Posted tagged ‘shapes’

Eye of the Tiger

January 11, 2009

I hope my titles are not misleading people to view my posts for the wrong reasons lol – I just like to make them a little interesting.

Ok so Mission started and partly accomplished. I said I wouldn’t post anything until I had created some patterns and well I can’t say I finished a whole pattern but I spent at least a couple hours just doing the base work for one.

I’m quite surprised that it took as long as it did actually – just to create the grid. I took photos using my mobile (my proper camera is somewhere in a box, somewhere in my dishevelled house) so they’re not that great but the aim was to document the process.

The bare necessities

The bare necessities

Ok so I was using large (A3) squared paper so that I would be able to keep my straight lines accurate.
I used 5cm as my radius and started drawing circles from the centre of the page outwards. This method has been demonstrated in Islamic Design: A Genius for Geometry by Daud Sutton, and is supposed to be the traditional approach to creating Islamic geometric patterns. If you’ve read my Project justification then you’ll know why this is important to me. As it isn’t my usual method I thought I’d give it a go and see where it takes me.

Ok so the circles start overlapping as seen below:

circles overlapping but spreading too

circles overlapping but spreading too

I then carried on until I had filled the whole page with the circles:

picture-033

As you can see this has created a tessellated effect simply with the construction of circles. After this I wasn’t quite sure what I needed to do next. I misplaced my book 😦 and so I played it by ear – well tried to remember what I had read in the book anyway. As I’ve said before I havn’t got access to my stuff.

So then I started connecting the mid points of each circle – creating horizontal, vertical and diagonal lines – a sub grid.

This produced another set of shapes on the sub grid of lines not just the circles. I’m not sure that the vertical lines were correct but it looked ok so I carried on:

Adding lines

Adding lines

I looked closely at the page (which was a bit mesmerising) and picked out shapes that I liked the look of. I usually do this in the creation of my pattern work. Breaking down shapes using lines and particular measurements and then seeing what new shapes are created. In the close up below you can see some of these smaller shapes within shapes which were created simply by the addition of the straight lines. I would now need to consider which shapes I would choose to highlight and use in the pattern and which ones would perhaps form a subtle background to the main pattern.

The shapes!

The shapes

Ok so I think this process was useful. The main thing that I found difficult was the accuracy! Even though I made sure the compass stayed at the same radius throughout, and that the connecting lines and dots and movement from one circle to another was the right place, there were still wider spaces between shapes than there should have been. The most annoying thing I found was the compass kept slipping!!! this was highly irritating and meant I had to rub out bits here and there.

But it’s been a learning process and I need to do this a lot more so I know how to neaten up my grids and start doing different kinds of patterns. I am really looking forward to the next stages of these experiments.

Now I really need to find that book!!

Zero to Infinity – connections are made

November 24, 2008

I was invited, by a friend, to attend the Zero to Infinity event at the Dana Centre South Kensington (Thursday 20th November 2008).

A quick look at the panellists and the topic for discussion sparked some interest with me. These panellists included:

Paul Prudence, generative artist
Eleanor Robson, historian of mathematics, University of Cambridge
Marcus du Sautoy, mathematician, University of Oxford
Jane Wess, curator, Science Museum
Facilitator: Rachel Thomas, Editor, Plus magazine

Panellists

From this list of names only one stood out to me and that was Marcus du Sautoy. I had recently viewed his documentary “The Story of MathsThe Language of the Universe” on the BBC (thanks for telling me about it Simon) and thought he was great at explaining math related theories in a friendly and an easy to understand way.

The four very different backgrounds of the panellists was great as it provided different views on the same subject. It was clear that different uses of the mathematical theories relating to infinite numbers, the idea of multiple infinities and whether the number zero is something real or abstract can allow for connections in different areas of practice and study.

