Professional Documents
Culture Documents
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
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
Secondary Aims: To research Chaos Theory, and experiment with a collection of repetitive,
but random processes within both the natural and electronic realms.
Objectives
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, Anti-
Form 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 Serra’s 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 will be researching for this project will
be by Brian Eno, Philip Galenter, Bill Viola and Shardcore. At the time of writing, and as far
The key words that reflect my project are Generative Art, Systems, 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:
Methodology
Philip Galenter and arranged to interview him later in the year. I will be also
be researching other practitioners: Brian Eno, Bill Viola and Shardcore and
Sam Hewitt. I will examine not only their artwork but also research how they
judge what is objective and observable. I will also visit exhibitions, galleries
and museums.
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
systems incorporated within generative art. I will also experiment and make
my own systems that I will integrate within my studio practice. Here is a list of
• Create rules similar to tradition board games and apply them to my artwork.
Chimes, The Blackpool High Tide Organ, The Sea Organ and The Ringing
Art Processes and Chaos Theory. Popular Culture: Dystopian Future films and
• Reflective research: This would possibly be in two stages, the first stage to
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. The second stage
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
Outcomes
I am planning to create a digital video/audio installation where either video is projected onto
a kinetic sculptural form or possibly there will be a kinetic sculptural installation and a video
projection separately but within the same area. At this point I’m not sure about the exact
outcome, though the space required will be the approximately the same: 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. 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 kinetic sculptural installation will be
powered by batteries which is not a concern as they will be hidden from view. I’m not sure at
this point where the projector 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
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.
Bibliography
Books:
Austin, H. James (1999) Zen & the Brain. Massachusetts. MIT Press.
Casey, R., & Fry, B. (2010) Getting started with processing. Sebastopol. O’Reilly Media Inc.
Dawkins, R. (2006) 3rd ed. The Selfish Gene. Oxford. Oxford University Press.
Degrazia, D. (2005) Human Identity & Bio Ethics. Cambridge, Cambridge University Press.
Field, M., & Golubitsky, M. (1992) Symmetry in chaos. New York. Oxford University Press
Inc..
Haralambos, M., & Holborn, M. (2008) Sociology themes & perspectives. London.
HarperCollins Ltd..
Koterski, J.D. (2009) Biblical Wisdom Literature. Fordham. The Teaching Company.
Kreeft, K. (2007) The Philosophy of Jesus. South Bend Indiana. St Augustine’s Press.
Manovich L., (2001) The language of New Media. London. MIT Press
Nies, A. (2009) Computability & Randomness. New York. Oxford Science Publications.
Rush, M. (1999) New media in the late 20th – Century art. London. Thames & Hudson.
Sartre, JP. Barnes, H, E, ed. (2003) Being and nothingness, 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 Vonnegut’s Harrison Bergeron (1995) Bruce Pittman, USA. Atlantis films Ltd.,
99mins.
Kurt Vonnegut’s 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.
Journals
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.
Monro, G. (2009) Emergence & Generative Art. Leonardo. Vol. 42, Issue 5, pp.476-477.
Radio
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.
Sterling, B. (2008) Design Processes Rather than Art. [Internet]. Available from:
http://www.fabrica.it/workshops/sterling_videos.html [Accessed 20th November 2010].
High Shoulder Productions (2006) Will Wright & Brian Eno “Playing With Time” [Internet]
http://fora.tv/2006/06/26/Will_Wright_and_Brian_Eno [Accessed 15th December 2010].
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.