Pondering the week and the week to come.
So loved being in the British Library- giving myself permission to bury my brain in thoughts and writing and reading, helping me to make some sense of what I've been doing and what I'd like to do next. I could really get used to this ;-)
One of the main ideas / themes that seems important is that of the umwelt - John Deeley's writing is the clearest I've found on how this works:
Sensation = an organism actively filtering but passively receiving incoming stimuli
Perception = what the of the organism 'makes of it'... actively structures sensation into things to be sought, things to be avoided, and things that don't matter one way or the other)
He goes on to say ...
It is the network of relations within perception, not any prior pattern within sensation alone, that determines and constitutes the objects of experience, so far as they are distributed into the categories of desirable, undesirable and neutral. In this way, each species constructs and lives within its own lifeworld. The whole process is executed by means of signs, but the perceiving organism does not think of the matter in that way. It simply uses signs without realising for a moment that there are signs.
I especially like this way of distinguishing between sensation and perception because it links to my own sense that while we can be aware of signals, we are rarely engaged in conscious analysis and deconstruction as the semiologists and 'close reading' literary critics like Empson suggest. And yet I have trouble with the pure 'feelings' people like Heidegger and Merleau Ponty. I like the poetic quality of the idea of the world or umwelt of objects too - but not sure if that is not pure projection.
It links to the question of how the pleasing tension of ambiguity operates and the sense that it has to operate in a unitary / delimited world in order to be realised fully. Went to the ICA for a a tour of Bjarne Melgaard's installation which, so far as I can see, relies almost entirely on the 'network of relations' in order to be legible as an a work of art. We had a conversation about the problems of the New Contemporaries installation because so much current practice does rely on the creation of a self-contained world in which the viewer can 'lose themselves'. Asked if I could write an article / have an interview with Bjarne for publication on the ICA website and they seemed keen. would be interesting to ask him how he sees the role of the artist in embodying / asserting the co-existence of alternative worlds.
Saw Donnet Philips at Moorfields who is leaving her job there and reminded me of the 'worlds' and networks of references that you take on when you work in a corporate environment - or the freelance one for that matter.
Reminded of the 'site specific' nature of art, perhaps up until the 15th century? Use of 'boxes' in Renaissance perspective paintings and intarsia, extending the canvas to the wall, considering the whole room as the 'box' to create a trompe l'oeil / illusory space. Thinking of the 'degrees of arc' - the psychologist's way of describing size as a relationship with the viewer- that are required to create the strong illusions of depth in Wilding's work. That was so clear when my own work was in the tower in Alghero - even with the larger ones, they only really got going when people were at arm's length from them - wonder how that relates to the size of the head? Renaissance perspective manuals reckoned on a 60 degree field of view, down from 90 degrees because the angles and shapes got too obviously distorted around the edges.
Reminds me of Patrick Hughes's work - looking forward to making one of those in glass!
Conversation with Chris Garrard in Oxford about the relationship between sound worlds and visual worlds was very interesting- got me wondering about the conventions of creating boundaries in the world of musical performance (darkened space, illuminated frame or stage, silence, performance, applause), even (and perhaps especially for) works like Cage's 4"33'. Chris felt that one of the ways that contemporary 'modernist' work is judged is on the coherence / 'tightness' of that world. Listening to music through headphones has some of that exclusive 'blocking out the world' idea too. He's given me some things to read. Would be interesting if that grows into a paper for this conference in Oxford next year.
And the cystallography project seems to be kicking off. Very frightened about that really - no idea whether the work will be good enough - or how the hell I am going to get it done.
Puncture fixed, although I managed to pump it up badly so that there is a substantial 'bulge' in the tyre and it does not run round evenly. And the brakes need fixing and the whole thing needs a power wash as it is just filthy.
Lovely dinner with Mum, Alice and Hil yesterday. Coffee with Michael, Caro and Jojo a bit later this morning and driving to Frome tomorrow to bring the glass and tools back here so that I can get my hands dirty again - have been getting a bit soft with all this typing...
Hey ho.
Back to the chapter...
