Production of the Installation

21/01/15
Film Scraping Session
In correlation with the technique I had decided to adapt for the animation that is featured inside the mirrored box, I began to collect pieces of film together to paint and scrape into the matte film. I really wanted to capture an aspect of infinity with the mirrors yet an idea of curiosity, an ominous emotion I wanted to create with the animation and audio. I selected two alternate varieties of film to carry out the experimentation of the technique further on, a blue matte film, and a clear film. The blue film proved to be effective with quite vicious looking lines produced, tearing through the matte that I had scraped into.
I really like overall the simple geometric shapes, as my previous research helped to define the fact that geometric and simple shapes would be the most thought provoking which would really go with the overall effect that I wanted to create. I decided to minimalise the shapes and patterns that I scraped into the film  to produce the effect that I wanted.
 I also tried using two film under the microscope at the same time, as this is a technique that Norman McLaren used, however it was extremely time consuming to move the film against each other and only produced a very short clip that wouldn't have been useful to me.
Personally, I am liking the effect of the blue film the most, as when it is scraped into it produces quite vigorous and violent form of lines,with the light cascading through producing a contrast and a beautiful outcome. However, I do like the colours that can be produced via the clear film and the pigment ink so I am producing a series of these films to see what effects can be produced once testing out the mirrored box.

28.01.15

After having had completed my filmstrips to elaborate on simple geometric shapes I have begun to edit them via After Effects, changing the colours and effects to produce an alternate overlay.
I have made a few different pieces of animation that I could perhaps look at once I have successfully produced the box itself, as different compositions would give different effects completely. I have saved 2 final possible animations which I will test in the mirrors to see what the most effective result is once completed.
Overall, from the animations I have created so far, I am chuffed with the intricate detail and overall effect that is being made. The lines are much more powerful when enhanced by After Effects and I'm sure they'll be beautiful once reflected around the mirror.

Production of the Mirrored Box
Before I actually produce the box that I want to use as the presentation of the installation, I decided to  simply hold a mirror against the Mac screen to see what the effect would be when reflected. I used one of my first attempts of the film animation to use as a prototype to see what the effect would be. I found that the overall effect was really nice, the diagonal lines would meet at the mirror in parallel triangles and the circles would repeat outwards, in my opinion it was a really positive outcome and I knew that I could then order some more mirror board to use as the overall box.

As a starting point, I have ordered some acrylic mirror board which is yet to arrive, but in the meantime I used regular glass mirrors to surround the iPad to decide on what the effect would actually be, as well as deciding where the best viewpoint would be. I had brought in a sheet of mirror board as well as small mirror mosaic tiles to compare the outcome, and found that the mirror board was most effective, so therefore knew to order more for the final outcome. I believe that the overall effect of the infinity box makes beautiful repeated images that truly highlight an aspect of existentialism, and I am quite excited to produce later on, the literacy for the audio that will accompany the sequence shown on the iPad.


The glass mirrors we used successfully allowed me to decide where to place the eyehole which is going to be just on the smaller side of the rectangular shaped box as this was the best outcome for viewing. I also went into some depth of thought of what the material of the box could be so that I knew what I needed to prepare in order to produce it for the deadline. I have come across and old glass fish tank at home when looking for inspiration and I've found it to be a great way to use it as a mirrored box, as it is sturdier and means that I can turn the box upside-down onto the iPad, meaning that the animation from the iPad is shone upwards and reflected around the mirrors. 

As an initial prototype, I have purchased some mirrored card as I am waiting for the mirror to be delivered. The mirrored card is slightly a distorted image, however I think it allows me to have a further insight to how the mirrored box would work and what effect it would have as a whole installation. 
Due to the fact that the animation on the iPad needs to reflect and be self lit, I wanted the surrounding walls to be tight to the frame of the screen, therefore I decided to use the measurements of the actual inside of the iPad screen to decide where the walls would go on the box. Using mount board on the exterior walls allowed some insight into the depth of mirror that would be around the box as well as allowing some support for a clearer image.
 Due to the fish tank obviously being clear, I could turn the mirrored box upside-down (Having left one wall blank) and put an image on the iPad screen underneath, to see what it would actually look like once completed. 
I was impressed by the outcome, however it was made clear that mirror would have to be the best material to be use as I think that a clearer image needed to be shown. Therefore this prototype has successfully helped me to decide on the mirror I needed and the overall positioning that was necessary.
This prototype on the mirror card helped me make further decisions on the actual design of my mirror box and what effect these decisions have made:

• The mirror card has shown that the mirror would be the most effective source of material, as the mirror card couldn't reflect the quality that I needed. The reflections of the reflections of the animation get blurrier as the mirrors went on, meaning that the first reflection needed to be a top quality mirror.
• I must consider the depth of the material, the support that is shown, and the way in which is shaped around the screen to show the animation.
• I allowed me to look at the peephole I needed to include and what effect this would have, what view would be seen.
• The peephole I made for the prototype (Cut out of card) did reflect back some of the background views, which is something I need to get rid of in order to produce the isolated effect I needed in order to emphasise the effect of the infinity box.

