage to do.

In Figure 14 by making the diagram similar to Hofstadters diagram of Eschers Drawing

Hands, and adding the viewer (or artist) looking at a particular point of the piece, helps to

visualise their role in it. It also helps me to communicate my understanding of I think,

therefore I am in relation to my practice. Everything comes back to the viewer/artist.

picturelight

cable

Lights up Gives power to


23/33

22

Fig.14,diagramofTheWyre,includingtheviewer

But the work doesnt end here because it is recursive in a number of different ways and the

viewer has to go on a journey through each to get to the next one. The most obvious is the

visual device of the picture light, lighting up its own life source which I illustrated above, then

theres the fact that it is a piece of art about art. The picture light is one, which can be found in

many homes, lighting up the familys favourite watercolour possibly from that holiday to

Brittany back in 1992. The cable itself, on the outer edge, is set to similar dimensions and

positioning as a landscape painting. As the cable follows and repeats its own path going

inwards, it forms a perspective which leans to painterly representations of a sunset over a

viewer

picturelight

cable

Lights up Gives power to


24/33

23

valley, the lines of cable creating the rays of sun, or architectural form such as in Anselm

Kiefers paintings about space, like Innenraum(1981).

Like the work of Nauman and Hofstadter discussed previously, The Wyrealso forms a corridor

and the light forces the viewer to look at it. It is self-reference within self-reference, just as I

am trying to achieve with my writing.

The diagram above fails in representing this work but I want to include it because its failure

demonstrates that to truly represent it diagrammatically, I would have to put another recursive

diagram within the first, and another one in that and so on. It would be a continuous fractal

network of recursivity.

By standing in front of it, the viewer becomes part of the corridor. When making this work I

wanted to create a kind of vortex out of these household items. Something which, when

standing in front of it, would trap the viewer, mesmerise them and draw them in. The viewer is

again left to confront himself or herself and to get out of the trap.

Most of the work described throughout this writing, can be described as art about art, Sally

OReilly writes about this, in relation to self-reflexive art in an article in Art Monthly,

As metafiction is a text presented as if aware of its own textuality, so is self-reflexive art

aware of its own status as artefact. It is a direct reflection on the relationship between artwork

and audience, implying a self-knowledge and a knowledge that the audience is aware of its

status as artefact. It is art about the act and essence of making and being art. In these terms,

a self-reflexive work, therefore, must not only know that it is art, it must also know that it is

self-reflexive and whether its self-knowledge is adequate to interrogate itself, and so on, in an

infinite regression of self-awareness.(OReilly, S., (2005) p.10)

All artwork needs a viewer to exist and function, but this fact is heightened in recursive work.

Recursive work is essentially art about itself. When the viewer realises that they are looking at

art which is about itself, they become aware of all the aspects of the artwork which make it


25/33

24

what it is. This inevitably leads the viewer to their own role in the art, thus realising they are

embroiled in the whole thing too. They have been tricked into perceiving themselves through

the artwork.


26/33

25

Learning Outcome 2:

Critically reflect upon, refine and present the theoretical framework for their practice

I must objectively present and link up the given set of ideas through which I view my practice.

I interpret this Learning Outcome visually, see Figure 15 for a visualisation:

Figure15.VisualisationofmyTheoreticalFramework

Central to my critical framework is recursion. Through researching and writing my essay and

using this critical framework I am attempting to communicate what it achieves, whilst

simultaneously demonstrating recursion within my writing.


27/33

26

The periphery of my framework is made up of my own practice, interests and research, with

arrows indicating how they link to each other, which I have found out through my researching.

The two titles, perception and self are what I am investigating through recursion, via the

peripheral framework.

Learning Outcome 3:

Analyze complex issues and communicate their conceptual understanding tospecialist and non-specialist audiences

This Learning Outcome is quite self-explanatory so does not need a simplification. It is almost

like a reminder. If I hadnt analyzed any complex issues by now in addressing the first two

Learning Outcomes, then I should probably start again.

All I need write here is a brief summary of the issues I have been researching. I have been

attempting to analyze complex issues of recursion and self-reference and where the audience

is left after viewing a piece of recursive art.

I am discussing recursion and where it has cropped up over the centuries, from the Liars

Paradox, to Descartes statement, to contemporary art.


28/33

27

Learning Outcome 4:

Formulate a clearly articulated research question or questions, proposehypotheses applicable to their research intentions, evaluate research

methodologies and apply methods

The requirements of this Learning Outcome lead me into the conclusion of this essay as it is

based on evaluating what I have done. It also points me back to the beginning in asking me to

formulate a clearly articulated research question. On the first page of my essay, I did not write

the clearly articulated research question, but instead referred you to page 27, ie. this page.

This does three things, it keeps to the structure I have been following throughout, based on

the Learning Outcomes and in the order that they are written on Assessment Brief 1 (Fig.1). It

references the typical format of an MA critical art paper and acknowledges that I know what I

should have done, but have chosen not to, to keep in line with the order of the Learning

Outcomes. It also completes the loop in a material sense as the first page refers the reader to

the conclusion, and vice-versa.

Based on what I have set out to achieve in writing this essay my clearly articulated research

question is thus:

How does using the recursive device that I use in my art practice translate into writing

an academic art paper and by its very nature of retreading the same paths within its

own function does this device allow me to fulfill the learning outcomes, whilst also

communicating what recursion achieves in the arts?


29/33

28

The other points of Learning Outcome 4 are listed below under bullet points:

My proposed hypothesis is the outcome which I expect/expected to come from the

research question.