Midway through the talk we were split into two groups to participate in a short workshop first off with Marcus du Sautoy. This was a brilliant and practical demonstration to help us understand how one infinity could be larger than another. Ok there were many things floating about such as how fractions and decimal numbers could be used to check against whole number and negative numbers and this was delving into scary territory for me – maths not being my forte. So these further explorations into different types of numbers, rational and irrational, and the stark statement from Du Sautoy that there are different types of mathematics just completely lost me. At one point I had to just accept that there are many possibilities out there in the universe numbers and mathematics are perceived and manipulated to prove various theories using various methods.

Even then, Du Sautoy’s enthusiasm made the workshop enjoyable. Even though there were, well lets say, some brains participating too who were determined to prove something by asking questions that could only really lead to a debate that the rest of us wouldn’t be able to keep up with, it was quite funny to see that not everyone had the same views. And I’m pretty sure one man was actually flirting with him and using his mathematical knowledge to impress him!

Anyway so the next workshop was more of a historical look at how the number zero came into existence and its early use by the ancient Babylonians who kept records of how many different types of cattle were collected and received for the king. This part of the workshop was overseen by Eleanor Robson of Cambridge University. She explained that the Babylonians used to make marks representing different numbers on chunks of clay. This allowed for the accounts to be preserved for thousands of years. An empty space basically represented a zero. Of course their idea of the number zero was used merely for counting that something was not there but not in the same way it is now used for example for negative numbers and calculations of the abstract kind.

Twelve German Jetons - The Science Museum

We also looked at some of the shapes included in a mid 17th century wooden learning box – based on the teachings and principles of Euclid’s geometry. These were original items from the Science Museum’s collection and explained to us by curator Jane Wess. The collection included abacuses from China, Japan and the West where the base numbers for counting were all different.

Euclid's geometry - wooden box of shapes from 17th century Abacuses

Having reached the last part of the evening we heard from Paul Prudence; a generative artist and Video Jockey (VJ) whose work was displayed on the screen in the room. The display was of moving tesselated digital imagery. These images were based on geometric forms relating to the theories we had been hearing about earlier in the evening and in the workshops.

View a video of his work here: http://www.transphormetic.com/2_talysis2/talysis01.htm>/a>

Fast Fourier Radials - A spectrographic visualisation of sound

http://www.transphormetic.com/12_FFradial/pics/02.jpg
Fast Fourier Radials

I was in awe. He had succeeded in creating digital work based on geometric shapes and from this were produced beautiful patterns. So obviously all of this started ringing bells in my head. I was thinking to myself ‘I need to ask this guy some questions and find out what processes he is involved in, what software, which techiniques, etc etc’. I was very curious. So I waited till most people had started dispersing after the talk and told him about the MA and why his work was of particular interest to me in relation to my project. He gave me some of his business cards and encouraged me to take as many as I wanted, as he had so many and each had a different image on the back (stills from his work). They were really cool so I took six 🙂

Talysis 2

http://www.transphormetic.com/2_talysis2/talysis05.htm
Talysis 2

I found a lot more information about Prudence’s work and recent project history on his website: http://www.transphormetic.com/

And I don’t think I could be any more amazed and slightly jealous. He uses Flash and ActionScript to write programs which then produce the patterns and some of them in real time!!! The use of algorithms and mathematics (written into the ActionScript) means that numbers can be used to produce 3d effects of shapes within certain spaces. These have boundaries in which the pattern might become curved along the outer curve of a sphere or within the inner curve and so producing both a convex and concave look with the shapes getting smaller or larger as they move along, further toward or away from the x axis. Ok I’m not sure if I explained this the right way.

Heres what he’s got in the biography section of his site which pretty much sums up his skills quite impressively:

Artist and real-time visual performer working with computational and visual feedback systems and video. Uses VVVV, Flash & processed Digital Video. Lecturer on visual music and syneasthetic art.

Researcher and writer at Dataisnature.