Sunday 30 September 2012
Wednesday 26 September 2012
Thoughts from the library
Have spent the past three days like a sponge in the library, trying to find some sort of pattern or structure for my thoughts so far and how this might fit into a 'thesis'.
It goes something like this...
All visual perception could be said to be an illusion - drawing conclusions from sketchy qualia or stimulus through a process of inference: comparing 'top down' knowledge and rules with 'bottom up' or physical input.
We are constantly negotiating uncertainty or ambiguity - the co-existence of multiple possible meanings (ambo = two). This tension / mechanism is embedded in our physical structure- judging distance and direction from comparison between left and right eyes and ears for example.
Ambiguities could be considered along a scale that ranges from the indeterminate and the accidental (there is just not enough information to make a decision or it is completely random - objects seen through mist or dragons seen in clouds) to the intentional and binary (two alternate and equivalent meanings have been encoded as a puzzle for the initiated or the dedicated - vase-face, duck-rabbit et al and satirical / political imagery from the Reformation and French Revolution for example). To this could perhaps be added the world of potential or latent images such as holograms and anamorphic toys (where the image is only assembled / perceptible from a particular angle or with the help of a viewing device - analagous to digital / screen-based arts).
Different disciplines have developed a theoretical framework to describe this basic 'truth' of lived experience.
Philosophy of science (see Popper) - theories of truth, idea of verification vs. falsification (does one black swan trump all the white ones?) - contrast with Gregory idea of Bayesian logic of probability.
Biosemiology (von Uexkull and Seboek), idea of the 'umwelt' - collection of signals that provide relevant information for survival. Unwelt of the tick centres on simple light reception for 'up / down', 'in/out', temperature for presence of warm-blooded prey and texture for least hairy / easiest to puncture skin area.
Quantum physics 'uncertainty principle' - process of observation affects outcome, location of atoms in time as distribution of probability. Wave vs. particle theories of light.
Literature - seven types of ambiguity, see Empson - metaphor and allegory; pun and code; conflict, confusion and vagueness.
Theology - idea of mystery and multiple meanings and 'revelation' - through religious experience (Atman, holy trinity, revelation through dreams and signs... et al). Interest in / willingness to accept ambiguity / multiple interpretations of texts....
Visual arts - see Gamboni, Hofman, Weber. Accidental images as original catalyst of creative activity (cave paintings, Leonardo's sponge paintings et al), 'automatic' images / gestures and writing as route to deeper / essential nature (Romantics, Dada, Freud), semiology or vocabulary of signs created by the artist (representational / Symbolists, cubists and abstract / formalists / synaesthetic- synaesthetics) , semiology or vocabulary of signs adopted / adapted by the artist (Dada, pop art et al), rejection of semiology to interest in 'pure' / physiological response (op art, constructivists - I think...)
Common principle - the idea of a unity, framework or umwelt (as developed by Husserl) in which this ambiguity can safely be negotiated, the idea of a grammar or language of signs and signals that are understood within that world.
Changing views of the relationship between these worlds (of maker, viewer / consumer and object) reflect deeper attitudes to power and the tension between inner and outer worlds. In art theory, ongoing debate between 'perceptual' approach - Gombritch emphasis on viewer as intelligent (but unchanging) eye, vs cultural determinism where all meaning is determined by social / historical / political / technical and commercial context. To these two classic positions, could perhaps add increasing interest in 'biological' or physiological' readings. Perhaps a development from 'process as art' to 'artists as art': studies of impact of loss of hearing on Beethoven's work, mental illness on Van Gogh, failing sight on Monet et al. Fine art practice increasingly interested in art as performance in which physiological state of the viewer is managed / engaged (not new - prehistoric structures suggest clear awareness of the need to 'prime' viewer). Perhaps Fried's discussion about the impact of scale on perception of objecthood is relevant here. May also point to an increasing elision between the status of the artist and the viewer as 'makers of meaning', especially with a growing number of artists writing about their own work as part of their practice - either to disambiguate or to operate in a different mode- Duchamp 'c'est le REGARDEUR qui fait les images'.
