Project Proposal 4-6-2012

7/31/2019 Project Proposal 4-6-2012

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Existence: Individualism orMechanism?

Exploring the notion of how individuality exists within a system.

Kay Johns MA Digital Arts Online (Visual Arts) University of the Arts London, Camberwell.


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Aims

My primary aims for this project are to create a video/audio installation that expresses

and questions the transformation of individuality within the conglomerate. I intend to explore

the notion of how individuality exists within a system, along with questioning the idea of

individualism/mechanism in my work (this may change depending on the perspective). Since

this topic is quite complex I can only really hope to explore aspects of this vast subject. I

aspire to convey these ideas by experimentation with pattern transformations and randomness

by exploring generative elements of nature as a method for the foundation of my studio

practise.

Secondary Aims: To research Chaos Theory, and explore a collection of repetitive, random,

and generative processes within both the natural and electronic realms.

Objectives

To obtain a clearer understanding of the natural world.

To gain knowledge of theories and ideologies that may contribute to random

pattern transformations.

Acquire information from artists that use either natural generative elements, or

computer generative elements in their work.

Explore and create experiments using different methods in this area.

Project video onto naturally generative/ kinetic sculptural forms.


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Historical Context

Over the years my work has developed from making dynamic sculptures into creating

multimedia installations, by exploring kinetics, sound and digital video. The historical context

of my work can be found in a combination of art practices from Kinetic Art, Anti-Form

Movement/Process Art, Video Art and Sound Art. In the past I have been intrigued by the

Kinetic ready-mades of Marcel Duchamp. The Anti-Form movement and artworks by Robert

Morris titled Scatter, Richard Serras Splatter, and the Subway Drawings by William Anastasi

as they all have a dynamic quality and an element of chance. I am also fascinated by Video Art

and the works of Nam June Paik, along with the experimental generated Sound Art by John

Cage.

Contemporary Context

The contemporary artists and artworks that I originally started researching for both

my contextual research andresearch paper were, Philip

Galenter, Joseph Nechvatal and

Shardcore. At first the most

relevant contemporary artwork that

related to my question was an

installation by Brian Eno called 77

Million Paintings . (See fig 1)Fig 1 . Brian Eno: 77 Million Paintings . Fabrica, Brighton, 2010 .

http://www.culture24.org.uk/art/new+media/art77594
http://www.culture24.org.uk/art/new+media/art77594http://www.culture24.org.uk/art/new+media/art77594


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This is a generative artwork that reflects notions of individuality and transformation within a

collective.

Since my studio practise has entered another phase, where I have been recording people's

breathing sounds and collecting breathe of the same people by storing in balloons. I recently

started researching artist's that use either breathe, breathing sounds, or balloons in their work. I

have been looking at Artist Kimsooja. She has used her own breathing sounds in an installation

titled: To Breath - A Mirror Woman. Also an artist that used both breathe and balloons in his

work is Piero Manzoni's sculpture titled: Artist's Breathe , though not contemporary, but

relevant. He used his own breathe to blow up a balloon and then attach this to a wooden block.

While the balloon has since deflated, which probably happened when he was alive. I found this

quite sad since he is no longer alive now, but it is also very effective. I have also been looking

at fictional artificial-life forms of artist Theo Jansen. These life forms move about randomly

due to natural generative elements of nature.

Theoretical Context

The key words that reflect my project are Natural Generative Elements,

Interconnectivity, Individuality and Artificial Life-forms. The theories and ideologies I will be

using to explore my question/artwork can be linked to these keywords. I have listed my main

theoretical areas of study below:

Dynamic Systems: Generative Art Processes/Natural Generative Elements.

Scientific Theory : Chaos Theory.

Popular Culture: Posthumanity , Utopian/Dystopian Future films and books.

Philosophy: Existentialism, Transhumanism.


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Methodology

My methodology for this project will be a combination of the following:

Primary Research/Contextual: So far I have contacted Generative Artist's

Philip Galenter, Joseph Nectval, and Shardcore. I have interviewed these artist's

in connection with both my studio practise and my research paper. I have

looked at specific artworks by practitioners such as Brian Eno, Kimsoja, Piero

Manzoni and Theo Jansen. I will also carry on visiting exhibitions, galleries and

museums that relate to aspects of my project.

