Finally, I step into a second level with my dream-image-random-test: I now have an app which can create an endless amount of images just by clicking spacebar.
My colleague Stig, who helped me last time setting up a code in Processing based on rules for compositions, and uses of elements from the catalogue of my, now created an app with only two functions: Next and save.
In order to respect the opportunities for randomness to appear, the app is made as simple as possible, less user control. While Stig was working on the app, he had ideas of making sliders for different purposes to control the output, but he realised that it was in contradiction to the fundamental idea of chance. Therefore he focused on simplicity in function and with few prefixed rules like; anger point at the bottom of every tree, a neck fixed on “body”, respect area around some objects.
The elements are sometimes arranged in very weird constellations like in the top of each other, in a way, I would never do.
I let the computer/app take part of the control inside an established system (the app). The amount number of images I can create, just by clicking spacebar, gives me a feeling of endless randomness. I can select and save images I find good and interesting. Then I can analyse the chosen output, making new rules based on my aesthetic, and so on.
According to my research, I start getting interested in Marcel Duchamp. It seems like he appears in every text, video sequence or exhibition I am looking at. I understand that he is an essential person in the history of art and the art world today.
In this BBC interview from 1968, he comes around topics like retinal painting, cubism, The Large Glass (artwork he made from 1915-23), chance, readymade, mass production, pop art and up art and chock in the light of his working method.
The interviewer asks him:
Chance in art was something Dada set out to really explode to use…
…What do you think now the element of chance in the artwork of art is, having tried to control and device chance to serve your ends, do you think it is something subconsciously the artist project into the work?
Yes because chance are maybe unknown to us in other words, we don’t know the results of chance because we haven’t got enough brains for that. The divine brain, for example, could perfectly say there is no chance, I know what is going to happen…We are not able to detect what chance will bring. So it is a kind of alteration for chance or consideration of chance, almost as a religious element.
So it is very interesting to have introduced to put it as a service of art production.
Resume of the tutorial with Jonathan
Date May 22.
Topics: How is my practice going and a little about the research paper
Status right now:
I’m still making dream images. After mid-point review, I started a dream-diary: quick ink drawings. I like the freshness, but I’m not sure about the purpose. Maybe the purpose is just doing it and get a good feeling.
I’m waiting for a second Processing output test from my colleague Stig. I made a new catalogue of elements and some adjustments, one week ago. In the meantime, I tried to animate one of the dream images, but get bored before even finished. There could be three reasons for that:
1. Working too slow in After Effect and on another level than I used to, years ago.
2. My idea for movement is too boring and obvious I’m too much in control.
3. I need another layer/element in the moving part.
We talked about sound, scale, space and multiple monitors/screens as new elements to the investigate. I feel it is the way to go right now; jump into a new field and not complicating things which are working fine (the images).
The installation Ouroboros I saw at Click Festival, inspired me – sound, several screens, space, etc. Sound is powerful I have to do a deeper research. I could also start working with my text experiments; a voice could be part of a soundscape.
I reflect on avoiding being too much in control in the creating moment, sometimes I better like the first fresh and rough sketches than the final solution.
We talked about an exhibition by William Kentridge I saw a few weeks ago, and my first impressions; playfulness, control – out of control, drawing as a part of the entire expression and not as an art object.
WK’s style/language has a feeling of random and chaos in contradiction to Michal Craig-Martin who seems to be much more in control. At last tutorial, Jonathan recommended me to read about Michael Craig-Martin, because he had been working the most of his career with a kind of catalogue from where he made sculptures, paintings, wall drawings, etc. I heard him in an interview, and it surprised me to hear him say: I don’t have a plan, I never have a plan I do what is coming next. Because looking at his work, you don’t get that feeling.
We talked a little about the Research Paper and in the light of that two artists and my MA project, the issue of control/lack of control could be a subject for my research paper.
I got an advice at the Mid-point review session: make a dream diary.
In fact, I thought I already did it; I was writing notes during the day when I was able to remember a dream. I realised that it sometimes was too late and also turned into be to controlled.
Then I change my method to draw a one-minute drawing, immediately while waking up, with ink and wood chips as a tool to make it less precise and more randomly.
Since I started the new method, I have been able to capture more images, challenge the drawing style in the light of Surrealist automatism and went more satisfied with sketching especially because of the ink.
In this period, of ink-drawn-dreams, I saw a huge exhibition at Louisiana contemporary by William Kentridge. It felt inspired of WK’s use of quick drawings technique with ink. I will make a blog post later about my visit.
Yesterday I saw an image of the danish surrealistic painter Rita Kernn-Larsen in a newspaper. RKL was active painting from the beginning of the thirties and is now showed at Peggy Guggenheim Collection Venice. I noticed the objects in her paintings and saw parallels to my objects from my dreams (hands, scissors, etc.,. I will also make a blog post about her later.
Ouroboros Ali Hussaini (US/UK) and Keir Vine (UK)
Ouroboros is a 3D visual collage of vibrating mandalas, exploding galaxies, astronauts and corporate logos, among much more, on six screens, all in the service of reconnecting consciousness and the cosmos.
Ouroboros treats the history of the universe as an animated visual poem. It contains an hour of looping animations, and it uses Chromodepth technology to create strongly holographic images that remain sharp without glasses.
This exhibition presents a series of work by the German artist Julian Rosefeldt produced over the past 15 years.
Deep Gold is based on the Spanish filmmaker Louis Buñuel’s 1930 film L’Âge d’Or. Louis Buñuels wrote the story by following the surrealistic method of automatic writing. It caused quite a scandal in its day.
The Swap seems like a cliche of a gangster film. A scene describes a meeting between two groups of gangsters in a container terminal changing suitcases. The actors are performing a precise choreography without saying a single word. Some movements are repeated which strengthen the connection to a dance, mostly modern dance because of the use of contraction and release. The combination of modern dance and gangsters is quite funny but it also creates a focus on how we move around each other in a given situation as human.
New dreams have been illustrated, and I’m close to finishing elements for a second “random Processing session”. I was curious to see how the new elements worked together, therefore, I made this analog-combined composition.
Working with the image manually make me feel closer to my material, the outcome from Processing could generate a distance as well as make new, unpredicted solutions, which at the same time could be more exact.
My experience, while working manually, is that I’m starting thinking too much, the coincidence and subconscious stops, and I’m not sure if it is real randomness.