‘Image Making’ 2023 (Composition from Unit 1 notes/ highlights)
Taking / re-placing, seeing this
Reading Philip K. Dick, seeing imaginations of the future
Outside the reality in which they were created
Time divides realities
Looking at speculations and jokes.
From outside the walls, removed by time
we can/ are... Seeing
Like ethereal observers, spectators in a videogame
Seeing processes of translation
Seeing borders become dissolved (Seeing through things)
Seeing what is pre-existing and what is presently fabricated
Looking with no bias between realms of the head and the ground.
Seeing the past can be approached as the antithesis to the future
Seeing the static between looking and being looked
Sample / steal/ discover/ receive, seeing this... and looking too
Seeing new generations, Chinese whispers.
Shadows propelled, seeing this
Watching Swords, Pentacles, buried
As above, so (Seeing) below
Watching new imagined systems
Losses, watching those
And seeing spaceships.
21/01/23
Re-reading my Unit 1 documentation and critical context entries, I have spent time highlighting key and repeated areas of enquiry.
This has been a process through which time, as well as brief space from the work has allowed a certain clarity. Reading through my notes some ideas stick and some fall away, and contexts inherent to my work confirm themselves here.
Having kept notes as I have progressed along Unit 1, what is seen on these pages is a continuous stream of consciousness as processes and inspirations have led to new experiments.
This whole process of documentation and analysis seems to serve as material to be reassessed. Much in the same way I have spoken about using found materials, notes seem to need to gather, accumulate. Text and journal type entries have sat here, the online platform acting as a sort of dumping ground for ideas as materials, to be later refined, edited... this is a continual process, and therefore I have allowed a playfulness in what will be carried over into Unit 2 / what is essential and what is non-essential. I am also probably allowing, maybe still, for a few non-essential things, because why not? maybe some things can be let go of easily and some things need to be seen through to an ugly end.
This textual distilling is a process present in my practice already and is apparent in work I have made outside of university. My ‘Horizontal movements manifesto, 2020’ (link in sidebar) for example, was a product of a similar process which attempted, in poetic/ non-linear form, to amalgamate thoughts and strategies of practice from several notebooks into one text. I use a variation of the cut-up method prevalent in Punk songwriting and adopted by William S. Burroughs in his cut-up / Nova trilogy. Essentially words/ phrases/ sentences become dismembered from their original paragraphs and form a new pool from which they are re-organized, sometimes distilled, sometimes expanded, without hierarchy. Here you can really see the similarity in the ways one can use words as materials and therefore materials as words... It is all a process of re-mixing and assembling for purposes of uncovering previously hidden dimensions.
The highlighting throughout this Unit 1 documentation can be seen as the first stage of this process, and the text above (‘Image Making’ 2023) can be seen to be one of many outcomes.
Taking / re-placing, seeing this
Reading Philip K. Dick, seeing imaginations of the future
Outside the reality in which they were created
Time divides realities
Looking at speculations and jokes.
From outside the walls, removed by time
we can/ are... Seeing
Like ethereal observers, spectators in a videogame
Seeing processes of translation
Seeing borders become dissolved (Seeing through things)
Seeing what is pre-existing and what is presently fabricated
Looking with no bias between realms of the head and the ground.
Seeing the past can be approached as the antithesis to the future
Seeing the static between looking and being looked
Sample / steal/ discover/ receive, seeing this... and looking too
Seeing new generations, Chinese whispers.
Shadows propelled, seeing this
Watching Swords, Pentacles, buried
As above, so (Seeing) below
Watching new imagined systems
Losses, watching those
And seeing spaceships.
21/01/23
Re-reading my Unit 1 documentation and critical context entries, I have spent time highlighting key and repeated areas of enquiry.
This has been a process through which time, as well as brief space from the work has allowed a certain clarity. Reading through my notes some ideas stick and some fall away, and contexts inherent to my work confirm themselves here.
Having kept notes as I have progressed along Unit 1, what is seen on these pages is a continuous stream of consciousness as processes and inspirations have led to new experiments.
This whole process of documentation and analysis seems to serve as material to be reassessed. Much in the same way I have spoken about using found materials, notes seem to need to gather, accumulate. Text and journal type entries have sat here, the online platform acting as a sort of dumping ground for ideas as materials, to be later refined, edited... this is a continual process, and therefore I have allowed a playfulness in what will be carried over into Unit 2 / what is essential and what is non-essential. I am also probably allowing, maybe still, for a few non-essential things, because why not? maybe some things can be let go of easily and some things need to be seen through to an ugly end.