This has implications for generating meaning from 'truths' proposed by artists / the 'art world', writers, philosophers, scientists et al. e.g. Lacan's contention that all scientific activity is essentially a social (and even aesthetic) endeavour.
Resolving ambiguity, then, is a process of evaluating and comparing cues within a given world or paradigm.
This could be seen as a process of identifying edge or significant change in the midst of 'noise' or signals that are not deemed relevant to the task in hand.
Cues for depth are based on a set of assumptions that arise from how the natural world usually presents itself: lighting from the sun (from above to create shadows), diffusion (effect of light dispersed through air so that the tonal and textural qualities of near objects appear more distinct than those further away), perspective (objects of the same type that are further away will appear smaller on the retina than those that are close), occlusion (closer objects will block out those that are behind) and convergence (parallel lines that are angled away from the viewer will appear to get closer together with increasing distance). Most of these cues work when a scene is viewed with one eye alone ('monocularly'). But far richer and more accurate understanding of the relationship between objects in space can be gained through comparison of information received by the two eyes gathering information from slightly different view points - around 6.5cm apart - binocular vision In particular, an object may be partially hidden to one eye, while it is fully visible to the other etc. As the head moves relative to the object, the brain compares the changing information to work out the relationship between the object, its environment and the viewer.
Gestalt offers a framework to understand default / preferred perceptual grouping. Growing understanding of physiological mechanisms of threshold sensitivity and 'noise' to generate edge. Basis of moire pattern / amplified illusion of depth.
New class of illusions being developed to test and play with subtler understanding of the effect of the quality of edge in generating movement as well as space (snake et al).
Combine these mechanisms with the way glass allows you to confound expectations about source of light (outside / behind and within) and occlusion (objects in front do not necessarily block out the ones behind) to generate illusions of space.
Consider the parameters involved in generating a convincing illusion: extent to which the mechanisms need to be 'hidden', relationship of scale between viewer and object - and other viewers.
It goes something like this...
All visual perception could be said to be an illusion - drawing conclusions from sketchy qualia or stimulus through a process of inference: comparing 'top down' knowledge and rules with 'bottom up' or physical input.
We are constantly negotiating uncertainty or ambiguity - the co-existence of multiple possible meanings (ambo = two). This tension / mechanism is embedded in our physical structure- judging distance and direction from comparison between left and right eyes and ears for example.
Ambiguities could be considered along a scale that ranges from the indeterminate and the accidental (there is just not enough information to make a decision or it is completely random - objects seen through mist or dragons seen in clouds) to the intentional and binary (two alternate and equivalent meanings have been encoded as a puzzle for the initiated or the dedicated - vase-face, duck-rabbit et al and satirical / political imagery from the Reformation and French Revolution for example). To this could perhaps be added the world of potential or latent images such as holograms and anamorphic toys (where the image is only assembled / perceptible from a particular angle or with the help of a viewing device - analagous to digital / screen-based arts).
Different disciplines have developed a theoretical framework to describe this basic 'truth' of lived experience.
Philosophy of science (see Popper) - theories of truth, idea of verification vs. falsification (does one black swan trump all the white ones?) - contrast with Gregory idea of Bayesian logic of probability.
Biosemiology (von Uexkull and Seboek), idea of the 'umwelt' - collection of signals that provide relevant information for survival. Unwelt of the tick centres on simple light reception for 'up / down', 'in/out', temperature for presence of warm-blooded prey and texture for least hairy / easiest to puncture skin area.
Quantum physics 'uncertainty principle' - process of observation affects outcome, location of atoms in time as distribution of probability. Wave vs. particle theories of light.
Literature - seven types of ambiguity, see Empson - metaphor and allegory; pun and code; conflict, confusion and vagueness.
Theology - idea of mystery and multiple meanings and 'revelation' - through religious experience (Atman, holy trinity, revelation through dreams and signs... et al). Interest in / willingness to accept ambiguity / multiple interpretations of texts....