Freelance Interaction Designer and ActionScript Developer. Authoring chapters in a few books relating to computational design with Actionscript.

http://www.transphormetic.com/bio.htm

I’m glad to see a clear example of how a contemporary approach using the latest in technology and programming skills can be made the most of in order to produce something that connects all the ideas that are bought to light in the subject of geometry, shapes, and space (more specifically numbers and their connection to the theories of science and physics of the universe). I mentioned in an earlier post that it was hard to make the connections between the different subject areas as they could become very diverse and branch off into their own projects all together. But this is a great example to show that it is possible to make those connections apparent in one piece.

I feel inspired and have a positive feeling about achieving something great, as a result of this project. God willing 🙂

Routes @ Waterhouse & Dodd

October 29, 2008

Routes is a collection of contemporary Middle Eastern and Arab art. Two of the artists featured were Nja Mahdaoui and Monir Farmanfarmaian. Both their work was worth going to see. But then I was pretty sure I’d be impressed before I went as you may have seen them recently mentioned on my blog.
Located in Cork Street (just off of Saville Row), the gallery itself was quite small and the work was displayed and split over the ground floor and basement. I had no idea that Cork Street was a sort of hub for galleries. But it seems that 26 Cork St was one of the smaller ones. The problem with this is that a lot of the work on display was quite large, and I don’t think it was set out in the best way possible.

Nja Mahdaoui

Nja Mahdaoui

There were members of staff seated at their computers in various corners of the rooms and at times I had to look over the top of their heads to see a particular painting. I found this off-putting.
In one corner there was a very large mirror mosaic by Monir Farmanfarmaian that I wanted to look at quite closely and also wanted to take pictures of, but it had a collection of very unflattering white rubbish bags in front of it (the type that the dustmen collect from the large bins outside your home). Not to mention the pile of brown torn paper and bubble wrap. Ok I understand that if they were expecting a VIP guest then they probably would have done things differently.

I’d even noticed that in the image shown on the front of the exhibition leaflet the gallery space was very clean, open and spacious with no clutter and no unhanged artworks leaning against the sides of the walls. It looked so different I had to look closer to determine if it was the same gallery! My point is that the staff and owners should attempt to keep the space in a certain way and they should always be prepared for the odd visitor on a weekday afternoon who will expect to see the work in a proper manner.

In the end I asked the gentleman (who was eating his lunch at his computer desk amongst the paintings in the basement) to remove the trash bags so that I could take a decent photo. I took a photo of the offending bags too just to illustrate my point. I mean you just don’t expect this from a gallery that has such great work within, especially as it is the centre of a thriving area of London.

Anyway back to the work. I’m still really glad I went to see this collection. There were quite a few pieces that I found very inspiring. On close inspection it was also clear that even though the work is very striking on first impression, they are not perfect in the conventional sense of every line and every dot being in its rightful place. Ok there is the chance that the artist did not intend for the work to be perfect in such a way. The surfaces were lumpy in places and the lines were not quite straight or the paint didn’t quite meet the edge of the border, etc. I don’t see these as negative factors at all, but rather like elements that come about through the process of producing the work and making them what they are in the end. So the work is perfect in the end because it becomes what it is made with and from. (Does that make sense?).

To me the imperfections are a sign that humans can only strive for perfection and hope to come close to it but can never achieve it – as only God is perfect and only He can create something which is perfect (personal view based on faith here of course).

Another thing is that these imperfections make me feel a lot better about my own work. For some reason it reassures me that even though my own work isn’t perfect it’s still possible to reach a standard that is very close to perfection? Once again it is something that should be strived for as it brings out the best in what you try to achieve. So I’ll just keep going and try and produce better work every time I do something new.

Ok I have strayed from the pieces on show again – right so there were these ‘Paper Plates’ by Hamra Abbas that were made from little strips of paper with the words ‘please get served’ or ‘get served please’ printed onto them. It was a bit difficult to tell due to the way the strips overlap (zoom in on those images for a good look). Each strip was placed according to a geometric Islamic pattern and so they formed gaps were there were no strips but in the shape of stars, squares, triangles, etc. This looked great.

