T&P 2A- Outcome 1- Final Proposal – Page 5

THE AIM:

To show the relation of my individuality with the fusion of music and light into one whole piece. The atomic structure that makes the human life finds a physicality that inspired me to look within a subject that would expose and reveal the connection that I relate to music and its relation with light.

I find that music pertains a frequency and energy that is as deep and potent as significant ad that of light and its energy. The atom stands as an analogy , for the formation of my piece. An atom is made up of 3 significant particles which are a neutron, electron and a proton. In face value i look at these principles similar to Light, darkness and kinetics of music. On their own each particle retain a certain value, but infused and translated through an individual core structure, one can see a development upon which I would like to explore and attain.

The same 3 principles could be related to the quantum physicality that is of sheer interest in physics.

These 3 Principles found in nature attain a certain foundation in our life. Now in this work I will be fusing their individuality and i will be exploring their relation and my unique perspective towards such elements. I will thus create a personal point of view of how I look at light, music, and the dark.

The viewer will thus see and acknowledge my understanding of such a view, the abstraction and physicality of the piece will withhold a multitude of responses. These responses and interpretations will be of great essence in keeping the work alive.

A number of musical studies will be undertaken in relation of the final work development. An analytical development will take place in order to distribute and develop a coherent understanding of such a work.

DARK TO LIGHT TO DARK TO LIGHT

“Simplicity is the ultimate sophistication”- Leonardo Da Vinci.

The concept of light and darkness is one core principal that is highly significant in everyone’s life. The human nature through a physical and mental consciousness is always derived to direct and focus into light. As from nativity until one dies the imagery of hope sheds an important prosperity in everyone’s life. The everlasting sense of moving forward, to give something and regenerated is a crucial part of what one is. This elemental quality is something that I would like to attain from this work. Through a photographic point of view I would like that my work transcends into a reflection that justifies the way I view life and its purpose around us.

I want to share and expose the contrasting parallels of light and dark. The relation of the two sources and the visual interpretation that I value them in.

WORK AND FOCUS

The initiation, growth, adulthood, death and regeneration, brings out a cycle that everyone has to unwillingly comply with. The start of our existence is visually seen as dark and mysterious, birth sheds notions of light. After blooming into this light like anything found in nature we slowly fade back to the unknown. Regeneration takes place and the cycle keeps on looping from one end to another. The night sky the darkness and depth that the this scenario provides is one that inspired me to shares and expose the narrative of life and the cycle it brings out. The silent and contrasting values that this environment brings out is the direction that I would like my work to take.

RESEARCH ANALYSIS

From the first initiations the human nature was always inclined to form an expression upon which one could acknowledge a justification of their inner thoughts and feelings. From archaeological evidence to that of the utmost futuristic goals, everyone is inclined to fully justify his presence in this planet. Light and darkness thus like anything else in the world has been an influential feature that compelled and triggered individuals to express themselves within. As found from the depths of the Altamira caves (Figure 1) in France to the work of Bill Viola (Figure 2) the marking of an identity has been an important feature through the age of time.

Although light might be seen as something static and solidified, but the real dynamism brings out the powerful source into life. The poignant and tangible effect that energy transcends into movement allows a level of intellectuality that marks a real achievement to the artist to fulfil. The study and analytical approach of such vast path, has enabled me to concentrate within an area that allows a freedom of exploration.

Movement is an element that constantly surrounds our dimension to a reality that goes beyond the solidity of a mass. As from the nativity of each one of us, the experience of movement shows a significant role in the development of the physical and mental impact in our lives. Thus the need to express the reality of movement and the energy that lies within has been a crucial influential feature that photographers and artists sought to achieve.

The initial studies that were developed within the concept of chronophotography- ‘ a set of photographs of a moving object, taken for the purpose of recording and exhibiting successive phases of motion(Dictionary.die.net, 1913); developed during the end of the nineteenth century and the twentieth century. The initial attempt of such an approach was in fact that of 1872- ‘Galloping Horse’, by Leland Stanford and Eadweard Muybridge. ‘A phenakistoscope disc, a couple waltzing’ (Muybridge, 1893), brings out other significant concept of illusion and need to capture movement. The study of movement has been a significant part of Etienne Jules Marey career. The anatomical motion and dimensionality of living objects have been directed to a process that enabled the study of human contact with different actions and reactions found within us and the dimension we live in. As process unveil in ‘Falling Cat(Marey,1890),’L’homme Machine(Marey,1885)’ and ‘The Wave(Marey,1891) one is able to understand the deep analytical significance that these studies forced on to the development of chronophotography, a key element that initiated cinema.

