Unit 2: Futures – Instructions for navigating the unknown further research

I am keen to work further on the instructions I created, to help navigating the unknown. In my assessment yesterday, one of my tutors mentioned that it could be interesting too if people are able to take just one instruction in isolation and whether they might interpret this differently without the context of the others, or if this instruction in isolation might be interesting.

This had me recall the work of Brecht, where he had a box or card system of instructions that you could take from. This reminds me of board games, such as Cranium or Pictionary, where the player is given instructions and often other players have to guess what was on the card. It also reminds me of notices placed on notice boards, where there are tear off contact details at the bottom, or of ticket machines at deli counters etc, where the piece of paper you have taken affects the result for the next person (by removing the previous number in the case of tickets, or reducing the number of people who can take the contact details from the notice). Or even fortune cookies, whereby a ‘personal’ script is found inside each one. It could be interesting to explore these different modes of presentation for my work.

Water Yam (1963), George Brecht

In looking up the above image, I came across an excerpt from a book mentioning this work, called Critical Play: Radical Game Design by Mary Flanagan, see below:

This chapter in particular made mention of an artist I have found very interesting to read about – Gabriel Orozco. There is a fascinating interview with the artist found here. That he combines two interests of mine – a playfulness and also philosophy, is fascinating! Games turn up as a theme here, not only in his process, and he confounds the rules of some conventional games such as ping pong, billiards, football and chess by transforming them in some way. He speaks very well about his thinking behind these transformational acts, and I have included some quotes below that I found particularly interesting.

That is the space that I’m interested in, the in-between space. Even in photographs, I think what is interesting is in between the photographer and the space, which is the same as the in-between of the photograph and the spectator. To activate that space—to activate means to fill it with meaning and connections, so that we can think about it. We can connect with it and make it happen as a space and time in between things.

I think every game is a universe, in a way, or every game is an expression of how the universe works for different cultures… Every game has a connection to how we conceive nature and landscape, how we order and we structure reality.

Probably they are more like philosophical games. I believe that philosophy has to be a practice: practical philosophy. It’s like the way the Greeks used to solve philosophical and mathematical problems—by walking. Not sitting. It’s easier to solve problems moving—when you walk and you talk—probably because you have better irrigation in the brain or just because you are breathing better. Because you are moving, you have better chances to solve complex problems. And also I think, in a way, it’s an action thing. So, I think philosophy is an action; it should be. And to play the games are part of it.

I concentrate on reality in terms of what is happening to me, and I try to revolutionize that and try to rethink it and transform it. I try to transform reality with its own rules, with the things I found there. 

I am interested to learn more about him and have reserved some resources from the library to look into!

Another work I have come across in my initial research is his photo series called Until You Find Another Yellow Schwalbe (1995). Here he drove around Berlin on a Schwalbe motorbike, and photographed it next to a second whenever he came across another one. The final work in the series of 40 includes a third bike, as he had sent invitations to all the Schwalbe owners in Berlin to meet him for a get-together (and only 2 turned up). I love this level of unpredictability in his series (providing an instruction that may or may not be followed by other persons), but also too this repetition and persistence. The photography itself had a kind of rule to it, without other persons, closely framed, bikes in close proximity, etc. making it a game in itself. It’s interesting that games should require rules to be set, almost paradoxical in a way.

Until You Find Another Yellow Schwalbe 1995 Gabriel Orozco born 1962 Presented by George and Angie Loudon 1999 http://www.tate.org.uk/art/work/T07506

Unit 2: 3D – Data Visualisation (pt 4)

I was interested in exploring the reflective qualities of metal sheeting as analogous to that of screens, in visualising my screentime data. I was shown offcuts of aluminium sheets that I could use to experiment with. Following the performative clay work I had done, I was eager to incorporate this again, and decided that manually hammering it over an anvil would be a satisfying process to try out. In this way I could again demonstrate the human-screen interaction and also something of the strong impact this has on our lives (for better or ill). This turned out to be really fun!!

I hit it 39 times, to reflect the number of hours of screentime over the 7 day period. The marks of the hammer I used here reminded me of those I had created in my previous exercise using pastels. I like how the surface of the sheet has also distorted somewhat from the force of the blows, warping it and the way the light reflects off it.

I wanted to experiment with a round headed hammer, to see if I could produce marks that were similar to a thumbprint, so repeated this. The effect reminds me of bullet holes/impacts in shooting targets, and gives an added sense of violence.

I chose to then fold the sheet twice, to give an approximate size and shape to a phone, and repeated this exercise.

I like the way that the concave shape (a byproduct of my process) draws the eye, as though a captivating screen itself. I used two hammer types here to produce a variety of marks and depths. I was interested in exploring the folds as marks in themselves, and of pure distortion of the screen, so focused on this only for my next sheet. Placing the sheet so that it overlapped the edge of the anvil, I brought the hammer down at an angle to bend it over the edge. I repeated this action in somewhat random orientations, to produce an irregular form. Much like the hitting, I did not want to create an ordered effect, but instead imply the violence/impact to our humanity of such interaction with technology (messy and unstructured), as well as the distorted view it offers us.

I repeated this with a larger sheet, so that I could produce finer distortions. The result resembled crumpled paper and I enjoyed that this suggested the sheet was more malleable than it was in reality, and that there had been a more manual process at play.

I enjoy the way the light reflects on these, producing dark and light regions and suggestion of texture (dappling, rippling, scrunching). The effect alters as you changed your position as an observer, which was also interesting, and if close up you do get a fragmented, blurred reflection. This reminded me of some interactive reflective works I have seen recently.

Below, a Yayoi Kusama work that I had interacted with at Tate Liverpool, whose appearance altered according to the external circumstances it was placed in, and the position adopted by the observer.

The Passing Winter, Yayoi Kusama 2005 – close-up photograph peering into one of the holes opening onto the mirrored interior (with reflective exterior)

And here, an installation from Tate Modern (in an exhibition focusing on participatory art ‘Performer and participant’). The use of the blue tape is intended to integrate the mirrors with the space in which they situate, erasing the difference between real and reflected space – so that our experience is not only of the work itself but the entire environment.

Edward Krasinski (first installed in this way in 2001)

These other works have not distorted the reflective surfaces themselves, but used the quantity and distribution of them in space to add variation, and the colour/light of other parts of the environment to add further depth. Both also use suspension of these to disrupt our expectations. I would like to think further about how my own distortion works might employ these techniques too for added impact. E.g. perhaps by projecting a digital screen interface demo onto them, suspended in a dark box?