I think I have figured out how it might have been achieved too. Ok it’s not a very sophisticated method and would be my cheap, a little messy but workable approach. It must have been a bit like papier-mâché. The strips must have been wet with slightly sticky gluey water on one side and were stuck onto real plates with the design already laid out on there. Once all the strips were stuck down in place they must then have been allowed to dry on the plate. Then, once completely dried all the strips would be stuck together as they were overlapped at points and create an interlaced effect. Being all stuck together in the dry state makes it easier to peel the whole thing off leaving a paper plate in the shape of the original plate to which the strips were stuck. Tadaaa!

I have a couple images (all taken with my handy mobile) in the gallery so do take a look. I liked the original way in which patterns were formed here. The artist was thinking outside the box – made something that is simple yet different and with lovely aesthetic effect. I really liked it!

There were also two mirror mosaics by Monir Farmanfarmaian. One was in the shape of a triangle and the other a sort of rhombus? (Please leave a comment if you recognise the shape and let me know if I am wrong). The mirror pieces are all very small and there are whole sections that are made from squares placed together in a way that create a 3d effect. The small squares begin to look like piles of stacked cubes able to catch the light – some parts being shaded and others illuminated. There is then the contrast of the other mirror pieces that are bigger, longer, angular and slightly curved – allowing for spiral effects and shell like formations. This one was also much neater looking for some reason.

I prefer the rhombus shaped one (the one that had the bags in front and near it). Not only does the triangle seem to be at odds with its surroundings in this case but I also don’t like the shade of orangey paint or tint used for the coloured parts (see close up). However, what I think would look really good was if there were two triangle mosaics – one as it is in the picture and the other a few inches away and flipped upside down. I’m not quite sure why in my head it looks better and seems to put the oddness to rightness, but it does.

Mirror mosaic by Monir Farmanfarmaian

There were also a few other works I really liked. I’ve realised I’m really picky about what I like. I can’t help it and although I knew I had a certain taste, it now has emerged that unless it is smart, aesthetically pleasing or emotionally compelling yet still strikes a chord in my brain where the light for positive impressions is turned on, then I will just dismiss it (be it art work, clothes or anything where taste is at question). And even though I think I’m open minded enough to give everything a chance, I’m still a bit snobby about what should and should not be classed as ‘art’. Ok this could potentially turn into a giant can of worms. Hmm I wonder if I should even share that kind of thing with everyone? Well it might provoke someone to leave a comment so – lets leave it in for now.

I think I’ve made this post more than long enough. I might not have covered everything I wanted but I think I got the important stuff in. Have a look at the site for the exhibition for more information on the artists and better quality images of their work: http://www.artroutes.com/DesktopDefault.aspx?tabid=1

Nja Mahdaoui

October 20, 2008

There is this feeling you get sometimes when you see/hear/watch something astounding and it gives you the shiver-me-timbers, as I like to call it. It’s a positive feeling in most cases and it’s like wow this is so amazing/funny/beautiful…or any other superlative you deem fit for the description.

Anyway so I received this giant book of one artist’s work when I attended the Word into Art Exhibition in Dubai. It was so heavy that the thought of carrying it on to the plane to Pakistan (where I headed on to next), keep it in good condition there and then carry it back to London via Dubai two weeks later, on the way back home was quite daunting. But the one reason I went through all that (and no it wasn’t because it was a well printed free book) was because the work of this artist gave me the shiver-me-timbers. Nja Mahdaoui is the name of the Tunisian born artist whose work I am now on about.

I can’t even attempt to describe the beauty of the work and obviously this is very subjective as it appeals to me in many ways and for various reasons. I will try and list these later but first let me show you the work. And because I like so much of it I am not going to limit the amount in this post – prepare yourselves!