Photographers and Scientists not only looked within the human behaviour but as Andreas Ritter von Ettingshausen, Louis Daguerre, Hippolyte Fizeau, Leon Foucault (Marien, 2010, p.33-34) they sought to work within a deeper approach to science. Microscopic illustrations together with the study of light and the relation of the object has brought out work such as that of ‘Eclipse of the Sun, May 26, 1854’( Figure 3);William Langenheim ,Frederick Langenheim. Through a small camera and precise time exposure they were able to achieve work that ultimately brought out the significance of light that surrounds the world.

The traces of light is analysed further in the work done by Frank and Lilian Gilbreth of ‘Time and Motion Studies’ (Gilbreth, n.d.). In their work they were able to trace out the most efficient and mechanical way for industrial. Through the employment of a small light bulb attached to their work an intrinsic pattern of this repetition is clearly seen in his chronocyclegraph (Marien, 2010, p.215) results. The trace of light brings out the deep and significant outcome that energy has upon our actions and the aesthetical abstraction that is the core value of light.

The concept of light dynamism was one that inspired Picasso himself, through his collection of light drawings done in 1949(Figure 5). The photographic exposure allowed Picasso to experiment and create a whole new concept in art. The deep expression that he sought to achieve underlines the significance that motion effects on individuals. Another individual that expresses profoundly the effects of motion was in fact Giacomo Balla in his work ‘The speed of a motorcycle,1913’, ‘Dynamism of a Dog on a Leash, 1912’, ‘Swifts, Paths of Movement and Dynamic Sequences, 1913 ‘, the futuristic approach of his subject, brings into life a reality that looks beyond everyone’s reach.

All this justifies an important understanding to my intellectual concept of what really is light and the movement that is attained through it. The energy that compels particles to create something new yet fused from the same origins intrigued me to undergo a process upon which I wanted to justify my understanding of life and its essence. Looking through various theories and ideological concepts I find that the cycle of life has been one core value that ultimately made all photographers and individuals inspired to grasp the meaning of its experience.

TIME LOCATION PRINT

Artificial light will be employed in order to distribute such a work. Different experiments and development principles will be tested out in order to bring out a work that purely justifies a work that connect to the full the 3 principles. The compositions will all be explored during the night sky. After analyzing and coming up with a strong development concept I will be evaluating and coming up with a series of work that will eventually conjoin the final series of work that I will be presenting.

BELOW you can find my initial idea generations that eventually gave way to my final proposal.

UPATED- 21-11-2104

UPDATED Version October 15th 2014

INSPIRATIONS

‘Entoptic Phenomenon’ explains the scientific process upon which light reflects and bounces within the iris formulating an image. The Entoptic Phenomenon is a broad and complex ideology that finds its roots to different light modes such as shadows, reflection, refraction concepts. It is a physical property that is most of the time subjective to the individual experience. This phenomenon is experienced through a vibrant illuminating source that works as one close or rubs his eyes. After attempting my way of presenting these photos, I was trying to justify something that was interesting. The only issues that this approach had was the inconsistency that I could experience such moments. Recording and analysing what I was looking at is a complex source to attain. Through divergent thinking I was able to transcend a significant point that ultimately constructed the whole idea notion into one whole.

PRELIMINARY EXPERIMENTS

Developed work and current working process:

Galleries:

Impressions Gallery in Bradford City Centre- evaluates work and interesting mass of work that fit quit well with what I would like to share.

http://www.impressions-gallery.com/exhibitions/exhibition.php?id=65

Another interesting Gallery that shares values that I my work would work for is the gallery in Toronto G44. This photography ambience stresses on the concept of the work, where it is directed towards an intellectual environment rather for a market wise environment.

https://gallery44.org/about-gallery-44

Another interesting space that such a work will find way would be the Blitz gallery, Valletta Malta.

It is a place where I could bring out my challenging concept to life.

http://thisisblitz.com/the-space/

Contact List:

Dr.Vince Briffa

http://www.vincebriffa.net/HomeA.html

Alexandra Pace

http://www.alexandrapace.com/

Bibliography:

Dictionary.die.net. (1913). Chronophotography. [online] Retrieved from: http://dictionary.die.net/chronophotography [Accessed: 29 Sep 2014].

Étienne Jules Marey. (1885). Étienne Jules Marey – l’ homme machine.

Etienne-Jules Marey. (1890). Falling cat (1890) – world’s 1st cat video – Etienne-Jules Marey.

Etienne-Jules Marey. (1891). The wave (1891) – Etienne-Jules Marey – la vague.