Visual arts - see Gamboni, Hofman, Weber. Accidental images as original catalyst of creative activity (cave paintings, Leonardo's sponge paintings et al), 'automatic' images / gestures and writing as route to deeper / essential nature (Romantics, Dada, Freud), semiology or vocabulary of signs created by the artist (representational / Symbolists, cubists and abstract / formalists / synaesthetic- synaesthetics) , semiology or vocabulary of signs adopted / adapted by the artist (Dada, pop art et al), rejection of semiology to interest in 'pure' / physiological response (op art, constructivists - I think...)
Common principle - the idea of a unity, framework or umwelt (as developed by Husserl) in which this ambiguity can safely be negotiated, the idea of a grammar or language of signs and signals that are understood within that world.
Changing views of the relationship between these worlds (of maker, viewer / consumer and object) reflect deeper attitudes to power and the tension between inner and outer worlds. In art theory, ongoing debate between 'perceptual' approach - Gombritch emphasis on viewer as intelligent (but unchanging) eye, vs cultural determinism where all meaning is determined by social / historical / political / technical and commercial context. To these two classic positions, could perhaps add increasing interest in 'biological' or physiological' readings. Perhaps a development from 'process as art' to 'artists as art': studies of impact of loss of hearing on Beethoven's work, mental illness on Van Gogh, failing sight on Monet et al. Fine art practice increasingly interested in art as performance in which physiological state of the viewer is managed / engaged (not new - prehistoric structures suggest clear awareness of the need to 'prime' viewer). Perhaps Fried's discussion about the impact of scale on perception of objecthood is relevant here. May also point to an increasing elision between the status of the artist and the viewer as 'makers of meaning', especially with a growing number of artists writing about their own work as part of their practice - either to disambiguate or to operate in a different mode- Duchamp 'c'est le REGARDEUR qui fait les images'.
This has implications for generating meaning from 'truths' proposed by artists / the 'art world', writers, philosophers, scientists et al. e.g. Lacan's contention that all scientific activity is essentially a social (and even aesthetic) endeavour.
Resolving ambiguity, then, is a process of evaluating and comparing cues within a given world or paradigm.
This could be seen as a process of identifying edge or significant change in the midst of 'noise' or signals that are not deemed relevant to the task in hand.
Cues for depth are based on a set of assumptions that arise from how the natural world usually presents itself: lighting from the sun (from above to create shadows), diffusion (effect of light dispersed through air so that the tonal and textural qualities of near objects appear more distinct than those further away), perspective (objects of the same type that are further away will appear smaller on the retina than those that are close), occlusion (closer objects will block out those that are behind) and convergence (parallel lines that are angled away from the viewer will appear to get closer together with increasing distance). Most of these cues work when a scene is viewed with one eye alone ('monocularly'). But far richer and more accurate understanding of the relationship between objects in space can be gained through comparison of information received by the two eyes gathering information from slightly different view points - around 6.5cm apart - binocular vision In particular, an object may be partially hidden to one eye, while it is fully visible to the other etc. As the head moves relative to the object, the brain compares the changing information to work out the relationship between the object, its environment and the viewer.
Gestalt offers a framework to understand default / preferred perceptual grouping. Growing understanding of physiological mechanisms of threshold sensitivity and 'noise' to generate edge. Basis of moire pattern / amplified illusion of depth.
New class of illusions being developed to test and play with subtler understanding of the effect of the quality of edge in generating movement as well as space (snake et al).
Combine these mechanisms with the way glass allows you to confound expectations about source of light (outside / behind and within) and occlusion (objects in front do not necessarily block out the ones behind) to generate illusions of space.
Consider the parameters involved in generating a convincing illusion: extent to which the mechanisms need to be 'hidden', relationship of scale between viewer and object - and other viewers.
Tuesday 18 September 2012
back to school
Sitting in the computer room at the RCA pondering how to approach this next year. It's been a wonderful, busy summer and I feel ready to get down to work again, acutely aware of how much needs to be done and trying not to panic.
Bronwyn encouraged me to take a look at a couple of 'phd training' websites and the one thing they all say is the need to keep writing every day, even if you feel there is nothing to write about.
Reckon that will be my 'new year's resolution'.