Qualitative and Quantitative Research :

During unit two I will send a video link of my artwork to 15 of my peers to

view, along with a multiply choice questionnaire in the likert style to fill in.

Visual Research : Taking photographs/video clips and drawing.

Studio Practice : To explore methods and practices relating to generative

elements and processes. Here is a list of my intentions. I will also keep a record

of my experiments on my blog:

Create rules similar to tradition board games and apply them to my artwork.

Experiment with partial rule based systems.

Research Chaos theory, and film generative elements of nature.

Make experimental video's of natural generative elements (fire, waves, clouds).

Experiment with editing software.

Learn how to use Processing.

Record breathing sounds and collect breath to be contained inside balloons.

Experiment projecting video through naturally generative/kinetic sculptural

forms.


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Theoretical/Subject Research: To research Dynamic Systems: Generative Art

Processes and Chaos Theory. Popular Culture: Dystopian Future films and

books. Philosophy: Existentialism, Tranhumanism.

Reflective research: This will be an ongoing random process throughout, but

there will be key periods when reflection will be more prominent. For instance

at the end of Unit One, I reflected on all the relevant information gathered to

curate my blog for the assessment. While in unit two I will also need to reflect

on the information gathered from my Qualitative and Quantitative Research, and

include this along with all the other relevant information to write my reflective

paper. This would contain information gathered from all the research sections,

along with reflection on blog entries, from feedback of tutorials and group

critiques to create my artwork for the final project. Then my next key period of

reflection would be after my final exhibition. During the exhibition I would

leave a comment book that will also contribute to the knowledge and feedback gained from the exhibition.

Outcomes

Upon updating this, I am a half way through Unit 2. Since my work has led me in this

direction, I now know that I would like to make a dome/tent shaped structure which in essence

is an imagined artificial life form, where viewers can encounter an immersive experience.

During my BA degree, I researched aspects of Posthumanity which I found interesting to look

back on since the imagined hybrid AI entity which has developed within my studio practise has

some similar yet opposite attributes due to its interest in organic life forms. I began thinking on

similar but opposite lines where a Transhuman thinks about transcendence to become


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Posthuman, but instead thinking about an AI Trans-Machine. A machine wanting to acquire

knowledge that's fascinated by organic life-forms and has chose to add organic elements to

itself, thus its eventual desire of transcendence to become Post Machine.

The fictional artificial life-form (dome/tent structure) would not be questioning itself, but

would question you the visitor, a biological life-form, and so the person entering would be the

focus of the installation, well from the point of view taken from the artificial life form. The

balloons and breathing sounds would now be part of the hybrid artificial entity and the only

true organic form would be the visitor (viewer). Upon entering there would be a sign on the

floor saying - 'Enter alone'. When inside you would view a video which would ask the viewer

a selection of questions in text format, along with intermixing a combination of random video

clips of natural generative elements of nature. My intention is for the artificial entity (dome

structure) is to be an explorer, since dome/tent structures are used for both an exploratory and

protective purpose. In the case of the entity this is its protective skin/structure for exploration,

since it wishes to learn more about the natural world and its inhabitants.

The dimensions of the fictional artificial life form (dome/tent structure) will be 200cm x

200cm, height:140cm. I'm aiming at everything being contained within this space. I will be

using a laptop and speakers inside, which will be slightly disguised. The materials for the dome

will be made using elasticated tent tubes, with a strong tarpaulin floor base that I will make and

add eyelets in to secure the poles. The white tarpaulin sheet will be covered by large bubbled

bubble wrap which will be pre-popped. The top cover of the dome will be made using cling

film and thin blue wire to create a vein, web type effect, along with thirty or so five inch clear

balloons interweaved into the mesh, which will be accompanied by various individual

breathing sounds of which some of the individual's air will be inside these balloons. At this


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point I am uncertain how long the video will be, but I'm aiming at somewhere between ten to

twenty minutes.