From these points, I have learnt that the peephole needs a slight cover, (Rick suggested maybe an eye cup from an old camera?) to produce more of a closed and personal experience, as this is important for the overall experience. Additionally, I know that precision is key when the mirror actually arrives, in designing the box to cover all bases, and to ensure that the animation is executed well in the installation.

06.02.15
Due to the fact that the mirror arrived yesterday, I have come in this afternoon to start constructing it. Luckily, during the time I've waited for the mirror, it has allowed me to undergo more planning into how the installation will be constructed and what would equal to the most effective outcome. Using the storyboard technique we further elaborated on during Wednesday's workshop session, I have planned out the process of the box's effect, and visually displayed this.
For the production of the box, I'd luckily already got the measurements thanks to producing a prototype earlier last week. The prototype allowed me to take the mirror and my storyboard and prototype pieces allowed me to show the technicians how to cut the eyehole into the mirror etc. Rick helped to cut the mirror into the measurements we'd initially measured around the iPad screen.
Using the glue gun, we secured the mirror onto the box, I'm extremely impressed with the quality the mirror possesses now that it is fully constructed.

We also thought of the idea during our production of using an eye cup, from television cameras, to further isolate the person in the experience. However, although effective, it proved to be pretty flimsy when trying to attach it to the glass of the box, and therefore further enhanced the belief that perhaps the eyehole would be fine without it.

Audio Production
When I was first developing my initial ideas in response to this project, the idea of producing a narration to go along with the animation was really appealing, as I believed it could be an effective outcome with the mirrored box. The considerations for this descriptive writing needed to be made:

• It needs to be ominous- thought provoking and effecting each viewer in a different way and sense.
• It needs to be powerful and leave lingering thoughts behind
• Who is the person talking- what age? How is it going to be delivered?
• How long is the sequence of audio going to be? How will this coincide with the animation and the length of the animation that will be shown?
• How will pauses and silences be used to add effect and drama?

After having made numerous drafts in my sketchbook I have finalised the piece of text that I want to be recorded: 

"Existence is a dark void of wonder, as obscure as the shadows that cascade through your skull, a lonely whisper in a sea of darkness, perilously trying to claw back the crumbling cavern of conception in gruelling hysteria. A dwindling echo of self importance, a spec against the plague of planets that never inherited the somber burden of identity. A capacity that is beyond the restrictions of human intellect, a pool of existence not yet discovered yet still existing. A grief of days that scurry by, tearing away a shed of your life with it, a minute blip of time against the decrepit age of the Earth."

 I decided to make the descriptive language for this narrative extremely elaborate and powerful to ensure that the viewer is transported with both the visual and narrative elements. I chose to use ominous but powerful language to impact the viewer, and I think that the language flows into a state of confusion alike the animation. Overall I reckon the combination is going to be well polished and I would love to test it further. I like the powerful addition that narratives make, an inspiration behind such a narrative is partially the influence of my research into Eoin Duffy's recording of narrative with an aspect of mystery and an ominous way.

02.02.15
I have outside of University recorded my sister reading out the audio narrative that I have written, she is 16 years old and therefore her voice adds an element of innocence to the animation, however I personally don't think that is the right effect that I wanted to produce. I personally want the audio narrative to be more sinister and breaking through the innocence that is primarily there.
Therefore, I have decided to edit the voice into a more supernatural and robotic sounding version of the voice, this idea came from the line in my text 'beyond the restrictions of human intellect' which reminded me of a futuristic robot sort of voice. Robotic voices remind me of this song by Muse called 'The 2nd Law- Unsustainable' which is a futuristic themed song where the robot voice is prominent and I feel like it's a nice authoritative and ominous voice as it enhances the idea that there is life beyond the Earth and further knowledge that we have not yet discovered but still exists. After editing the voice I am really pleased with the outcome, as it really sounds quite intimidating but in a thought provoking way.
The video itself involves overlay of geometric shapes, and simplistic matter and I just think that both together would be a nice mix.

04.02.15
I have combined the audio file of the robotic voice onto the animation filmstrip final that I produced and I'm really liking the outcome. I have edited it so that the end of the voice finishes at the end of the animation, giving the viewer change to contemplate what has just been said. There's several seconds of silence before the voice begins which although I was quite dubious about at first sounds really effective in headphones.
I have compared the audio and animation being played out loud compared to headphones and I must say I prefer the headphones as I believe it really helps to seclude the viewer in their own little bubble, so it isolates them by speaking into their ear and literally as well as metaphorically getting into their heads.
Through trial and error, I have decided the mirrored box will include:

1. 5 mirrored walls, all mirror- one with a hole for the eyecup.
2. An eye cup inserted into the hole to cup the sight into the box.
3. An Ipad to play the animation (box propped ontop of iPad - iPad lying flat)
4. Black card to line the box itself, covers the tape around the mirrors etc.
5. A pair of headphones plugged into the iPad outside of the box, to isolate the viewer.
6. A sign of simple instructions, so viewer knows what to do with the installation.
7. Finished filmstrip animation played with sound overlaid to be reflected upon the mirrors.

