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A screenshot of the beginning of my proposal- I would like to make a large drawing of it. |
Monday, July 20, 2015
Enterprise Research Proposal Screenshot
Saturday, July 18, 2015
Notes for an Upcoming Show
Creating word combinations conjuring ideas obscure to the unfocused, not providing a center of attention for others- and in this way remaining on the fringe of vision and understanding.
Choosing square composition photography thumbnails gathered from news sources recreating the imagery as painting and layering over text to challenge inferred meaning.
Parenthetical additions post-words imply not going back to add in-line, but continuing with a modification.
image, meaning: object as image since we are not seeing the actual sub-atomic make-up of the object, and therefore not the object itself, but rather an image of the object inherited by a property of grouping. But this is 'abstraction' as only a matter of scale and scale is exactly what we are talking about here.
paint, chemical grounds spread: the relationship between the paint particles and pixels is that there really is no difference (again with scale in mind). There is a space in the material for each paint particle as there is a larger space for the completed image. Paint is composed of electrons and so behaves similarly to electrons where there are forces of attraction and repulsion and the photons that interact with the paint and our eyes indicate these forces (photons carry the message of the paint). This can be said of any material really.
layering of paint chunks and text: Never before have we been surrounded by so much text. Not only is the diversity of content staggering, but also the diversity of sources. With all of these 'drawings' in letter form, it becomes easy to drift into the unstructured meaning and create entire personas based on the input, inference, and reaction to textual information- which is not unlike the action impulse of imagery. We are paralleling the user behavior of imagination and creation of meaning in classical image and textual forms. With both of these powerful catalysts in play, a third form of inferred meaning is conjured through the creation of 'space' in the mind of the user where two obscurities collide to create an outlet of energy that could be a place of new absence, or rest, or could function as another path of meaning. There is space because objects create its existence and the collision of imagery and escape of meaning-energy is exactly the process at the sub-atomic level.
Choosing square composition photography thumbnails gathered from news sources recreating the imagery as painting and layering over text to challenge inferred meaning.
Parenthetical additions post-words imply not going back to add in-line, but continuing with a modification.
image, meaning: object as image since we are not seeing the actual sub-atomic make-up of the object, and therefore not the object itself, but rather an image of the object inherited by a property of grouping. But this is 'abstraction' as only a matter of scale and scale is exactly what we are talking about here.
paint, chemical grounds spread: the relationship between the paint particles and pixels is that there really is no difference (again with scale in mind). There is a space in the material for each paint particle as there is a larger space for the completed image. Paint is composed of electrons and so behaves similarly to electrons where there are forces of attraction and repulsion and the photons that interact with the paint and our eyes indicate these forces (photons carry the message of the paint). This can be said of any material really.
layering of paint chunks and text: Never before have we been surrounded by so much text. Not only is the diversity of content staggering, but also the diversity of sources. With all of these 'drawings' in letter form, it becomes easy to drift into the unstructured meaning and create entire personas based on the input, inference, and reaction to textual information- which is not unlike the action impulse of imagery. We are paralleling the user behavior of imagination and creation of meaning in classical image and textual forms. With both of these powerful catalysts in play, a third form of inferred meaning is conjured through the creation of 'space' in the mind of the user where two obscurities collide to create an outlet of energy that could be a place of new absence, or rest, or could function as another path of meaning. There is space because objects create its existence and the collision of imagery and escape of meaning-energy is exactly the process at the sub-atomic level.
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