Teo Thesis Blog

A collection of process work through Thesis exploration Space, time and awareness. In order to create awareness thinking.

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Interview by Elizabeth Stevens - in Berlin; Tuesday, Mar. 05, 2013. This Sunday is the finissage of Lichtspiel by London based duo Sebastian Kite & Will Laslett at Import Projects. Using light and sound as the primary medium, the exhibition brings together new compositions of Candescence and Orbit, two works that were previously shown at the +-0 Temporary Nightclub at Postbahnhof Berlin, as well as a new...

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Ryoji Ikeda :: data.anatomy [civic], 19 APR - 1 MAY 2012, Kraftwerk, Berlin, DE

data.anatomy [civic] is a new audiovisual installation by the acclaimed Japanese artist Ryoji Ikeda, arising from a unique collaboration with Mitsuru Kariya, the&

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Ryoji Ikeda : : test pattern [nº5], 8 JUN - 1 JUL 2013, Carriageworks, Sydney, AU

Ryoji Ikeda, test pattern [nº5], 2013 audiovisual installation 8 JUN - 1 JUL 2013 Commissioned and presented by Carriageworks and ISEA2013 in collaboration with&

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noise agents Using Tutorial and after installation of control P5 -- 

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Oscillations after installation of controlP5

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other examples with processing -- workable 3d forms and oscilattions

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Experiments of drawing form with floating shapes in Processing.

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Interesting post of van toorn

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I tried to make an infinity mirrror -- by using a 2 way mirror (see through reflective paper wrap and a normal mirror along with a light. These are encased in a small frame and a light inserted.  The interesting thing about them is the creating of space from two planes.  I have tried to observe closer to see if it there is something within it that I can see and make further. right now it tells me that light is always in the making and gives progress to form

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using Data processing to explore a portrait picture into a 3d space. Pixels are made to have a value along a z axis and then they are rotated through the space

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Small introduction into Binaural beats -- can this help me into the production of space?

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Reflections on the Intro of Bachelard

I began to read the introduction; I was astonished to get a feeling that he was a regular type of person with a regular type of job. What I find interesting about this is that he had pushed him self through a University degree then through his practice – he pulled away from regular convention and did not allow him self to be part of the normalizing practice of the University. Hence his accomplishments were made by his ability to follow his heart and intuition. I agree with this; one should learn follow and then follow our own reason without fear of seeing things a little different. After all, we all have a different perspective on life.

  As a designer I think that I should try to communicate through the manipulation of elements and principles, this would add to the doing of design as a practice. And the practice should be of me trying to provide an insight or bring forwad aware things that are of interest to me—weather a critique of discourse or other in a way for other to engage and participate with the design. For them to become part of it. To influence through the poetry of what I know, how I see the world. A communication of how the world may be. Yet this still tactile world we can perceive, before we are totally consumed by its program. The programmed abstract space that manipulates us as we practice our daily lives.

  On Bachelard:  As I am reading Bachelard, I came a few points that I find to be of interest to me. One of the explanations of setting: being as important as the characters and plot of a movie, story, poem, painting; a work of art. This is particularly interesting because I can understand how the setting of a work will have an influence on how it is perceived, it would add to be creation of ambiance. The viewer therefore must be in a particular or correct setting to add to the interaction between signs and symbols in order to create a signified.

  Formal and or vs. Material imagination.  Then the distinction between these two is intriguing that being that formal imagination relates to nature, those memories or imaginations that are fond of novelty and picturesqueness, variety and unexpected permanence present within things. These are those imaginations that we see when we see natural objects, the light falling through the window on the vase where the plant appears to come forwards and tell me it is a wondering Sunday morning, it is warm out side and I am back in Berlin.  It is recalling to me spaces that are natural. The opposite is of material imagination, which works by being attracted to the element of permanency present in things. It is responsible for the formation of germs that are deeply embedded in a substance.

  Through the introduction we begin to see how the evolution of thought from regular habitual practices is important. We must break away from regular thought to propose and ask the questions that are asked of us by the poetic imagination. To answer them we must move forward. 

The poetic image: a poetic image has the ability to respond in an echo of past. Those echo’s when reverberate deep inside the soul, create a poetic image—having an entity and a dynamism of its own which begin to lead towards direct ontology. This is particularly important especially in the production of space which I am currently seeking. As we connect with the image weather objct or image (the nature of objects being images) we have to encounter the forms. There the essence of this feeling comes forward not from feeling of being of existence, but of the feeling of participation, onward in the terms of participating in time and space. Thus then we connect with the image or object to create a new sensation of time and space. We must find ourselves deeply, beyond words and connect and interact with this form that has developed an action within us.

  A new image: the image, the poetic image takes a gold us from within. It is not the image placed upon on, this does not work poetically, instead it is the participation and engagement with the new image that connects with the mind, forming new ontological meanings. This makes us question our very nature, that which is around us. Those practices that seek to hold us, the space that has become abstract and strategic are therefor put to question. The Action of the image derived from the action of design is no longer an action of placing formal relationships, instead it is an action of forming new meaning.

  Excellent quote “ XVII Bachelard” suppose these elements were missing: would really nothing living subsist? For my part, I believe that this is precisely where we should see the world come aline and, independent of any instrument, of any physical properties, fill up with penetrating deep waves which, although not sonorous in the sensory meaning of the word, are not, for this reason, les harmonious, resonant, melodic and capable of determining the whole tonality of life. An this life itself will reverberate to the most profound depths of its being, through contact with these waves, which are at once sonorous and silent..”

The poetic image also arises in the mind through experience and other psychological factors along side with psychoanalysis. They cannot be determined and when examined are never enjoyed. Thus living is presented in the moment, by living in the present feelings of this echo and reverberation. The poetic image being varational, clear and sensible relating to a certain logic, as opposed to the conceptual which is constitutive, establishing or giving an organized existence to something.  There for when we are approached by a poetic image we are not looking at the object any longer, its sign is abolished but we seek in a poetic image to seize its specific reality.  For me, I understand this as the object it self takes form in mental space, space is produced in the mind, the surroundings of the image are part of the space (Febvre on Klee).  The following also explains how images come before language. This places language as an after thought, the phemenology of the image comes not from the mind but that felt by the soul through its interaction in space.  Therefore, it is to my understanding that a true aesthetic perception is free it arises ontological questions in its viewer, unbound by language, where we must then search to find them and express them, placing the viewer with the power creating true conceptual space, that free of anecdotes.

  Poetic revery, is a mental space, where the soul keeps watch on the body without setting forward tension. Through living in different planes of our daily lives we interact with objects through resonance. The reverberations of those seen or felt by its sings, when they are poetic are felt and picked up by us, they help to bring forward and calls us to the attention of being and participating in time and space. The work therefore is able to take a hold of us – it stops us and keeps us there, asking us to make our own sense of them (the author dies – the poetry lives and is activated by the viewer).  The poetic reverberation sets us awake; by settings forward our entire linguistic mechanism as it awakes our souls. After reverberation is resonance, the sentimental repercussions of our past. The image first touches the depth of our past in a way deep inside the soul and then come back forward to move the surface. The image moves to become our own. It expresses us by making us express it – the expression creates a being of us as we have to participate wit it in space and time.

  Tschicumi -- 

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picture bending

Attempting to digitally bend space through using processing. Picture taken by me of a building in Toronto on Univeristy Ave.

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Screen Recording 4 - Chromaflow

Vimeo is the home for high-quality videos and the people who love them.

Another processing exercise with colour from generative-gestaltung — this to me in interesting I am learning how mouse inputs can be made and affect colour output. I wonder if from here there could the user participate through a sort of chromatic flow within space.  making the person part of the experience of changing colour while participating in space.

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Another experiment with processing.  I have been following tutorials from generative-gestaltung for processing.

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I tried an even smaller size pixel and set the distance of blackness further apart.

These basic exercises are quite interesting.

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oscillation 4 - another try.  I am now seeking what this is telling me in terms of space and movement.  I would like to see how this would act in a large just playing from projectors and some sound.