Installation Ideas.

After having had researched other existing installations and ideas and looking further into the actual existence of man and the period of enlightenment and existentialism, I was able to transcend some ideas onto paper in my sketchbook which has lead to other more definite ideas in my head. I used my sketchbook to map out a few initial ideas which I hope will progress through a final outcome.
My first initial idea is the idea of infinity, a theme that I believe links well with the overall topic of Void. Life.Void., I was able to study some primary resources of what this could mean, and used these to further understand the meaning.

Researching other artist's installations such as Jo Baer, Chiharu Shiota etc. highlighted the idea that negative space is key for such an installation involving  existentialism. I believe that one of the actual properties of existentialism would be the fact that there is such a large amount of curiosity and questioning that it is very much a personal viewpoint. Therefore from such research, I have decided that my installation needs to isolate the viewer in order to progress to their deep depth of thought. I want them to feel in an isolated state of mind to be able to question the very aspects of existence and why they were in fact existing.
Other considerations I have made about such work include:

• The shape and size of the installation- it would preferably have to isolate the viewer in order to lead to more of a restriction to just their viewpoint. It also would highlight the independent journey that we all take through life and death. (Alternatively the larger sized installation could do the same, but would have an alternate effect that I don't feel will be related to the theme)
• The way in which the piece is viewed (Height, Distance etc.) - a key to a success in an installation, considerations of how different heights can effect different pieces of work needs to be considered throughout.
• Lighting of the installation- how the subject is lit. How drop shadows could be produced through the work to produce a completely different effect. How could this represent the viewer's thoughts?
• The viewer themselves- what representations would have to be made to either get the literal or metaphorical point across? What impact will the work make? Perhaps a plaque against the work would help to elaborate the viewer's thoughts or push them in the right direction for when they view the piece. The culture of the viewer is also an important factor- for my installation the viewers have been brought up in a Western civilisation, meaning we stereotype certain symbolisations to mean different things to alternate cultures. For example, we see black as a representation of darkness, or evil (such as the void) whilst we see white as good, light, (such as life representation) These colours also resemble mythological characters such as black for the Grim Reaper, which is death, but in contrast white for angels, for God and for Heaven etc. 

I had previously visited an exhibition of local artists where one installation really stood out to me, it was a small wooden box with the installation title 'What the Butler Saw' which was a way for the viewer to look through a peephole to see a scene of dollhouse furniture, set up to look like a Victorian scene, the peephole being a keyhole shape, and it was really effective, allowing the viewer to be transported into this alternate world. It was obvious the thought had been put into the composition in order to give the effect that they wanted on the overall installation.

Personally I think that there can be a challenged convention of what animation is, and I believe that if the viewer is transported to an alternate world by the viewer, I think that counts as a form of animation and that is exactly what I would like my piece to achieve.
For my own installation, I would like this to be present in the piece, that aspect of infinity needs to be highlighted through the effect of this. Mirrors were an aspect that I have previously considered with reflecting an animation to repeat it to give the example of infinity- so perhaps- a box is something I could introduce as well as the mirrors as I was really inspired but this idea.
After having produced some sketches in my sketchbook, I have further produced the idea for a mirrored box installation, as I think this is a more personal and secluded way of producing the aspect of infinity. In addition, I also love the fact that the peephole could be included to be a more personal experience. I also have the idea of maybe using sound to further seclude the viewer and produce an idea of thought provoking existentialism.
I think that the overall idea is getting more inspirational and I can't wait to research more into the idea and what effect it could have. My thought is to have an animation, perhaps to be projected around the box, or on some sort of digital screen but I will have to research this further. Additionally, I'd like mirrors all in the interior of the box and a peephole on one of the sides. Perhaps a test to see which side is best and what shape to do the box- square or rectangular?

Animation for interior
I have identified some traits that I believe would be effective for the animation that will be shown inside the box.

• Something repetitive- gives the idea of infinity
• Something simplistic- a minimal approach, that ultimately will transpire thought provoking sources of existentialism. 
• Basic colours- colours that can illuminate the box itself
• Transporting the viewer to an alternate world in motion
• Rhythm, a change in rhythm representing the speed of life and void.

Wednesday 21st January 2015
When discussing and researching the idea of infinity and travelling into the void of thoughts and existence, I envisioned the idea of lights and shapes immersing the viewer in the situation.
Through studying this, a suggestion of this 1968 film called '2001: A Space Odyssey' by Stanley Kubrick, there was a scene that involves the use of slit scan photography to capture the idea of travelling in time and space. The special effects producer of this piece, Douglas Trumbull, allowed the technique of slit scan photography to lead the seen of character 'Bowman's trip into the outer space time travel. Trumbull is said to have been highly influenced by the work of John Whitney, an animator who developed the idea of slit scan effects and further influenced other animators as well as Trumbull.
After having successfully collaborated with Stanley Kubrick for the film, Trumbull spent 4 years perfecting the technique in order to give the effect of the travelling through space and time. I think that the overall outcome of this scene is extremely effective, due to the sheer speed that the shots come out to the viewer, yet they still sustain an abstract possession of delicate and intricate composition. The scans zoom outwards from the centre, mimicking an almost void like state, reminding me of the theme of infinity that I have referred from the initial brief of Void. Life. Void. I think that the overall effect fully supports the emotions of the character's overwhelming encounter with the outside world, as well as immersing the viewer in the composition.
In accordance to this scene, I have just watched a documentary following the impact that this technique had on the motion design industry, further establishing more animator's work due to this powerful image being portrayed in an entirely different way. The documentary follows the intricate technique as well as highlighting just how much time Trumbull must have spent carrying out the work involved.
This production of the research process has helped me develop the alternate animation and sequences out there, and it has shown me how effective geometric shapes are in representing a void like state which is in fact very appropriate to my research into infinity.

