Week 8 – The next step

Looking back to the start of this project I can see that social media shares an integral part to the basis of today’s current world. The different abilities that it has towards connecting and disconnecting itself, is one that has allowed me to explore within the developed work. Positive feedback from different users, has enabled me to create different experimental pieces that further amplify the issue. Targeting various people by means of hash tags I created a small community that filters within my perception of virtual connection.

 

‘AHA MOMENT’

Before Setting off with this project I thought that the digital sphere that I was used to mainly that of Facebook was the only communicative social interaction that I could reach out to an audience. Having been forced to move away from Facebook and direct my reach in other social media platforms, it has truly showed me how limited and close minded is the Facebook sphere. Something that individuals in Malta have not truly yet explored.

What will happen Next?

I am very positive with this approach and through this experiment, I was able to acknowledge that the subject at hand is very elaborate and further investigation will reach into places that I have not yet discovered. In the coming months I would like to further explore and investigate these platforms within exposing the dichotomy that this interaction allows. Through my own brand identity as a freelance designer I will push and work into evolving my name towards projects as #thesocialreality under the name of michelinmission.

Week 1 thesocialreality

Week 1 has focused within the individual reality that we exist in. The main inspirations that helped me formulate this week set of photographs were the following narratives and facts that I was able to retrieved from surfing the web.

1

http://petapixel.com/2016/04/13/photog-matches-photos-taken-subway/

Russian Photographer who experiments with an interesting APP – Findface and through this app he is able to identify anonymous people he has photographed bringing to light not only the issue towards privacy and data protection, but it brings out an important element to the way we are living. The high media/ digital data is taking over our capabilities to acknowledge the individuals in front of us.#thesocialreality

2

Looking within the following data development,  I question wether the next generation of art making, will take such an approach, and in galleries we will only have mutations

https://www.nextrembrandt.com/

Are we truly working towards living within a world that is just made of digital data? Where do we stop or start?#thesocialreality

 

 

Follow this Journey on Instagram @thesocialreality 

 

#2 thejourney

Throughout the past two weeks, I have worked upon discovering and analysing the element of social reality within the eye of a mobile phone. Through this development I started to formulate ideas that move along the elemental quality of living within such a contemporary setting of engaging and exploring the possibility to communicate with one another.

Within the work that I developed, a recurrent influential element transmitted from one work to the next. The element of constant detachment and connection, started to bring out the elemental dichotomy of the whole situation. The beauty that such a medium and interaction allows, ventures within the difficulty to resolve into the ability to connect from one matter to the next.

The sense of numbness and vernacularity that this work is providing, unveils a clear insight to the reality we are all engaging with.

 

Follow the process on Instagram @thesocialreality – daily uploads are shared following this dichotomy.

https://www.instagram.com/thesocialreality/

SP 2A- Outcome 4 – Post Evaluation 01

Dimensions, Altitudes and Change brings out a sense of alienation that although it can be subtle when placed within a time zone that I have been part of it still revolves a feeling that is beyond the limit of anyone. Heading back home, resolving myself in search of comfort, has been different from what I have expected. Reality and going back to the roots let me understood that detachment in ways and other is still evident. Although the level and amplification of such a feeling evolved, I can still acknowledge that detachment is something meant for everyone to understand and accept. Away from one’s house I could recognize the definition of being away, of being no one and finding one’s inner sense of acceptance.

After some days I got back to the camera and started to evolving some interesting notions that I could still envision. Further work and processes will be evaluated further through this journey of understanding.

02

01 copy

Outcome:

Some spaces are new and at a certain level I feel alienated in what they pronounce. Everything is bold and evident and I have found this significant as I came back. I never knew that this was something I would feel. The abundance and boldness is everywhere and I never knew it existed.

What will happen next?

Further investigation will be evaluated and analysed in a way to understand the change that is found within each and everyone of us.