All these images are from Mahdaoui’s official site: http://www.nja-mahdaoui.com/index.php

Canvas



Parchments

Airplanes

Yes you read correctly – one way of knowing you’ve made it as an artist is when you’re work is used on a series of airplanes! See this webpage for more images http://www.nja-mahdaoui.com/gb/avion1.php



And now I insist you look around the rest of Mahdaoui’s site to see how his work has been transferred to buildings; stained glass elements of which add a vibrancy to structures that can sometimes be, well, boring. His designs have also been incorporated onto dresses, and by the looks of it, many more mediums which we are promised will be displayed on the site “soon”. These include papyrus, jewellery and tapestries.

Oh yes. Why do I like these works? Here is a quick list which is by no means complete or fully explained:

Colours. Mainly black and white is used (my favourite combination for detailed works of these type). Other colours are from a select palette and mean that the work is consistent and have a sort of organised ruling to them. They also remind me of Piet Mondrian’s choice to use only primary colours in his work (more on him in a day or so).

Block type shapes. These can be especally noted from the contrast to the flowing calligraphy. These shapes are formed not only by the background colours or the flow of the text but also from the way they work as borders to new segments within the layout of the more geometric designs.

Empty space. This is used effectively. Amongst all the detail and condensed text there are some gaps that allow for the design to breath. They emphasise the parts that are filled with the lines of text (thick and thin) and also the different shapes created in the overall composition.

Straight edge and curves. This is great – I love the way the spiralling rose effect is centered within a rotated square in one. Again this is seen where there are circles within squares or overflowing of curves from the calliugraphy spilling onto a backdrop of straight and geometric edges/blocks of smaller concentrated text. Once again I think this contrast just helps to play one off against the other but to highlight the aesthetics of each and not to compete.

Calligraphy. This is a major form of illumination and decoration in Islamic art. An area I am hoping to explore later in my research. But for now I think the above examples really do a great job of showcasing the variety of designs and compositions possible in the art of Arabic Calligraphy which in the Islamic world has become reknowned. It is a fine art in itself and must be practised for years to be mastered.

Feel freel to comment on any aspects you feel should be mentioned that make these works good or perhaps not as good as you think they could be? I’d definately be interested to hear others’ opinions 🙂

Word into Art – Dubai 2008 (pt 1)

October 13, 2008

I was reminded of an exhibition I went to whilst in Dubai earlier this year. It was the Word into Art exhibition that had been on in the British Museum back in 2006. I was very glad to have been able to catch the one in Dubai and I was not disappointed when I got there.

I’ve shown some of the images below of the artworks that I found of interest and to my liking.

Kamal Boullata

Ana Al-Haqq - I am the Truth by Kamal Boullata

http://virtualgallery.birzeit.edu/media/photos/vw_115629/Kamal+Boulata+3?w=225

Nur ala nur by Kamal Boullata

http://virtualgallery.birzeit.edu/p/ps?url=exhibition/BMsacred/tour011

Read more on this piece here

I like the way the symmetrical layout and break down of larger square, with rotated smaller squares, has been combined with the kufic arabic calligraphy. The subject matter is the meaning of Nur – light in arabic. It is very symbolic and has many connotations in spirituality and religion – not just Islam but Christianity too.

A bit about the artist:

“Kamal Boullata :- PALESTINE
Born in Jerusalem in 1942. Works and lives in Washington, Morroco and Paris.
Boullata recalls sitting for hours on end as a small boy in front of the Dome of the Rock, engrossed in sketching its innumerable and unfathomable geometric patterns and calligraphic engravings. Those patterns he saw as a child still echo endlessly throughout his adult work. I keep reminding my self that Jerusalem is not behind me, it is constantly ahead of me. From an interview with the Artist”

http://www.daratalfunun.org/main/resourc/exhibit/bollata/bollata.html

Ahmed Moustafa

Moustafa uses traditional calligraphy to form the artwork and uses the old and classical decorative technique of repeating more text over the first layer but mirrored upside down. Therefore you are required to turn the work upside down in order to read the next line.