So here we go.
The ECVP conference was intense in every way: an incredible drive across Europe (I want to do that again!), the experience of living 'en famille' again (rather not do that again until I find a way to maintain a little more of my sense of self at the same time), an insight into the working life of another culture (so much more interesting than being a tourist), seeing the glass work in a different context (it all feels so small and scrappy and oddly 'diffuse' now), an introduction into a whole world of new people and ideas. It is a sort of coral reef that has been evolving for the past 20 years, teeming with every different kind of animal : the peacocks, the scavengers, the cave-dwellers and the shoal-surfers. A number of really good, kind and intelligent people who I hope will become friends.
It looks as though there is real interest in putting together an exhibition for the ECVP in Bremen next year, which will be an opportunity to see some of those again. Carol has so many connections and skills - will be great to work with her again if it comes off. And Priscilla is an incredible woman too. I have also been invited to join the 'scotch perspectives', a 'club' that meets in Scotland to drink whiskey and walk and talk. The next in May 2013. Sounds expensive - and I should probably stay focused on this project for now...
Sardinia seems to almost have eclipsed the Corning and New York expedition , about which I started another blog. But I must not lose sight of the opportunity and connections made there. The proposal is ready to go. Just need to get the references and send it off. The course proposal and the Neues Glass images also need to go off by the end of the month. A note from Lisbeth about an Israeli exhibition is tempting but not for now I think.
The Peter Layton, Quest and Royal Society of Painter Printmaker exhibitions seem to have faded into the background somehow, although I did manage to sell two wall pieces and David seems confident that there is firm interest in the glass work.
The 24-hour trip to Paris to share the housewarming for Charlotte's new place was another highlight, meeting old friends, making some new ones and catching a glimpse of her growing bond with David and his children. Another flying visit to les Barils is another wonderful memory - an early morning drive with Sophie and the delight and surprise on Flo's face as we arrived in the market in Verneuil. Walking, talking and sharing delicious meals in the garden. A final night in Montmartre - so sorry not to have paid more heed to the occasional sound of drips in the bathroom which turn out to have been a disastrous leak under the floorboards in the kitchen.
So many other good times in the scruffy pages of my diary. Dinner with Dad and Lou on the South Bank, driving through driving rain in Elaine's sportscar, dancing at Sophie and Simon's wedding and brief stay in Wye, hearing about Sadhu's latest successful tour from Mum who seems so relaxed and easy.
Then there was the dash to Wales for Mar's funeral. Such grief at the loss of the man and his way of life - and the revival of some old scores with the living. Really need to deal with those - it's so stupid not to care for people while they are still alive.
Accounts almost done, wading through great wadges of receipts stuffed into envelopes and plastic folders. Completely daft to be in such a muddle about something so simple. And I have managed to lose all the April receipts and a chequebook (they are 'somewhere safe' - just don't know where). Lots of invoices from internet shopping to print out but my printer seems to have died. But mostly did not want to talk to the mac while my HP was being fixed. Aiming to have all that done for the first of October and use my 24-hour car rental to go to see Julie in Bath.
It has been lovely to be home a little: really starting to feel as though the place is set up to be productive and I can work well there. And a network of friends that don't mind me coming in and out of their lives so briefly. Some lovely walks and conversations. I feel sometimes as though they see me as a shot of caffeine. Nice in small doses. Managed to pin back the fig tree and the climbing roses and put my very first batch of home made compost on the rhubarb. Did not manage to change the flue lining, cement the wall, fix the gutter or the towel rail, sort out the cooker or paint my bedroom. Also no time to see Pip and Lou or to visit Mim in her new place or to see Mum on her recent visit to Frome. I just couldn't do it. Hey ho.
It is good to be in London too. Planning an outline for the written work, making contact with friends and colleagues here - sitting in the staff room chatting to Steve and Alison, Simon, Martin, Sandra and Liam. Lunch with Nick. I feel so very lucky.
To work - who the hell was Ludwig Wilding???
Bronwyn encouraged me to take a look at a couple of 'phd training' websites and the one thing they all say is the need to keep writing every day, even if you feel there is nothing to write about.