In evaluating my research methodologies I must discuss how I conducted and presentedmy research.

Discuss the methods I have applied throughout the essay

In answering the research question I am led to my proposed hypothesis, which in turn leads

me to refer to a paragraph I wrote on page 4; that writing a recursive essay would allow me to

fully communicate my recursive art practice to the reader and to demonstrate that if I achieved

recursivity in my writing and could see my essay holding up, then I could perceive the same

for my art practice.

If I did indeed achieve this hypothesis is what I must discuss now by referring to the research

methodologies and methods I applied throughout the essay starting with my focus on the

Learning Outcomes. The structure of the writing around the Learning Outcomes naturally

created a recursive device, as it required me to continuously refer back to them. I have, I feel

addressed each Learning Outcome as fully as I could, without repeating myself, as this would

have resulted in a frustrating piece of writing for the reader, and would have taken me even

more over the set word count. The first chapter on Learning Outcome 1 is very long and forms

the bulk of this essay. Learning Outcomes 2 and 3 are very short in comparison, as the entire

first three Learning Outcomes go hand in hand. It is impossible to fully address one, without

addressing the others. This results in the second and third Outcomes seeming to be

dismissed. To divide the writing up between the Learning Outcomes would have resulted in a


30/33

29

very disjointed and confusing piece of writing. Each of the points of those first three Learning

Outcomes had to be addressed in one chapter.

Learning Outcome 4 is longer again as I am dealing with something I have not dealt with

before in this writing, which is a discussion of its own success or failure.

When embarking on this essay, I was unknowledgeable about recursion. It was something I

used in my art practice subconsciously and was so ingrained in my psyche that it had to be

pointed out to me for me to realise my constant use of it. I have attempted to communicate the

origins of my interest in recursion, stemming from a fascination with the unknown.

Investigating the unknown is futile, it is after-all theunknown

and true to its word will remain

so. After my attempts to reach the unknown through my practice, looping and floating, trying to

figure out the artwork, there is nothing else but for me (and the viewer) to be dumped back

with ourselves, confronted with our own existence, resulting naturally in the recursion which

appears in my practice.

To quote the Apollo 8 astronauts, whose mission it was to orbit the moon and come home,

they say the most amazing part of the whole journey was when the Earth first rose over the

moons horizon (Fig .16). They realised at this point that their mission to the moon was really

revealing more about their own planet and what we have here, and to realise that, they had to

travel 240,000 miles into space to see it, so far that you could cover Earth with your thumb

when you put it up to the window. (Apollo 8 crew (2009) One Small Step) Their physical

journey into the unknown did for them what my metaphysical wanderings do, but on a much

different scale. Just as Descartes statement offers the basest form of recursion, this must

have offered the most awesome, sublime and terrifying form of recursion.

In answer to my research question, this piece of writing compares to my artwork in a material

and also conceptual sense of looping and requiring the viewer/reader to play along. It requires

the reader to realise that they are as involved in this essay as much as the viewer is when

viewing my artwork. This is what the test was, I have proven that I can achieve the same


31/33

30

within writing, so can therefore see this research paper and my art standing together. More

importantly, through tackling what I feel is a complex subject which forms the basis of my art,

and doing so through written language and not the visual which is what I usually do, I have

formed a solid base for my practice, and can, as I questioned, see my practice holding up

because of this.

Figure16.EarthRise;photographtakenfromthefirsteverlunarorbitinApollo8;1968


32/33


33/33

List of images

Figure 1. University of the Arts London; (2009) MA Assessment Brief 1; critical art paper

guidelines

Figure 2. Lisa Brown; (2009) Doomsday; A4 collaged comic

Figure 3. Lisa Brown (2009) Obsessing; digital photomontage

Figure 4. M.C. Escher (1948) Drawing Hands; pencil on paper [online image]. Available fromhttp://www.mcescher.com/

Figure 5. Abstract diagram devised by D. Hofstadter to understand Escher's Drawing Hands,image from Gdel, Escher and Bach: An Eternal Golden Braid, p. 670

Figure 6. Robert Morris (1961) Box with the sound of its own making [online image].Available from https://reader010.{domain}/reader010/html5/0626/5b3159e9f0334/5b3159f808c2e.jpg

Figure 7. Lisa Brown (2009) Recorded Delivery

Figure 8. Bruce Nauman (1967) The True Artist Helps the World by Revealing Mystic

Truths [online image] Available fromhttp://nga.gov.au/International/Catalogue/Images/MED/115577.jpg

Figure 9. visual comparison of Nauman's the True Artist Helps the Word by RevealingMystic Truths and Smithson's Spiral Jetty

Figure 10. Hofstadter's 'corridor' experiments, made by connecting a video camera to a

television, image from I Am a Strange Loop, central image plates

Figure 11. Bruce Nauman (1971) Corridor with Mirror and White Lights (Corridor with

Reflected Image) image from Elusive Signs, Bruce Nauman Works with Light (2006) KetnerII, J.D, page. 21

Figure 12. Lisa Brown (2009) The Wyre

Figure 13. diagram of The Wyre

Figure 14. diagram of The Wyre, including the viewer

Figure 15. Visualisation of my Theoretical Framework

Figure 16..Earth Rise (1968); photograph taken from the first ever lunar orbit in Apollo 8[online image] Available from

http://scienceblogs.com/startswithabang/upload/2009/04/earth_day_from_space/apollo08_earthrise.jpg

Documents

Lisa Brown MA Critical Research Paper 2009