This textual distilling is a process present in my practice already and is apparent in work I have made outside of university. My ‘Horizontal movements manifesto, 2020’ (link in sidebar) for example, was a product of a similar process which attempted, in poetic/ non-linear form, to amalgamate thoughts and strategies of practice from several notebooks into one text. I use a variation of the cut-up method prevalent in Punk songwriting and adopted by William S. Burroughs in his cut-up / Nova trilogy. Essentially words/ phrases/ sentences become dismembered from their original paragraphs and form a new pool from which they are re-organized, sometimes distilled, sometimes expanded, without hierarchy. Here you can really see the similarity in the ways one can use words as materials and therefore materials as words... It is all a process of re-mixing and assembling for purposes of uncovering previously hidden dimensions.
The highlighting throughout this Unit 1 documentation can be seen as the first stage of this process, and the text above (‘Image Making’ 2023) can be seen to be one of many outcomes.
Looking at, as-well as Seeing, Russian dolls
Watching those fields harvested
Looking at spaceship fields, and
Watching them closely
Watching, as well as looking at Butterflies.
Looking at chains, eyeballing them
And allowing for a certain Seeing, or Looking for
Inconsistencies / idolism / prompts / promotional materials
Watching those, Re-viewing
Re-seeing ‘A Story’
Looking at a Catholic triptych.
Watching an un-lit fire
Watching that, and Looking for something
To light it with.
Looking at the role of a catalyst
Watching hunter-gatherers
And seeing flint and computers
And flint and cameras
And flint really had it from the start.
Watching berries
And other harvestable things
Seeing where they are coming from
Where they are going.
Words carried over
Taking
Re-placing
Division/ Multiplication
Seeing/ Looking/ Watching
The head and the ground
Shaddows
Losses
Infinate wombs
Bags within bags
Un-lit fires
Gathering
Metamorphosis
Watching, waiting
Catylist
Consuming
Converting
These sound to me like instructions for an invading alien species, an insidious parasite, A.I, or cancerous growth. If we think of the Planet earth as a body, humans are very much operating in this zone. Observing our planet from a distance (from space) one can see our gray cities spread across the land like an illness, consuming, converting. We produce these strange variations as would an A.I, or a cancer cell growing teeth and hair; we take wood from trees and turn to furniture, we alter chemical compositions, we play with the fabric of reality, we turn the Planets resources against it. Would this not, from the Planet’s perspective as a body, seem to be some strange confusion, some creative / destructive illness.
Being an artist seems to symbolize an exaggeration of this, like an obsession on the creative/ destructive nature of man - a sort of constantly perpetuated confused watching/ making, energy inward/ energy outward. A respiratory process - both a reaction to, as well as a product of our impulse for growth and survival.
In this context the boundary between artwork and other fabricated objects is wherever you want to place it.
Watching those fields harvested
Looking at spaceship fields, and
Watching them closely
Watching, as well as looking at Butterflies.
Looking at chains, eyeballing them
And allowing for a certain Seeing, or Looking for
Inconsistencies / idolism / prompts / promotional materials
Watching those, Re-viewing
Re-seeing ‘A Story’
Looking at a Catholic triptych.
Watching an un-lit fire
Watching that, and Looking for something
To light it with.
Looking at the role of a catalyst
Watching hunter-gatherers
And seeing flint and computers
And flint and cameras
And flint really had it from the start.
Watching berries
And other harvestable things
Seeing where they are coming from
Where they are going.
Words carried over
Taking
Re-placing
Division/ Multiplication
Seeing/ Looking/ Watching
The head and the ground
Shaddows
Losses
Infinate wombs
Bags within bags
Un-lit fires
Gathering
Metamorphosis
Watching, waiting
Catylist
Consuming
Converting
These sound to me like instructions for an invading alien species, an insidious parasite, A.I, or cancerous growth. If we think of the Planet earth as a body, humans are very much operating in this zone. Observing our planet from a distance (from space) one can see our gray cities spread across the land like an illness, consuming, converting. We produce these strange variations as would an A.I, or a cancer cell growing teeth and hair; we take wood from trees and turn to furniture, we alter chemical compositions, we play with the fabric of reality, we turn the Planets resources against it. Would this not, from the Planet’s perspective as a body, seem to be some strange confusion, some creative / destructive illness.
Being an artist seems to symbolize an exaggeration of this, like an obsession on the creative/ destructive nature of man - a sort of constantly perpetuated confused watching/ making, energy inward/ energy outward. A respiratory process - both a reaction to, as well as a product of our impulse for growth and survival.
In this context the boundary between artwork and other fabricated objects is wherever you want to place it.