Risk Assessment

As I mentioned previously upon entering there would be a sign on the floor saying - 'Enter

alone'. I will need to see where the nearest plug sockets are and take into account the possible

use of extension leads. For cables running along the floor I will use a combination of either

cable clips or floor cable covers for both neatness and safety. All cables will need to be tested

by an electrician for health and safety purposes prior to the exhibition.

Work Plan

I have split my work plan into a combination of colour coded sections. These topics

are the major stages of my work plan. The details of each section can be found in my

methodology that I previously mentioned.

2011

Visual Research Subject Research

Studio Practice Contextual/Primary Research

Reflective Research

January February March April May June July August September October November December


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2012

My plan is to research and complete all the areas mentioned in a constructive manner. While I

have highlighted a combination of the research topics for the same duration this does not mean

that I will constantly be researching them all every day, but what it does mean is that I will

switch back and forth for each topic during this time frame until each section is completed. I

find having a flexible timetable that I can change and restructure is important to achieve these

goals.

Bibliography

Books:

Austin, H. James (1999 ) Zen & the Brain . Massachusetts. MIT Press.

Casey, R., & Fry, B. (2010) Getting started with processing . Sebastopol. OReilly Media Inc.

Comer, S. (2009) Film & video art . London. Tate.

Dawkins, R. (2006) 3 rd ed. The Selfish Gene . Oxford. Oxford University Press.

Degrazia, D. (2005) Human Identity & Bio Ethics . Cambridge, Cambridge University Press.

Featherstone M., & Burrows R. (1995) Cyberspace/Cyberbodies/cyberpunk , SAGEPublications Ltd.

Featherstone M., & Turner Bryan S. (1999) Body & Society, volume 5, numbers 2-3, SAGE

Publications Ltd.

January February March April May June July August September October November December


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Field, M., & Golubitsky, M. (1992) Symmetry in chaos . New York. Oxford University PressInc..

Graham L, S. (2002) Representations of the Post/Human , Manchester University Press.

Gray C, H. (1991) The Cyborg Handbook , Routledge.

Gray C, H. (2002) Cyborg Citizen: Politics in the Posthuman Age , Routledge.

Haralambos, M., & Holborn, M. (2008 ) Sociology themes & perspectives . London.HarperCollins Ltd.

Huxley, A. (1994) Brave New World , Flamingo.

Orwell, G. (1970) 1984, Nineteen eighty-four , Penguin Books Ltd.

Pepperell, R. (2005) The Post-human Condition , intellect Books.Stelarc. (1998 ) From Psyco-Body to Cyber-System . Virtual Futures, Routledge.

Sterling, B. (1985) Schismatrix , Arbor House Pub Co.

Warwick, K. (1998) In the mind of the Machine , Arrow Books Ltd.

Warwick, K. (2004) I Cyborg , University of Illinois Press, 2004.

Johnson, S. (2002) Emergence. London. Penguin Books.

Lorenz, E. (2005) The Essence of Chaos. Taylor & Francis e-library. p. vii (preface)

Macey D. (2001 ) Dictionary of Critical Theory , Penguin.

Machan, T. R. (1998) Classical Individualism . London. Routledge. This edition published inthe Taylor & francis e library, 2005.

Manovich L., (2001) The language of New Media . London. MIT Press

Nies, A. (2009) Computability & Randomness . New York. Oxford Science Publications.

Orwell, G. (2008) 1984 Nineteen eighty-four. London. Penquin Books Ltd..

Parberry, I. (1987) The Parallel Complexity Theory . London. Pitman Publishing.

Paul C., (2003 ). Digital art , London. Thames & Hudson.

Pearson, M. (2010) Generative Art , MEAP Edition, Manning Publications.

Rand, A. (1964) The Virtue of Selfishness , Canada, Signet Books.

Rush, M. (1999) New media in the late 20 th Century art . London. Thames & Hudson.

Sardar,Z, &Abrams, I. (2004) Introducing chaos. Royston. Icon Books.


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Margaret A. Boden & Ernest A. Edmonds (2009): What is generative art ?, DigitalCreativity2009, Vol. 20, Nos. 12, pp. 2146.

