We had an ardunio workshop to try out the technology: it was recommended to me to make the drawing machine I had in ind – one that moved according to sound. The workshop was useful and certainly got us started on using it; although the coding and the building of the circuit was simple enough when explained over threes – and only to make one led light blink at differing invertals of time.
I’ve been trying to find out how to make one into the specifics I have in mind; I don’t know anything about coding or indeed technology apart from what I learnt in the workshop, hence google is a close friend in these times.
During a tutorial several artists came up with their ideas revolving around image and sound; the main one was the pen point percussion by Norman Mclaren, an artist that experimented with drawing points on a reel and having them translated to sound before he added illustrations to another reel and mix them. The patterns are simple; its like finding that one point where two language cross-over which in turn allows you to understand the both languages in their entirety.
Tacita Dean, had a exhibition called “color sessions” which was a study into the thought process and color.
“I was thinking about the movement and order of thought, of color and light, the angel in the Fra Angelico Annunciation in San Marco, drapery, the way that curtains conceal and reveal. My work is spatial but always related to painting. The Colour Sessions can be read as monochrome paintings, but they are fragile monochromes – paintings that are falling off the wall. I recently discovered that the sheen of the fabric is the result of weaving threads of two colours together in a very tight weave – it makes it difficult to locate the surface or pin down the color. So even the ‘monochrome’ is actually two colors. The beads bring another spatiality into play, moving farther off the wall, into the space of the gallery.”
There was also Liam Gillick who produces abstarct work; the most relevant the 1987-199 projects of colored pillars. Although I prefer Angela bulloch’s works of a similar nature, with their strange organisation of math and aesthetics.
My favoruite is Martin Creed, its more his exploration of what colour, and form can do than any particular style or theory.
I had a bit of a mess around with lino prints; since we have the colors available; I tried a few normal prints, the embossing I originally planned didn’t work since I removed too much from the lino. I decided to mess with the colors adding ttwo then three together to see the results. It begins to get a strange glow or blur effect; printing a painted image like this would be interesting or maybe layering a sequence- a background/foreground combination in different colors.
I also tried just printing ink without having a cut pattern- the best I found came from dabbing splotches of color to a plain black background, although my favorite came from painting ink on a piece of perspex then pouring a little water across it and then printing. The paper did take longer to dry but the marble pattern was reminiscent of marble printing with oil and water.
I started messing with how technology can be used for this conversion of color, sound and movement, hence I ended up starting to learn how to use after effects, one of the first things I learnt to make was the audio spectrum effect. Which is the reaction of ‘dots’ on screen to music. I then tried with backgrounds, i then tested out different effects added to the audio spectrum itself. I tried with polar co-ordinates to create a circle out of the audio spectrum line of ‘dots’, I then used around 7 glow effects to create a suitable blur; this took a long time to render.
I also tried with making the ‘dots’ bigger and keeping them few, and pixellating them by adding a blind effect to create ‘separations’ in between the two ‘pixels’. The audio spectrum also had the color hue changing, and the height rising according to sound and an echo effect to create a ‘ghost’ of the color when it moved, I liked the end result but the experiment became more about learning how to work after effects, not how to use it for the project; although the possibility is there, I might find something when learning to use the program to make into a piece.
The only problem with using after effects at all was the sound; I have no way of creating my own sound to use, so I ended up using songs from albums and playlists I have for personal use.Then were chosen by how they moved the audio spectrum best, not on relation of material.
The artist Jim bond is pretty neat, he work has its function first, and as such isn’t always pretty. A particular favorite is the “Pin drop”, although “Scratch #1” is more technologically nifty; the pin drop works by having a pin drop into a copper bowl which is recorded and amplified, as such you can actually hear it fall.
There is also John Cage and the Fluxus movement; which is described as “Fluxus artists did not agree with the authority of museums to determine the value of art, nor did they believe that one must be educated to view and understand a piece of art. Fluxus not only wanted art to be available to the masses, they also wanted everyone to produce art all the time. It is often difficult to define Fluxus, as many Fluxus artists claim that the act of defining the movement is, in fact, too limiting and reductive.” John Cage was a composer and conceptual artist, whose work consisted if silence, chance and any sitiuation or environmental happenings into performances.
There are two artists in a collaboration “Fischli and Weiss” whose most popular and the one I’m particularly in for the kinetic movement chain reaction is “ The way things go“. An installation of 80-100 ft long, using chemical reations, water/fire, gravity to move objects along.
Also, Co-incidentally there is a repeat exhibition of the “Cybernetics and Serendipity” gallery at the Huddersfield library and gallery.
Studying sound has driven me towards looking at speech, and it is painfully obvious that the human race has become complacent, or rather the way that we use words has changed so we end up not saying what we mean. But then what we mean is changed by what we perceive as individuals. I’ve been reading “the philosophy of logic” by W.V.Quine, as is explains how to determine truth by fact and meaning.
He explains that the only things that make truth are fact and meaning; whether what you say corresponds to the situation, and that the words you use mean what needs describing. “The snow is white”, is the example Quine uses, which is fact in the example situation, meaning the statement is true. Although if white meant a different thing; like floating or green, then it wouldn’t be.
It is fitting that a book like this starts with the quote from Lewis Carroll, “”Contrariwise,” continued Tweedledee, “if it was so, it might be; and if it were so, it would be; but as it isn’t, it ain’t. That’s Logic.” Which is a good explanation of deductive logic; although not inductive logic.
The point was that I once read Phillip Pullman’s trilogy of “His Dark Materials” and in the second book they have a machine called ‘The Cave’ which is used as a means of communicating with dark matter or god particles, the main character uses the machine and receives a colorful response, as the surround only human matter, she also comments that it could be made to talk in her language: of pictures, or in english if desired.
The progression in which we learn language is curious too, after being shown the letters we are prescribed to draw them ourselves, before forming single words, then sentences, gradually learning to spew out over 2000 words per whichever topic we want to talk of. It is the same for the reading format; learn single words, pronunciation and phonetic spelling vs actual spelling, before building up stamina to read longer, more complex language.