Where two oceans meet by Ahmed Moustafa

http://www.fenoon.com/portfolio/pages/0001p1.html

Sometimes the text is a mirrored version but flipped horizontally to add an almost mish mash type effect. The technique is used slightly differently below and looks particularly effective in this piece which produces a great symetrical design using the arabic names of Allah (God) – which represent his attributes as named in the holy Qur’an:

The attributes of divine perfection by Ahmed Moustafa

For more info on this piece click here: http://virtualgallery.birzeit.edu/p/ps?url=exhibition/BMsacred/tour008

Don Relyea – artist

October 11, 2008

I’ve just found this site a sort of online portfolio of work by Don Relyea. http://www.donrelyea.com/

Some of Relyea’s art projects focus on the use of a few basic geometric shapes. The combination of these shapes and the vibrant colours produces some interesting pieces. I really like them and think it is striking enough to make the viewer want to dismantle all the geometric components and examine them as individual parts.

The still image above is a view of what you would see once you have generated the design as the user (click the image to have a go). Relyea uses Shockwave applets to present his work. It is usually in the form of an interactive project and requires the user to take an initial action. For examle when the user clicks on the red blank box the design quickly starts printing itself from the top left corner all the way around the box in a clockwise spiralling motion until the whole box is covered with the pattern.

Relyea has variations of these pieces – some even allowing you to choose the combination of colours and the randomness of the generation of pattern. See the Space Filling Curve Art Generator

The technical background to his work is explained on his site. Here is an excerpt from the Artist Information page:

Relyea’s tools are script editing windows and compilers. Relyea’s schooling in traditional printmaking (under Lawrence Scholder) left him with a strong consideration for the process of image creation. Relyea loosely defines new digital processes by creating works manually first, he then transforms the processes into programming routines with parameters. The parameters can be dynamic data from the network, mathematical algorithms or number generators. The routines are repeated with parameter variations to generate designs of similar aesthetic quality.

I think I might try contacting him and ask him a few questions about his work and how much of it he considers to be influenced by the world of geometry. hmm wonder if he’ll reply – will keep you posted.

Identifying a line of inquiry – which one?

October 11, 2008

On my way to uni on Wednesday I decided that maybe it would be a good idea to formulate my ideas and project aims and objectives as best I could. I started writing notes most of the journey and, as it had been about a week since I had fully concentrated on summing up my project in such a way, I think it helped to make it more structured in my head. I was able to sum up the links a bit better than before. This is what I came up with in relation to the two key words ‘Shapes’ and ‘Space’ being components of a possible working title:

The first two words are key as they sum up the elements that the areas of research I will be looking at are anchored by. In other words you can always relate the subject areas, I am interested in, back to one of these words if not both.

We usually think of shapes as pre-defined areas of outlined space that have specific names. We’ll grow up knowing that these named shapes have properties that allow the shapes to be classed within certain gropus of shapes too. So a square is made of of 4 right angles at each corner and 4 sides. A triangle with three sides and of various angles and combinations of these.

But can a shape alway be defined? And should it be defined? And how about those shapes which have properties or characteristics that are overlooked? And which characteristics should we look more closely at because they’ve been overlooked in the past?

The second key word is space. My use of the word implies many senses of space including the mathematical and the scientific (these I believe overlap in some sense), as well as the physical, perceptual and conceptual. I cannot restrict my meaning at this point. I have no reason to restrict until I have conducted more research and found a reason to do so.

What about white space? Is it real? Does it mean something to everyone? What is it’s role? Is it intentional? Should it be identified in more places?

An area of study that connects to this idea of space around shapes (and here I wonder – is this space not then a shape too?) is that of Geometry. These shapes are formed from vertices (easier to think of as dots in an invisible grid of any size). These vertices may then be connected with a line from one to another. these lines will be joint in such a way to form a shape. Various shapes are then placed together to form a larger formation. They could arguably be described as a system of shapes. This system could be called a pattern. these patterns can then become quite complex and due to their placement, repetition and possibly the ability to tesselate them – they can be endless and seem to go on for infinity.