The History and Science of the Slit Scan Effect used in Stanley Kubrick’s 2001: A Space Odyssey from FilmmakerIQ.com on Vimeo. The documentary additionally, involves the narrator trying to carry out his own intricate slit scan photography, highlighting the history of the technique as well as showing the viewer just how hard it is to carry out. This further made me admire the fact that Trumbull successfully managed to visualise and capture an era that had not been seen yet. Not forgetting that the film was produced in 1968, the producers involved had no idea how 2001 would actually look, but producing a futuristic, modern abstract setting was successfully captured due to these used techniques.

John Whitney- 'Catalog' 1961
Through the documentary and in research I have carried out over Trumbull's use of slit scan photography, it is made clear that Trumbull's main source of inspiration was the influence of John Whitney's work (an animator who altered the perspective of digital animation by producing his animation with an old World War computer) His famous piece 'Catalog' 1961was a demo reel of the work he produced and created on his analog computer and film camera machine that he actually built from a WWII anti-aircraft gun sight.

The piece really impacted animation due to it's primarily digital form, one of the first of it's kind the computer shot slit scan's beautifully. When looking at John Whitney's work it ultimately reminds me of a more digitised outcome of Norman McLaren's films. The abstract movements of the shapes and colours immerses me in the film, which I think is a key factor for the theme. I can imagine a similar composition representing Void. Life. Void. and using such a comparison to represent the abstract source of infinity such as geometric shapes and line forms. For me, this research has inspired me into looking more into how I could expand on the primary technique of scraping into film I did in my Animate? project at the beginning of the academic year. I feel this technique allowed me to use geometric shapes to provoke deeper thought, and could maybe look really effected when reflected around the box itself.
I'm looking again into the work of Norman McLaren and I think there are ways that I could immerse the viewer into the installation I produce with a more intricate establishment of previous techniques such as Norman McLaren inspired pieces.

 Norman McLaren- Begone Dull Care 1949
The film technique reminded me of the previous studies we'd done on Norman McLaren- who perhaps was himself an inspiration on the technique of slit scan photography. Perhaps, Whitney himself found inspiration from these forms of motion such as McLaren's 'Begone Dull Care' in 1949.

Chiharu Shiota.

Chiharu Shiota is a figurative contemporary artist who builds installations involving dense webs of wire and thread to produce beautifully formed entrapments of objects.
Shiota's pieces inspired me further in the realm of the project theme and the filtered idea I'd come across of infinity. To me, Shiota's pieces relate to a theme of infinity in that the objects are weighed down by a web forevermore, with no clue of how long they've been there or the reason why they're there in the first place; relating highly to the similar questions we ask about humanity through existentialism. Why are we here? What are we linked to? And how long will we be here?


Shiota being a traditional Japanese artist initially began to produce webbed installations during her visits to Berlin in 1996.
The webbed installations allow the viewer to be immersed in an alternate reality, allowing them to view certain points of its existence in different ways and working from them. Different viewers would have different views of what the webs are supposed to represent, with some people thinking it is 'a journey into the soul'.
Personally I believe there is a slight quality of mystery to the pieces, you're made to feel slightly trapped in the web, immersed in a room of wonder, with only the light of the walls and bulbs struggling to shine through the deep depth of the black.

Although made of wire and material such as string, I think that the lines almost appear to be like scribbles on  a blank page, coming to life, like a swallowing void amongst the object. Perhaps the lines could represent things that retain a more metaphorical value - the things we cannot physically see but we know are there, such as air, wind, water vapour etc. Or perhaps the representation of spirits due to popular Japanese belief of surrounding spirits being present in our atmosphere.
Other thoughts may transpire such as the representation of the objects involved, are they meant to represent other matter such as humankind or more symbolic metaphorical subjects? The beauty is- the artist allows a sense of self immersion and the decision of what the definition of the installation is relies on the viewer alone.

"It would be nice to banish every trace of myself, my looks, my papers, my passport, and even my fingerprints," Shiota has said, "and only create my works in dialogue with the cosmos."

Her work is said to have initially been based on the idea of the unconscious, the idea of captivating memories and withholding knowledge that we will always be stained with. The web idea really enhances in my opinion, the era of mystery that surrounds mortality and the possible realm of infinity. How the planet and life will carry on without us in it.

Infinity & Research.

'Infinity'- Numen

Introducing the aspect of Infinity 

Infinity is an aspect that I wanted to further explore on due to the impending idea that no matter what there will always be an infinity of matter, and my thoughts into how to represent this are beginning to transpire. During the lecture, I thought of the possibility that haunts us all in my opinion. The fact that when we're no longer present on Earth or before we even are born, life goes on infinitely regardless, it continues in a cycle of Void>Life>Void, no matter how famous you are, who you are or what you did, the fact that our lives do not go on forever is partnered by the haunting thought that no matter what, life as a whole, whether it be bacteria, livestock, planets, stars - will be there forever.
Without the form of life or matter, there is nothing. Another void that I find extremely transpiring, but I am transfixed with the thought of trying to visually represent the idea of life living infinity in whatever form it may take.
Defining infinity

To me, my infinity is the thought that life will never die, not truly, as long as there is always a continuous loop of life that follows, but whether it is this universe or the next, life will always remain.

In the filtered morality's idea of infinity, it perhaps resembles the yearning for infinite life; immortality. Immortality is a thought that I think gets into the mind of many of mankind, a lot of people don't want to die, and with people such as me, death is hopefully something that is a long way away, meaning it doesn't often come to mind of how spontaneous it can be.

"Some infinities are bigger than other infinities"-John Green (Writer)

The Microsoft Infinity Room 

Personally when I try to visually represent in my head the aspect of infinity I think of an infinity mirror. A mirror that is designed to refract the light at alternate angles to give the appearance of different realms of repetitive worlds, my first inspiration being the garden exhibit featured in my sketchbook and the Microsoft Infinity Room which successfully immerse the viewer into a different layered world.

To me the idea of infinity represented in a visual manner would be:

• Repeated shapes, forms or patterns, asymmetrical or symmetrical
• Consistent speed
• A loop - repeated timing of animation
• Elongation of shape and pattern, deformity of matter.
• Looped shapes i.e Circles, Ovals, Arcs, Infinity symbol.

I have collected some images and short clips of things in my everyday life that I feel visually represented the idea of infinity as part of my research.
A key example that I found on the idea of infinity in my own life, was this clip that I filmed of bubbles in the saucepan. Although a very simplistic source of inspiration, I liked the way the bubbles repeated at alternate speeds whilst there seemed to be an almost void like resemblance in the centre of the bubbles. Capturing such resemblances of infinity in my opinion will further captivate what I am meaning to explore in my project.
Optical Illusions & Stereograms
When first looking into the aspect of Void. Life. Void. and the further element of Infinity, I came across the idea of optical illusions, and stereograms, and how repeated patterns mimic infinity in some ways, and give the impact of a thought provoking composition overall. What fascinated me was the fact that the optical illusions give the effect of motion by challenging the process of your eyes.
I have briskly researched some stereograms and illusions and will take away the abstract forms of motion that this has taught me. I think however that these forms represent an aspect of life more than the aspect of infinity that I'd rather achieve.



Minimal Art

"Simplicity of form is not necessarily simplicity of existence" -Robert Morris

In reaction to the initial idea of exploring infinity and the aspect of curiosity, I looked into researching existing installations that retain the same impact. Installations and existing artists that transpire a deeper depth of thought that could relate to Existentialism.

Frank Stella- 'Die Fahne Hoch'
1959

I extracted alternative resources via the library where I took out a book by Daniel Morzona 'Minimal Art' (VG Bild-Kunst, Bonn, 2004) which was an anthology of alternate examples of minimal art. I personally like the idea of minimalistic forms of art when in relation to this brief, as the idea of representing something so complex with something so basic is very inspiring. The fact that some of the installations include blank spaces, and simple shapes represent an idea of nothingness. Nothing is shown, yet the viewer fills in the gaps and is interpreted differently by each and every person that visits the exhibition. This is one of the values I would love to capture in my own installation, a piece that makes each viewer question the meaning of existence and fill in the gaps to provoke their own thoughts.
Pieces such as Frank Stella's 'Die Fahne Hoch' involved the aspects of contrasting dark and light as well as right angled line structured which I believe retains an ominous purpose. The piece is meant to allow the viewer to think of their own meaning and their own purpose of the art and why it is effective. The book is well set out and inspiring as it explains how art challenges visual meanings, and how each visual element is paired up with the viewer's imagination and their personal opinion of the artwork produced. An important quote I saw when reading through this book was:

"What you see, is what you see" -Unknown

I found that this quote amplifies the idea of personal preference, even small factors of the viewers day could alter their perception of the view, what they've eaten, who they've spoken to, how much sleep they've had, as well as more permanent features of their perspective such as personal preference, upbringing and moral values.What inspires them? What to them do these shapes represent? This idea linked to the animation that Rick showed us that is supposed to transpire alternate perspective, it was a variety of geometric shapes fighting against each other, and it depended on each of our perspectives of what we thought was happening, and who we thought the geometric shapes represented (for example, triangles male, circles female and vice versa)

Jo Baer - 'Primary Light Group: Red, Green, Blue'
1969

In addition, the Minimal Artist Jo Baer was an artist who in the book stood out for me, as her large scale synthetic polymer on canvas pieces were 3 panels consisting of a blank white central piece, with a border on each piece differing in the 3 colours, one for each, red, blue and green that I believed would transpire further thoughts.

"Baer's Minimal paintings reveal her substantial knowledge of physiological perception"

After being a studious woman who studied Physiological Psychology at the New School for Social Research, Baer was obviously equipped with a better understanding of what impact her work could produce on alternate forms of perception. Not only did she physically want to enhance the optical nerves of the eye (something she studied- relating to the colours produced) but she wanted to emotionally challenge their perspective and see what the outcome actually was.

"I use this new colour spectrum so that no illusion of depth is possible at all"- Jo Baer

Personally this has helped further enhance to me the importance of space, because each viewer has the imagination or depth of thought to fill the space themselves with their own thoughts, feelings and viewpoints, allowing a further meaning that is not defined as a whole. Therefore I believe such artwork would beautifully reflect the idea of Void. Life. Void. and my further concept of infinity due to it being so ominous.

The Visual Art of John Cage

River, Rocks and Smoke - John Cage 1990

In further exploration of the Minimalistic art front I had stumbled across in the library, I also came across the book 'Every Day is a Good Day - The Visual Art of John Cage' (Hayward Publishing) which described an artist that was 'one of the twentieth century's most influential figures' John Cage seemed interesting me as he wasn't just an artist but a composer, and composed the art of not only music but the visual representation of other art forms. Cage used his paintings to represent his music and vice versa, and believed that such movements would be a perfect connection between the viewer and their thoughts.
This point is something I have wanted to elaborate on throughout the project and therefore would like to apply such a technique in my own work. I'd like to consider how sound and visual representations can be explored.
Personally, through the context lectures and throughout college etc. I have always been fond of creative writing, especially descriptive writing which is something that I'd like to bring to the table for this project. My initial idea here is so use the research on John Cage and my own primary research of existentialism, enlightenment and void, life, void and applying it to my installation and idea of infinity.
Existential Animation by Eoin Duffy (Influence of Narrative)

Upon research into Existentialism, I stumbled across the workings of animation by Eoin Duffy, an Irish animator who managed to capture the essence of life's questions, but trying to disguise such a meaning in the form of a children's tale. Duffy disguises such existential messages in his simplistic looking animation by making it appear to be a usual naive piece.
'The Missing Scarf' follows the life of Albert, a naive looking squirrel who's lost his scarf, something that ultimately is quite generic in a children's animation, as the animation is first meant to appear. Duffy who states that the usual Vector animation is typically used for light hearted messages or children's fables was meant in this animation as a source of manipulation:

“I wanted to lull the audience into a false sense of security only to punch them in the face with some existentialism,” 

The fact that they manage to absorb the audience, thinking that it is just an innocent animation is part of the beauty of it, the fact that normally the children's fables are to keep the truth of life's questions hidden is ultimately ironic when this animation completely uses this technique to expose it.

The narrative for this piece I believe is just as powerful as the animation itself, and I would personally like to produce the aspect of narration in my own installation, and to see what effect it could have in terms of existentialism.

Void. Life. Void. Essay Interpretation

Friday 16th January 2015

Friday 16th January 2015- Hannah Langfield

Void. Life. Void. 

Through developing the idea of Void. Life. Void further, there were certain links and connections that were made that would further provide inspiration such as the aspects of Existentialism and Enlightenment. 

First of all, the aspect of the Enlightenment period was introduced in the lecture, the era where the absence of God became more apparent, and the connection of Existentialism remained.  It was a period approximately between 1650 and 1800 where the basis of rational beliefs was challenged. I found the aspect of the Enlightenment period was easy to digest, as the important information was brought to us in a way that made us additionally question the existential questions of life. As a whole I realised that the enlightenment period was a key period to lead up to Existentialism, building up to philosophers and general citizens questioning authority as well as current beliefs.

 In times such as the medieval era, it was highlighted that peasants were expected to grow and provide food for the aristocrats and royalty, a highly run social class was brought upon the peasants, and the aspect of a higher power was used in a way to manipulate them due to their lack of literary education. However, despite the hundreds of years of empowerment the Enlightenment era came and challenged the very meaning of a monarchy and the aristocrats. 

Existentialism began in the 19th century with Philosophers such as Friedrich Nietzsche and Søren Kierkegaard, Nietzsche's piece 'God Is Dead - The Gay Science (The Joyous Wisdom)' questioned existence in detail for the first time in philosophy. I believe these philosophers were brave in questioning the matter of existence as well as being inspired by the brave act of the Enlightenment period, where the height of power was questioned. It began to express a freedom of choice, a questioning of value of life, and the opinion that there may be no core to existence. I was inspired by the fact that Existentialists believe that in order to except existence, you have to live life. The idea of living life to the full in the belief that nothing follows afterwards is truly inspirational and I truly support the idea of trying to make the most out of life. 

During the lecture, it began to influence how to produce visualisations of Void. Life. Void. and has influenced me further into more research of Existentialism and how other artists have picked up the theme and visually represented it. 

I additionally like the fact that Existentialism highlights the aspect of Spirit, Reason and Creativity, something that would easily transpire into artwork and visual forms. The aspect of Enlightenment had previously highlighted the aspect of independent thought, and superstitions were removed to be left with a blank space, thus the reason behind Nietzsche's piece 'God is Dead' reinforcing the idea that in the enlightenment era and due to continued questioning of existence we have killed God, we have removed the belief not completely, but enough to kill away the legends and replace it with curiosity. 

"We create to protect and shield us from the void"- Friedrich Nietzsche 

As well as this lecture inspiring me more into visualising what Void. Life. Void. would actually look like, and how metaphorically the aspect of enlightenment and existentialism can be highlighted, it also applied other underlying themes into the project that could be further explored.

Myth was linked into the aspect of Enlightenment and Existentialism, with the fact that the peasants were manipulated and the myth of God drilled into their lives. Due to the peasants not being taught the key points of education such as reading and writing, they evidently believed in the things and beliefs that the aristocrats thrust upon them. For them, the myth was that the monarchy were chosen by God, and therefore inherited the power of God, and if anyone was to challenge this very monarchy would have to face the wrath of God. Therefore in such belief, the power of myth was eventually challenged where light was shed on the aspect of what they believed in, with more freedom from power, leading to the Enlightenment period.

In such a lecture, connections could then be made to present and future beliefs, the idea of democracy throughout history, how feminism became empowerment, how gender became unbalanced, and how the way equality was expressed through democracy such as now, in present day the monarchy still obtains power, but not nearly as much power as history inherited, and additionally, we live in a democracy where all beliefs and thoughts are equally accepted. It became clearer to me during the expansion of the lecture, that the aspect of equality would have originated from such a moment in the history. Additionally considerations such as gender equality and human rights would have transpired from the Enlightenment period and Existentialism.

Selected Video.

A video that particularly stuck out for me was the video created by animator Mikey Please who I have previously researched. This piece 'Seven Legs' I found particularly interesting as it involved complex animation of polystyrene and card stop motion mixed with carefully thought out tension with the drumming in the audio. The way in which the drums become the setting of the piece allowed audio to accompany the video beautifully due to the way in which zoning in and out of the animation is used in accordance to the music.
An aspect of abstract tension and representation is produced throughout the short clip, advertising the motion design site 'DragonFrame' the use of the abstract shape over the moon with the aspect of black and white composition is clearly shown and selected by the animator for a purpose, and adds a tense idea of mystery and suspense.

Void. Life. Void. Lecture.

Friday 16th January 2015
Void. Life. Void. 
Through developing the idea of Void. Life. Void further, there were certain links and connections that were made that would further provide inspiration such as the aspects of Existentialism and Enlightenment.
First of all, the aspect of the Enlightenment period was introduced in the lecture, the era where the absence of God became more apparent, and the connection of Existentialism remained.  It was a period approximately between 1650 and 1800 where the basis of rational beliefs was challenged. I found the aspect of the Enlightenment period was easy to digest, as the important information was brought to us in a way that made us additionally question the existential questions of life. As a whole I realised that the enlightenment period was a key period to lead up to Existentialism, building up to philosophers and general citizens questioning authority as well as current beliefs.
 In times such as the medieval era, it was highlighted that peasants were expected to grow and provide food for the aristocrats and royalty, a highly run social class was brought upon the peasants, and the aspect of a higher power was used in a way to manipulate them due to their lack of literary education. However, despite the hundreds of years of empowerment the Enlightenment era came and challenged the very meaning of a monarchy and the aristocrats.

Existentialism began in the 19th century with Philosophers such as Friedrich Nietzsche and Søren Kierkegaard, Nietzsche's piece 'God Is Dead - The Gay Science (The Joyous Wisdom)' questioned existence in detail for the first time in philosophy. I believe these philosophers were brave in questioning the matter of existence as well as being inspired by the brave act of the Enlightenment period, where the height of power was questioned. It began to express a freedom of choice, a questioning of value of life, and the opinion that there may be no core to existence. I was inspired by the fact that Existentialists believe that in order to except existence, you have to live life. The idea of living life to the full in the belief that nothing follows afterwards is truly inspirational and I truly support the idea of trying to make the most out of life.
During the lecture, it began to influence how to produce visualisations of Void. Life. Void. and has influenced me further into more research of Existentialism and how other artists have picked up the theme and visually represented it.
I additionally like the fact that Existentialism highlights the aspect of Spirit, Reason and Creativity, something that would easily transpire into artwork and visual forms. The aspect of Enlightenment had previously highlighted the aspect of independent thought, and superstitions were removed to be left with a blank space, thus the reason behind Nietzsche's piece 'God is Dead' reinforcing the idea that in the enlightenment era and due to continued questioning of existence we have killed God, we have removed the belief not completely, but enough to kill away the legends and replace it with curiosity.