Gilbreth, M. (n.d.). Theories of Work: Frank B Gilbreth chronocyclegraphs.

Available at: https://vimeo.com/75215977 [Accessed 29 Oct. 2014].

Marien, M. (2010). Photography : A cultural History. 3rd ed. Upper River Saddle, N.J.: Prentice Hall.

Muybridge, E. (1893). Phenakistoscope Couple Waltzing. [online] Retrieved from: http://en.wikipedia.org/wiki/File:Phenakistoscope_3g07690b.gif [Accessed: 28 Sep 2014].

Images:

Figure 1:

http://apetcher.files.wordpress.com/2013/01/altamira1.jpg?w=450&h=330

Figure 2:

http://worldscinema.org/2013/10/bill-viola-the-passing-1991/

Figure 3:

http://www.metmuseum.org/toah/works-of-art/2005.100.614a-g

Figure 4:

http://cinepoeme.blogspot.co.uk/2011/04/frank-lillian-gilbreth.html

Figure 5:

http://graffart.eu/blog/2009/06/picasso-light-graffiti/

INITIAL DRAFTS

Kinetic

‘There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement.’- (Kasimir, 2012)

From the prehistoric caves of Altamira to the works of Bill Viola, individuals have always showed a significant importance in captivating the energy that lies within each living organ. The poignant and tangible effect that energy transcends into movement allows a level of intellectuality that marks a real achievement to the artist to fulfil. The study and analytical approach of such vast path, has enabled me to concentrate within an area that allows a freedom of exploration. Movement is an element that constantly surrounds our dimension to a reality that goes beyond the solidity of a mass.

As from the nativity of each one of us, the experience of movement shows a significant role in the development of the physical and mental impact in our lives. Such a reflection allows the significant achievement that is traced through the history of art. The need to captivate and allow the viewer to experience a world filled with reality has been an element that through various variants transcended from different time and locations.

The initial initiations that started to develop the concept of chronophotography- ‘ a set of photographs of a moving object, taken for the purpose of recording and exhibiting successive phases of motion(Dictionary.die.net, 1913), has developed during the end of the nineteenth century and the twentieth century. The initial attempt of such an approach was in fact that of 1872- ‘Galloping Horse’(Figure 1), by Leland Stanford and Eadweard Muybridge. ‘A phenakistoscope disc, a couple waltzing’ (Muybridge, 1893), brings out other significant concept of illusion and need to capture movement.

The study of movement has been a significant part of Etienne Jules Marey(Figure 2) career. The anatomical motion and dimensionality of living objects have been directed to a process that enabled the study of human contact with different actions and reactions found within us and the dimension we live in. As process unveil in ‘Falling Cat(Marey,1890),’L’homme Machine(Marey,1885)’ and ‘The Wave(Marey,1891) one is able to understand the deep analytical significance that these studies forced on to the development of chronophotography, a key element that initiated cinema.

Despite the fact that the initial studies to capture movement were fully employed through a scientifically analysis, one is able to significantly comprehend the connection that such transforming realities stressed on the artists live within such an innovation. The artist being sensitive and observant to what life offers started to initiate such approaches in his form of art too. As significantly captured by the pioneering artist of the twentieth century, Marcel Duchamp- ‘The Nude descending the staircase’(Figure 3), movement has a significant role in achieving the ideological aspect of true realism together with the perfection that lies within each millisecond of such energy. The layering of action after the other shows a significant innovation that reflects drastically to the photographic motion that past pioneers started to study. As clearly justified by Marcel Duchamp;

‘My aim was a static representation of movement, a static composition of indications of various positions taken by a form in movement- with no attempt to give cinema effects through painting. The reduction of a head in movement to a bare line seems to me defensible.’ (Dür, 2003)

Although Duchamp through the work ‘The Nude Descending the Staircase’ employs a significant marking points that unveil the cubist way of dealing with the anatomical ideology he was still able to retain a certain amount of innovation that shocked with great significance the viewer. ’Rotary Demi sphere’ (Figure4) (1925) – through his other motion optical effect work, Duchamp has been able to capture a dynamic outburst from the abstraction of geometric shapes. Through this achievement one is able to acknowledge how developed and deeply evaluated the concept of movement and illusion of realism marked during the twentieth century.

The concept of movement was one that inspired Picasso himself, through his collection of light drawings done in 1949(Figure 5). The photographic exposure allowed Picasso to experiment and create a whole new concept in art. The deep expression that he sought to achieve underlines the significance that motion effects on individuals.