One of my biggest aims in my project is to look into the history of Geometry – how it was developed and how it has been used over the centuries (more specifically in art work).

Then there is the branching off of Geometry in nature. I think this is a highly important and interesting subject to delve into. Not only because it entails many mysteries and brings into question the secrets of the Universe. But also because there is a tie with religion and sprirituality which is something that I can relate to on a personal level. Believing in God means that when I see the beauty of nature and proofs of perfection in nature (such as the way the body works and the structures and symmetry in plants and flowers to name a couple) I link it to Divine Creation. This is another aspect I would like to look into further. Especially as belief in this isn’t restricted to just one religion.

Geometry allows for the representation of space in 2d, 3d and even 4d and beyond:

Science.ca - Donald (H. S. M.) Coxeter, Pure and Applied Mathematics

4. Hypercube: If you pull a cube into the fourth dimension you get a hypercube. Eight cubes make a hypercube. The figure you see here cannot exist in the real world, which only has three-dimensional space. It is a projection of a four-dimensional object onto two dimensions, just as the cube before it is a projection from three-dimensional space to the two-dimensional flat surface of the paper.

5. Regular polytope: If you keep pulling the hypercube into higher and higher dimensions you get a polytope. Coxeter is famous for his work on regular polytopes. When they involve coordinates made of complex numbers they are called complex polytopes.

http://www.science.ca/scientists/scientistprofile.php?pID=5&pg=1

These main topics then branch off into other areas but are still anchored by the main theme of shapes, space and I guess now geometry too. By always having my main question along the lines of ‘ the place of geometry in the world around us’ I will have something to refer back to. Is that what I am looking at? Am I any closer to finding the answer? Am I looking into something that is relevant or have a veered off too far down a small cobbled street?

Outcomes for project: My background has been predominantly in expressing some form of communication and his has been mostly interactive. I would like to continue this by producing work that compels the user/viewer to become involved with it. I believe that the most interactively creative works are those that captivate the viewer and involve them within a process. This can be in many forms such as when using sensors to trigger some kind of behaviour or change in the work (lighting, sounds etc). This could be on an abstract level too where triggering thoughts and movements in people and influencing these is enough of a form of interaction. Only that this can be more difficult to measure.

However, my interpretation of an interactive work would be using multimedia as a possible option. My work has always been either viewable of a computer screen (short video clips), graphics, websites. Or viewable on some form of small physical and traditional media such as paper or canvas. I would really like to create some sort of installation to take my experience and work to the next level or beyond for this project. This installation would be my blank slate. Possibly like a box or container that allows a person to fully submerge themselves within it – literally or mentally. The key is for it to be thought provoking. I would want the person to question their surroundings, the purpose of the installation and investigate it too. Possibly manipulate their thoughts by pre-determining the factors the could influence their senses and perceptions related to the space around them.

And that is the end of my notes from my journey to Uni. Yes I am one of those people who can write loads of notes whilst travelling on the tube/bus/camel 🙂

We had a sort of informal feedback session after one of the Critical Framework lecture where we were required to write in one sentence what our project was about. I knew it would be a bit crazy to even attempt this so I decided to use the key words to form almost a sentence. I came up with ‘Shapes and space – the place of these and geometry in the world around us’ using my notes from the journey in. It could be the closest I’ve got to a working title yet so I just let that be discussed in the group.

After some discussion with Andy (course leader) and some feedback and questions from fellow students it would seem that perhaps I should narrow my field of research down a tad bit so that I can concentrate on finding the niche in which my project would excel. Something no one else is questioning, expressing or even addressing. Or maybe they will have but I’ll be doing it from a different angle? a unique p.o.v?

Only time will tell.