"We create to protect and shield us from the void"- Friedrich Nietzsche 

As well as this lecture inspiring me more into visualising what Void. Life. Void. would actually look like, and how metaphorically the aspect of enlightenment and existentialism can be highlighted, it also applied other underlying themes into the project that could be further explored.

Myth was linked into the aspect of Enlightenment and Existentialism, with the fact that the peasants were manipulated and the myth of God drilled into their lives. Due to the peasants not being taught the key points of education such as reading and writing, they evidently believed in the things and beliefs that the aristocrats thrust upon them. For them, the myth was that the monarchy were chosen by God, and therefore inherited the power of God, and if anyone was to challenge this very monarchy would have to face the wrath of God. Therefore in such belief, the power of myth was eventually challenged where light was shed on the aspect of what they believed in, with more freedom from power, leading to the Enlightenment period.

In such a lecture, connections could then be made to present and future beliefs, the idea of democracy throughout history, how feminism became empowerment, how gender became unbalanced, and how the way equality was expressed through democracy such as now, in present day the monarchy still obtains power, but not nearly as much power as history inherited, and additionally, we live in a democracy where all beliefs and thoughts are equally accepted. It became clearer to me during the expansion of the lecture, that the aspect of equality would have originated from such a moment in the history. Additionally considerations such as gender equality and human rights would have transpired from the Enlightenment period and Existentialism.

The Microsoft Infinity Room.

14/01/15
Upon mind mapping my overall ideas and producing a visual representation of my initial ideas in my sketchbook (compilations of sketches and photographs extracted from the internet to represent my first thoughts on Void. Life. Void, and what I interpret in my first thoughts on the subject, when producing this search of visual representations on the internet, I stumbled across the idea of infinity, one of my bullet points I first listed when being briefed. Mankind's want for immortality when death stares them in the face, the aspect of infinity wanting to remain throughout their existence but not being in their grasp.
The installation involves an ominous audio narrative whilst the viewer stands in a dark mirrored room with a string of lights around them. Almost transporting the viewer into an alternate reality is something that particularly interested me as I began to question due to this brief, what constitutes to being animation, surely moving a viewer's state of mind into a different world contrives to being a form of animation.
 The installation produced by the Roundhouse Agency, was a commissioned piece by Microsoft, to immerse potential customers and viewers into an alternate reality, showing them the infinity of the data that life could consume. It has a futuristic sense, and it really appealed to me due to past experiences with installations.

At an exhibition I visited of local artist, there was an artist who produced an installation named 'Through the Keyhole' made to look like a  victorian wooden door in a cube shape, the viewer had to crouch down and look through the keyhole in order to see a view that was described as 'What the Butler saw' The artist had tried to imagine and creatively capture an alternate reality for  a viewer, so that the scene inside resembled a Victorian set up of a room, furthermore developing my thoughts of how animation should be captured. Surely transporting the viewer into a different world in a secluded installation will highlight their own thoughts.
 For my further exploration, I'd like to look more into how to seclude the viewer so that they can interpret their own meaning of life and their own infinity in their own way. Artists such as Mark Rothko who I've previously studied in a past subject is an artist that I think successfully captures this, it's said that Rothko's pieces can emotionally move the viewer in their own reality, having completely different effects on the viewer in person than just through photographs of the pieces.
 Kris spoke in our briefing mentioned an installation to her that really moved her and made her feel on edge, due to the positioning of the installation and the space it was placed in, it emotionally intrigued those immersed in it, a trait that I'd also like to represent in my future work.

Void. Life. Void. -The Introduction.

Wednesday 14th January 2015
After having had been introduced to the aspect of the new integrated project, 'Void. Life. Void.' I found the idea of the project intertwining with the aspect of Existentialism or The Parable of the Madman, due to being absent in the first session of the project, I was briefed and informed on what I had missed out on.
Through mind mapping alternate ideas in my sketchbook, it gives me a stronger sense of understanding of the project, listing the initial thoughts has made me feel more confident with the relevant points that could be referred to the theme given.
Initially when I think of Void. Life. Void. my mind strips away the complex visuals and first related the aspect of tone that I firsthand link to the void and life, that being black and white. Black being a representation of the unknown for me, an aspect of darkness whilst white being related as a light theory of enlightenment, this all coming from the Western culture I am surrounded by. An interesting idea could be to maybe look at what colours are used for other cultures worldwide? How would my installation initially impact them? If the installation swayed too far from the Western culture set here, would we still understand the implications of it? All things to consider here.

The underlying links to Void. Life. Void. are the aspects of enlightenment and existentialism.

Enlightenment- A European intellectual movement of the late 17th and 18th centuries emphasizing reason and individualism rather than tradition. It was heavily influenced by 17th-century philosophers such as Descartes, Locke, and Newton, and its prominent figures included Kant, Goethe, Voltaire, Rousseau, and Adam Smith. (Definition extracted from Google Search Engine)

Existentialism- A philosophical theory or approach which emphasizes the existence of the individual person as a free and responsible agent determining their own development through acts of the will.