Display

1. Display

2. Theory • There are two distinct and separate processes within the practice: Internal and External. Although separate in nature their co-existence is fundamental to an Alter Modernist and Relational practitioner • Internal is concerned with the expression of ideas and concepts through to varying degrees of development. This can be introspective and individual or collaborative. There do not need to be results emerging- just unalienated work. • External is concerned with the provision of an opportunity for viewer to take a point of departure with the practice as mediator. • All available resources are in play including those from the Internal processes which are there to be exploited and farmed. The sole objective is to provide the chosen environment for the viewer to take up the opportunity. This does not need to be unalienated labour. It can involve in part or whole, alienated labour.

3. This Project • Extensive work has been done over the last two years on the use of drawing as a primary vehicle. Therefore the main output is evidenced in individual sheets and books • These drawings have then been compiled into Artists Books which are integral to the development of the concepts, providing the platform for constant re-working and analysis of the treatment of the thematic content • The main theme is a meditation using the solfeges within the opera Einstein on the Beach by Philip Glass and Robert Wilson. There are 5 solfeges, called Knee Plays. The main focus has been on Knee Play 1. This choice is not in itself apparently significant: something had to be chosen, so why not? • The song has provided the framework for a narrative concerned with the nature of data and the time we allow to process it. Once data is de-nuded of the safety blanket of volume, it has to be examined and dissected. As more time is given over to a single piece of data: more is revealed and more is hidden deeper. • The question then is: if this is what happens when you allow yourself to dwell on a single piece of data, how do we cope with the deluge which is hurled at hour by hour in this digital age? Are we better informed through the acquisition of more detail and context, or are we best left to concentrate on one item and try to work out as much of the information and knowledge as possible from that single piece?

4. Knee Play 1 • The song is what it says on the tin: a choir marks time in between each of the main sections of the opera. This is done with numeric sequences which enunciate the solfege. It runs dispassionately and isolated. • In addition there are two separate female voices who speak a series of phrases within the ten second stanzas furnished by the solfeges. • The phrases are clear but their meaning is on first listen, enigmatic. • They are concerned with motion, choice, the elements, money and industry. Sailboat, Railroad, Workers, Balls, Drivers, Toyota, Banks, etc. • Depending on the assumptions made, the significance or otherwise of the individual and collective components open up or closes down. The inter-relationships can be identified or inferred. The root of the words and phrases can be guessed or verified.

5. Drawings • Prints • Stop Motion • Photographs • Stop Motion

6. Drawings Source • Drawings using indian ink or gel pens • Paper Black card display 220 gsm high intensity black 148x210mm (A5) (Seawhite of Brighton • Pentel Brush Pen (Classic GFKP3-A brush fude pen with man-made bristles. Cartridges contain water and fade-resistant black pigment ink ) • Uni-Ball UM-120AC Signo Angelic Colour Pastel Gel Rollerball

7. Drawings ScanningLexmark 6300 Series Scanner, Printer, Copier • Settings: • Send to Paintshop Pro • Colour Photo • 300 Dpi • Crop approx 5.x8.2 inches (includes one line of circles which are holes in the paper)

8. Drawing Image manipulationPaintshop Pro 5 • Jpeg standard used throughout • Register Plate • Register has copied the line of circles at the opposite end of the page. • Registration image therefore has two lines of white circles • Individual images • New file • Crop and copy the drawing • Paste onto the Register Plate • Adjust colour to get approximation of Black • Colours; Adjust; Highlight/Midtone/Shadow; Highlight: 78/Midtone: 54/Shadow: 40 • Select Dropper tool and test the black area by selecting from the Black section then selecting the colour box to check it is in RGB mode with the Red register at 0 0 0 . • Check that the drawn lines are viewable. May need to adjust the Highlight/Midtone/Shadow, but always double check that the Black is at Red 0 0 0 • Check the new image for smudges and dots which were not drawn. Select the Paintbrush tool using the Black colour to correct • Save the adjusted image in the Drawn Sequence

9. Drawing Prints • Identify source: Chroma Printing Services • Recommended by Mike Blackman • Image sent and proof being done

10. Photo Image manipulationPicassa 3 image viewer and Paintshop Pro 5 • Photo images sourced from Photo Library • Folders created for key generic subjects • Images re-sized to ensure consistency: • Pixel size: Width @ 1000, Height @ 750

11. Premiere SettingsAdobe Premiere 6.5

12. Walls 1 and 2 • Wall 1: Scroll signifying historical context. Suggestion of parchment and more information than is being made available • Wall 2: TV1: Relative motion; suggested stanzas; and operatic reference. TV2: Constant motion; Edit jerks suggestion of man’s direct influence; weather forecast reference to laws of probability on which forecasts are founded

13. Wall 3 • Intellectual Cartographs • Sequenced printed signs with registration points: distancing the creative process from the display to dilute the artists presence; sequence suggests continuum and narrative which is greater than the parts

14. Wall 4 • Specimen jars: signifying ongoing or completed experimentation. Questioning belief and convention. The search for “could”

15. Wall 5 • Markers: signifying marking time musically, anticipating a programmed event and metaphor for the continuity of time