Reckon that will be my 'new year's resolution'.
So here we go.
The ECVP conference was intense in every way: an incredible drive across Europe (I want to do that again!), the experience of living 'en famille' again (rather not do that again until I find a way to maintain a little more of my sense of self at the same time), an insight into the working life of another culture (so much more interesting than being a tourist), seeing the glass work in a different context (it all feels so small and scrappy and oddly 'diffuse' now), an introduction into a whole world of new people and ideas. It is a sort of coral reef that has been evolving for the past 20 years, teeming with every different kind of animal : the peacocks, the scavengers, the cave-dwellers and the shoal-surfers. A number of really good, kind and intelligent people who I hope will become friends.It looks as though there is real interest in putting together an exhibition for the ECVP in Bremen next year, which will be an opportunity to see some of those again. Carol has so many connections and skills - will be great to work with her again if it comes off. And Priscilla is an incredible woman too. I have also been invited to join the 'scotch perspectives', a 'club' that meets in Scotland to drink whiskey and walk and talk. The next in May 2013. Sounds expensive - and I should probably stay focused on this project for now...
Sardinia seems to almost have eclipsed the Corning and New York expedition , about which I started another blog. But I must not lose sight of the opportunity and connections made there. The proposal is ready to go. Just need to get the references and send it off. The course proposal and the Neues Glass images also need to go off by the end of the month. A note from Lisbeth about an Israeli exhibition is tempting but not for now I think.
The Peter Layton, Quest and Royal Society of Painter Printmaker exhibitions seem to have faded into the background somehow, although I did manage to sell two wall pieces and David seems confident that there is firm interest in the glass work.
The 24-hour trip to Paris to share the housewarming for Charlotte's new place was another highlight, meeting old friends, making some new ones and catching a glimpse of her growing bond with David and his children. Another flying visit to les Barils is another wonderful memory - an early morning drive with Sophie and the delight and surprise on Flo's face as we arrived in the market in Verneuil. Walking, talking and sharing delicious meals in the garden. A final night in Montmartre - so sorry not to have paid more heed to the occasional sound of drips in the bathroom which turn out to have been a disastrous leak under the floorboards in the kitchen.
So many other good times in the scruffy pages of my diary. Dinner with Dad and Lou on the South Bank, driving through driving rain in Elaine's sportscar, dancing at Sophie and Simon's wedding and brief stay in Wye, hearing about Sadhu's latest successful tour from Mum who seems so relaxed and easy.
Then there was the dash to Wales for Mar's funeral. Such grief at the loss of the man and his way of life - and the revival of some old scores with the living. Really need to deal with those - it's so stupid not to care for people while they are still alive.
Accounts almost done, wading through great wadges of receipts stuffed into envelopes and plastic folders. Completely daft to be in such a muddle about something so simple. And I have managed to lose all the April receipts and a chequebook (they are 'somewhere safe' - just don't know where). Lots of invoices from internet shopping to print out but my printer seems to have died. But mostly did not want to talk to the mac while my HP was being fixed. Aiming to have all that done for the first of October and use my 24-hour car rental to go to see Julie in Bath.
It has been lovely to be home a little: really starting to feel as though the place is set up to be productive and I can work well there. And a network of friends that don't mind me coming in and out of their lives so briefly. Some lovely walks and conversations. I feel sometimes as though they see me as a shot of caffeine. Nice in small doses. Managed to pin back the fig tree and the climbing roses and put my very first batch of home made compost on the rhubarb. Did not manage to change the flue lining, cement the wall, fix the gutter or the towel rail, sort out the cooker or paint my bedroom. Also no time to see Pip and Lou or to visit Mim in her new place or to see Mum on her recent visit to Frome. I just couldn't do it. Hey ho.
It is good to be in London too. Planning an outline for the written work, making contact with friends and colleagues here - sitting in the staff room chatting to Steve and Alison, Simon, Martin, Sandra and Liam. Lunch with Nick. I feel so very lucky.
To work - who the hell was Ludwig Wilding???
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