Mcknown, R. (2005) Fort Andross/Brunswick: Amy Stacey Curtis: Third Solo-Biennial:

Change. Art New England . Vol. 26, no.2, p.22.

Monro, G. (2009) Emergence & Generative Art. Leonardo. Vol. 42, Issue 5, pp.476-477.

Schedel, Mg., & Rootberg, A. (2009) Generative Techniques in Hypermedia Performance. Routledge. Vol. 28, No.1, pp.57-73.

Stasukevich, I. (2008) Crossing Over in Violas Ocean Without a Shore. AmericanCinematography. Vol. 89, no.3, p.10, 12, 14.

Radio

Chaos (Documentary) (1992) Steward, I. Radio BBC Radio 4.

Television Programs

Odyssey 5 , Complete Series (2006) Adam J. Shully, David Carson & Jim Michaels, USA, SonyPictures, DVD, 935mins.

The Prisoner, 17 episodes, (1967-1968) Patrick McGoohan, et al, TV Series, ITV. British.48mins (each episode).

The Secret Life of Chaos (Documentary) (2010) Stacey, N. TV. BBC Four, 9 Dec. 19.30 hrs.60mins.

Websites & Internet Sources

Extropy Institute http://www.extropy.org/directors.htm[Accessed 2nd June 2012]

Galenter, P. What is Generative Art? Complexity Theory as a Context for Art Theory . [internet]http://philipgalanter.com/downloads/ga2003_what_is_genart.pdf [Accessed on 2 nd Janurary2011.

Galenter, P. (2009) The Generative Bodies Series. [Internet]http://philipgalanter.com/art/generativebodies/a/ [Accessed on 2 nd January 2011].

High Shoulder Productions (2006) Will Wright & Brian Eno Playing With Time [Internet]http://fora.tv/2006/06/26/Will_Wright_and_Brian_Eno [Accessed 15 th December 2010].
http://philipgalanter.com/downloads/ga2003_what_is_genart.pdfhttp://philipgalanter.com/art/generativebodies/a/http://fora.tv/2006/06/26/Will_Wright_and_Brian_Enohttp://philipgalanter.com/downloads/ga2003_what_is_genart.pdfhttp://philipgalanter.com/art/generativebodies/a/http://fora.tv/2006/06/26/Will_Wright_and_Brian_Eno


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kimsooja (2006) http://www.kimsooja.com/projects/Crystal_Palace_2006.html [Accessed 22ndJanuary 2012].

Manzoni, P. (2003) http://www.pieromanzoni.org/EN/index_en.htm [ Accessed 14th January

2012]

More, Max. Beyond the Machine http://www.maxmore.com/machine.htm[Accessed 2nd June 2012]

More, Max. On becoming Posthuman http://www.maxmore.com/becoming.htm[Accessed 2nd June 2012]

Nechvatal, J. (2002) Computer Virus 2.0. [Internet] http://www.nechvatal.net/ [Assessed on22nd November 2011].

Sterling, B. (2008) Design Processes Rather than Art. [Internet]. Available from:http://www.fabrica.it/workshops/sterling_videos.html [Accessed 20 th November 2010].

Shardcore,(2011) The Consciousness Engine [Internet] http://fortunecatproductions.com/? page_id=32 [Assessed 6th June 2011].

Ted Talk: Theo Jansen create new creatureshttp://www.ted.com/talks/theo_jansen_creates_new_creatures.html

The Tate Collection Piero Manzoni (2000) http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=26872&searchid=9951 [Assessed 14th January 2012].

The Alan Turing Internet Scrapbook - The Turing Test, 1950http://www.turing.org.uk/turing/scrapbook/test.html [Accessed 4th June 2012].

Viola, B. (1999) Exhibition Feature. [Internet] Available from:http://www.sfmoma.org/media/features/viola/index.html [Accessed 20 th November 2010].
http://www.fabrica.it/workshops/sterling_videos.htmlhttp://www.sfmoma.org/media/features/viola/index.htmlhttp://www.fabrica.it/workshops/sterling_videos.htmlhttp://www.sfmoma.org/media/features/viola/index.html

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Project Proposal 4-6-2012