Another individual that expresses profoundly the effects of motion was in fact Giacomo Balla in his work ‘The speed of a motorcycle,1913’, ‘Dynamism of a Dog on a Leash, 1912’, ‘Swifts, Paths of Movement and Dynamic Sequences, 1913 ‘(Figure 6), the futuristic approach of his subject, brings into life a reality that looks beyond everyone’s reach. Another significant work that masters to great the element of movement were the studies of Semmi Ray K. Metzker in his work ‘composities’ of 1964. Through this work he was able to capture the movements done by workers through the element of light and its tracing.

TIME LOCATION PRINT

Using only artificial lightning that illuminate the darkness of the night sky I will be employing different light that surround my area. The light source in its smallness will create an interesting composition. All this work will take place in the silence of the night where sound and distraction is limited. This fixed and composed scenario will allow me to further explore the work that I would like to produce. I shall experience the emptiness of the dark and fill it with light that transcends within my work.

Through these photos I will be analyzing different angle and movement positions. After creating a series of work , everything will be deeply evaluated and given proper tonal qualities. The photos will undergo different stages of analysis in order to get to the final concept. I shall be analyzing the photos by establishing and printing all prints. After doing so I will start juxtaposition all into one whole piece. Different methods will be tested and after all this I will be able to establish the final composition.

The final composition will retain the entire work into one whole. in doing so i will be pushing forward the idea of creating and retaining an energy. The same particle information will be composed into a form that will transcend and mold from one viewer to the next.

Production Methods, Presentation and Audience

After evaluating in such depth such an interesting field I was inclined to evaluate my photographic analysis in such a manner. Photography stands as important medium for individuals to rely on. It is part of an identity that is difficult not to refer to. The visual narrative of everything one perceives allows the viewer to understand how powerful the ability to see is. The need to visualize and comprehend the surroundings makes it difficult when one surrounds himself in pitch darkness. The ‘Entoptic Phenomenon (Fulton, Hansen, Hoyt, Mayer & Moskowitz, 2013)’ suggests that the brain and eye can visualize images even when light is not present. Such an experience is most of the time subjective and sheds an interesting notion to analyse further more.

Although the actual image that we visualize is hard to attain I will try to capture a single movement that will be regenerated through a single light and a one light source. After producing an extensive amount of results I will generate these images into one whole composition, upon which I will be able to collectively compose the element of continuity and regeneration of light. I would that this work will have a visual experience and conveys something of interest to those who are curious to delve deeper to something they experience and take for granted.

Bibliography:

Bittleston.com. (2014). Art of giacomo balla: an overview of his paintings. [online] Retrieved from: http://bittleston.com/artists/giacomo_balla/ [Accessed: 29 sep 2014].

Dictionary.die.net. (1913). Chronophotography. [online] Retrieved from: http://dictionary.die.net/chronophotography [Accessed: 29 Sep 2014].

Dür, J. (2003). Articles, tout-fait: the marcel duchamp studies online journal. [online] Retrieved from: http://www.toutfait.com/issues/volume2/issue_5/articles/dur/dur5.html#N_13_top [Accessed: 29 Sep 2014].

Étienne Jules Marey. (1885). Étienne Jules Marey – l’ homme machine.

Available at: http://www.youtube.com/watch?v=kMh7GI9pEIY [Accessed: 29 Sep 2014].

Etienne-Jules Marey. (1890). Falling cat (1890) – world’s 1st cat video – Etienne-Jules Marey.

Available at: http://www.youtube.com/watch?v=XqL9siGDeBA [Accessed: 29 Sep 2014].

Etienne-Jules Marey. (1891). The wave (1891) – Etienne-Jules Marey – la vague.

Available at: http://www.youtube.com/watch?v=-Nw2VObG8dw [Accessed: 28 Sep 2014].

Fulton, A., Hansen, R., Hoyt, C., Mayer, D., & Moskowitz, A. (2013). Pediatric Ophthalmology and Strabismus: Expert Consult – Online and Print (1st ed., p. 1011). Elsevier.

Kasimir, M. (2012). Movement art quotes – the painter’s keys resource of art quotations. [online] Retrieved from: http://artquotes.robertgenn.com/getquotes.php?catid=198 [Accessed: 28 Sep 2014].

MoMA.org. (2014). Marcel duchamp. rotary demisphere (precision optics) (paris, 1925). [online] Retrieved from: http://www.moma.org/collection/object.php?object_id=81432 [Accessed: 28 Sep 2014].

Muybridge, E. (1893). Phenakistoscope Couple Waltzing. [online] Retrieved from: http://en.wikipedia.org/wiki/File:Phenakistoscope_3g07690b.gif [Accessed: 28 Sep 2014].

Images:

Figure1: