Existence: Individualism or Mechanism?

Exploring the notion of how individuality exists within a system.

Kay Johns MA Digital Arts Online (Visual Arts) University of the Arts London, Camberwell.

Aims My primary aims for this project are to create a video/audio installation that expresses and questions the transformation of individuality within the conglomerate. I intend to explore the notion of how individuality exists within a system, along with questioning the notion of individualism/mechanism in my work (this may change depending on the perspective). Since this topic is quite complex I can only really hope to explore aspects of this vast subject. I aspire to convey these ideas by experimentation with pattern transformations and randomness by exploring natural generative elements as a method for the foundation of my studio practise. Secondary Aims: To research Chaos Theory, and explore a collection of repetitive, random, and generative processes within both the natural and electronic realms. Objectives To obtain a clearer understanding of the natural world. To gain knowledge of theories and ideologies that may contribute to random pattern transformations. Acquire information from artists that use either natural generative elements, or computer generative elements in their work. Explore and create experiments using different methods in this area. Project video onto naturally generative/ kinetic sculptural forms.

Historical Context Over the years my work has developed from making dynamic sculptures into creating multimedia installations, by exploring kinetics, sound and digital video. The historical context of my work can be found in a combination of art practices from Kinetic Art, AntiForm Movement/Process Art, Video Art and Sound Art. In the past I have been intrigued by the Kinetic ready-mades of Marcel Duchamp. The Anti-Form movement and artworks by Robert Morris titled Scatter, Richard Serras Splatter, and the Subway Drawings by William Anastasi as they all have a dynamic quality and an element of chance. I am also fascinated by Video Art and the works of Nam June Paik, along with the experimental generated Sound Art by John Cage.

Contemporary Context The contemporary artists and artworks that I originally started researching for my both my contextual research and research paper were, Philip Galenter, Joseph Nechvatal and Shardcore. At first the most relevant contemporary artwork that related to my question was an installation by Brian Eno called 77 Million Paintings. (See fig 1)
Fig 1. Brian Eno: 77 Million Paintings. Fabrica, Brighton, 2010. http://www.culture24.org.uk/art/new+media/art77594

This is a generative artwork that reflects notions of individuality and transformation within a collective.

Since my studio practise has entered another phase, where I have been recording people's breathing sounds and collecting breathe of the same people by storing in balloons. I recently started researching artist's that use either breathe, breathing sounds, or balloons in their work. I have been looking at Artist Kimsooja. She has used her own breathing sounds in an installation titled: To Breath - A Mirror Woman. Also an artist that used both breathe and balloons in his work is Piero Manzoni's sculpture titled: Artist's Breathe, though not contemporary, but relevant. He used his own breathe to blow up a balloon and then attach this to a wooden block. While the balloon has since deflated, which probably happened when he was alive. I found this quite sad since he is no longer alive now, but it is also very effective.

Theoretical Context The key words that reflect my project are Natural Generative/kinetic Elements, Interconnectivity and Individuality. The theories and ideologies I will be using to explore my question/artwork can be linked to these keywords. I have listed my main theoretical areas of study below: Dynamic Systems: Generative Art Processes/Natural Generative Elements. Scientific Theory: Chaos Theory. Popular Culture: Utopian/Dystopian Future films and books. Philosophy: Existentialism, Atheism. Theologies: Buddhism, Judaism and Christianity.

Methodology My methodology for this project will be a combination of the following: Primary Research/Contextual: So far I have contacted Generative Artist's Philip Galenter, Joseph Nectval, and Shardcore. I have interviewed these artist's in connection with both my studio practise and my research paper. I also have looked at specific artworks by practitioners such as Brian Eno, Kimsoja, and Piero Manzoni. Along with continuing exploring artist's that have used either breathe, breathing, or balloons in their work. I will also carry on visiting exhibitions, galleries and museums that relate to my project. Qualitative and Quantitative Research: During unit two I will send a video link of my artwork to 20 of my peers to view. Next I will ask ten people only, to make direct comments about the video. Once I have received these comments back I will then send out a multiply choice questionnaire in the likert style to all twenty people to complete. Visual Research: Taking photographs/video clips and drawing. Studio Practice: To explore methods and practices relating to generative elements and processes. Here is a list of my intentions. I will also keep a record of my experiments on my blog: Create rules similar to tradition board games and apply them to my artwork. Experiment with partial rule based systems. Research Chaos theory, and film generative elements of nature. Make experimental video's of natural generative elements (fire, waves, clouds).

Experiment with editing software. Learn how to use Processing. Record breathing sounds and collect breath to be contained inside balloons. Experiment projecting video through naturally generative/kinetic sculptural forms.

Theoretical/Subject Research: To research Dynamic Systems: Generative Art Processes and Chaos Theory. Popular Culture: Dystopian Future films and books. Philosophy: Existentialism, Atheism. Theologies: Buddhism, Judaism and Christianity.

Reflective research: This will be an ongoing random process throughout, but there will be key periods when reflection will be more prominent. For instance at the end of Unit One, I will reflect on all the relevant information gathered to curate my blog for the assessment. While in unit two I will also need to reflect on the information gathered from my Qualitative and Quantitative Research, and include this along with all the other relevant information to write my reflective paper. This would contain information gathered from all the research sections, along with reflection on blog entries, from feedback of tutorials and group critiques to create my artwork for the final project. Then my next key period of reflection would be after my final exhibition. During the exhibition I would leave a comment book that will also contribute to the knowledge and feedback gained from the exhibition.

Outcomes Upon updating this, I am now coming up to the Unit One assessment. Since my work has led me in this direction, I now know that I would like to create a digital video/audio installation where video is projected through naturally generative/kinetic hanging sculptural forms (approx a collection of 3ft clear balloons, containing smaller balloons inside). The audio will be of people's breathing sounds played randomly, and the air inside the balloons will contain the breathe from the people breathing. I still need to do lots of experimenting, but ideally I would like the smaller balloons inside the bigger balloons to all be connected using either white or clear thread, though this may not be possible. At this point I'm not sure of the exact outcome as the experiments will lead the work.

The space required will be the approximately: 3.5 metres squared. However from previous experience while setting up my BA Degree Show I realised that space can be limiting, and I may not be able to obtain my chosen amount of space. If this is the case I will need to know how much space I would have to work with beforehand so I can experiment within that space. Ideally I would like this area to be built with walls around and a doorway to enter that is also big enough for wheel chair access, though this may not be possible. I envision the installation to have an immersive quality where only one or two people would enter at a time.

Risk Assessment I will need to specify that my installation will only be suitable for either one or two people entering at one time. I will do this either on a separate notice or on my personal statement so people can read before entering. This will ensure that overcrowding does not occur and that people can exit easily in case of an emergency. The naturally generative/kinetic sculptural installation will be hanging from the ceiling. Im not sure at this point where the speakers

will need to be placed, but both computer and projector will be out of the way so not to cause distraction from the artwork. I will need to see where the nearest plug sockets are and take into account the possible use of extension leads. For any cables running along the wall or floor to computer and projector I will use a combination of either cable clips or floor cable covers for both neatness and safety. All cables will need to be tested by an electrician for health and safety purposes prior to the exhibition.

Work Plan I have split my work plan into a combination of colour coded sections. These topics are the major stages of my work plan. The details of each section can be found in my methodology that I previously mentioned.

Visual Research Subject Research Studio Practice Contextual/Primary Research Reflective Research

2011
January February March April May June July August September October November December

2012
January February March April May June July August September October November December

My plan is to research and complete all the areas mentioned in a constructive manner. While I have highlighted a combination of the research topics for the same duration this does not mean that I will constantly be researching them all every day, but what it does mean is that I will switch back and forth for each topic during this time frame until each section is completed. At this stage I do not know when all the course deadlines are so having a flexible timetable that I can change and restructure is also important to achieve these goals.

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Pearson, M. (2010) Generative Art, MEAP Edition, Manning Publications. Rand, A. (1964) The Virtue of Selfishness, Canada, Signet Books. Rush, M. (1999) New media in the late 20th Century art. London. Thames & Hudson. Russel, B. (1975) Why I am not a Christian, London. Unwin Paperbacks. Sardar,Z, &Abrams, I. (2004) Introducing chaos. Royston. Icon Books. Sartre, JP. Barnes, H, E, ed. (2003) Being and nothingness, London. Routledge. Schneider, E. et al.(eds.) (2003) Mariko mori wave UFO, Kunsthaus Bregenz. Sutra, M.D. (2008) Quantum Buddhism. F.Lepine Publishing. Tyson, L (2006) Critical Theory Today. London. Routledge. Williams, P. Garnett. (1997) Chaos Theory Tamed. Washington, D.C. Joseph Henry Press.

Films: Gamer, (2009) Mark Neveldine & Brian Taylor, UK, Lakeshore Productions, 95mins. Kurt Vonneguts Harrison Bergeron (1995) Bruce Pittman, USA. Atlantis films Ltd., 99mins. Kurt Vonneguts Harrison Bergeron 2081 (2009) Chandler Tuttle, USA, Moving Picture Institute, 25mins. Nineteen Eighty Four (1984) Michael Radford, UK, Umbrella Rosenblum Films Productions 113mins. The Island, (2005) Michael Bay, USA, Dreamworks, Warner Bros., 136mins. 2001: A Space Odysessy, (1968) Stanley Kubrick, Metro-Goldwyn-Maye, 141mins.

Journals Burraston, D. (2007) Fundamental Insights On Complex Systems Arising From Generative Arts Practice. Leonardo. Vol. 40, Issue 4, pp 372-373. Harle, R. (2008) YLEM Journal: Artists using Science & Technology. Leonardo. Vol. 41, Issue 5, p.531. Leggett, M. (2007) Generative Systems & the Cinematic Spaces of Film & Installation Art.

Leonardo. Vol. 40, Issue 2, pp.123-128. Margaret A. Boden & Ernest A. Edmonds (2009): What is generative art?, Digital Creativity2009, Vol. 20, Nos. 12, pp. 2146.

Mcknown, R. (2005) Fort Andross/Brunswick: Amy Stacey Curtis: Third Solo-Biennial: Change. Art New England. Vol. 26, no.2, p.22. Monro, G. (2009) Emergence & Generative Art. Leonardo. Vol. 42, Issue 5, pp.476-477.

Schedel, Mg., & Rootberg, A. (2009) Generative Techniques in Hypermedia Performance. Routledge. Vol. 28, No.1, pp.57-73.

Stasukevich, I. (2008) Crossing Over in Violas Ocean Without a Shore. American Cinematography. Vol. 89, no.3, p.10, 12, 14. Radio Chaos (Documentary) (1992) Steward, I. Radio BBC Radio 4. Television Programs Odyssey 5, Complete Series (2006) Adam J. Shully, David Carson & Jim Michaels, USA, Sony Pictures, DVD, 935mins. The Prisoner,17 episodes, (1967-1968) Patrick McGoohan, et al, TV Series, ITV. British. 48mins (each episode). . The Secret Life of Chaos (Documentary) (2010) Stacey, N. TV. BBC Four, 9 Dec. 19.30 hrs. 60mins. Websites & Internet Sources Galenter, P. What is Generative Art? Complexity Theory as a Context for Art Theory. [internet] http://philipgalanter.com/downloads/ga2003_what_is_genart.pdf [Accessed on 2nd Janurary 2011. Galenter, P. (2009) The Generative Bodies Series. [Internet] http://philipgalanter.com/art/generativebodies/a/ [Accessed on 2nd January 2011]. High Shoulder Productions (2006) Will Wright & Brian Eno Playing With Time [Internet] th http://fora.tv/2006/06/26/Will_Wright_and_Brian_Eno [Accessed 15 December 2010].

kimsooja (2006) http://www.kimsooja.com/projects/Crystal_Palace_2006.html [Assessed 22nd January 2012].

Manzoni, P. (2003) http://www.pieromanzoni.org/EN/index_en.htm [ Assessed 14th January 2012] Nechvatal, J. (2002) Computer Virus 2.0. [Internet] http://www.nechvatal.net/ [Assessed on 22nd November 2011]. Sterling, B. (2008) Design Processes Rather than Art. [Internet]. Available from: http://www.fabrica.it/workshops/sterling_videos.html [Accessed 20th November 2010]. Shardcore,(2011) The Consciousness Engine [Internet] http://fortunecatproductions.com/?page_id=32 [Assessed 6th June 2011].

The Tate Collection Piero Manzoni (2000) http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=26872&searchid= 9951 [Assessed 14th January 2012]

Viola, B. (1999) Exhibition Feature. [Internet] Available from: http://www.sfmoma.org/media/features/viola/index.html [Accessed 20th November 2010].