09 ENIGMA Film Production

https://vimeo.com/113485818

The video Enigma is a work that documents and narrates an experience that is made up of multilevel degrees of contrasting parallels. Such a narration finds its roots and initiation in a static apparition of an ash tree that is placed, repeated several times within the same shoot. The viewer has no idea what is going to happen and thus the apparition of the opulent eye stands as a contrasting undertone that is quickly disturbed by the denser tree shoot that marks a significant contrast with the light tone trees exposed in the initial entry shoot. The eye stands as a blinking transition to the following development.
Although the viewer has no vacant notion of what the whole thing is about, the music directs the focus towards an internal part of a persona. The ambience upon which such a person is reliant and finding itself in does not seem to confine well, thus the round motion brings out an ideology of disorientation. The swinging and roundness found in shapes becomes denser and more constant as the film moves further. This elemental quality allows the viewer to become increasingly anxious and still unaware of what will happen further on to the next sequential shoots.
Time finds no sense of functionality as the sequence is pushed back and forth. Motion has no sense of space and is directed into revolving sequential narrative that makes the viewer think and sink deeper into the allegory that is found within such a persona. The only calming parallel that is seen within such a chaotic environment is the hands and the gestures that the persona is capable to establish.
This establishing shoot makes an initiation to more subtle shoots that eventually become increasingly effective through the development of such a narrative. The elemental quality of water and focus stands as a significant part of the development which tries to resolve the pre sequential environment that previously did not elude a sense of belonging. The environment is deeply evaluated and the following shoots bring out a new tonal element for this concept video. The inner qualities of different anatomical features that are distributed within different shoots bring out the inner formations that are of awakening for the persona within the narrative.
The saturated tonal values, allow the viewer to acknowledge the layered tones that such hues distribute to the elemental meaning of the shoots presented. The silhouette effect found within sheds an increasingly significant outline for such tonal shade. The persona within such a shoot finds a constructive freedom that is still undermined with the situation that it is facing. The oppressive yet playful act of bringing out geometric forms makes the whole thing interesting to value and keep in mind.
Although the narrative moves into a development that resolves into something of more aesthetical value to it one is able to still question the purposes of such a formation. The persona is the only motivator that can control the passage of time. A sudden glimpse of the subject takes motion and we are able to get into the inner physicality of this perspective. Movement follows a sequence that is recurrent from one stage to the next of the narrative.
Time starts to follow an increasing pace that allows the viewer to move into another stage of the narration. The sudden and drastic formation of such shoots make the viewer feel uneasy and unable to establish sense from the narrative that he is unconsciously trying to solve. Yet like before the faithful hand and the small beads stand as a relevance of such turmoil. The change in angle shoot brings out a significant understanding of such a narration.
Although everything stands as over passing and chaotic for the viewer the narrative finds tranquillity in this mayhem, that is phased in through taking the perspective of the camera shoot. The subtle light and opening up of doors and windows make the viewer anxious to know the purposes of such a development. Moving into light or into darkness?
The dragging waves that stand on the sea bed, let the viewer wonder the existentiality of such a scenario. Where has the persona vanished? The eye is foreshadowed again, and one can see that the inner sense of such a situation brought out an acknowledgement of something. Time and space are never as straight forward as one would appreciate to be.
But such a narrative allows the viewer to understand that life is a series of confusion and there is no sense of mundanely in its relevance. The depth of such images will always remain a mysterious allegory that only the voice within can shed an honest understanding of all the chaos presented.

T&P 2A- Outcome 3- Music and Light Development 4- 13-16

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0402

11  10http://www.youtube.com/watch?v=-lVC7Zv_Hxo

Inspired from the first 3 pieces played in this album.

The playful poignant feel that such a music evokes shapes up an aesthetic that reveals something that is beyond my words. The flickering effect together with a resolving round tangibility that I am able to produce connect the three forces into a vivid consolidation of energy. The lightness and deep contrast that different harmonies result brings about a depth of great revelation. Something that I want the viewer to connect with and reinterpret with his individuality and perception ideology.

T&P 2A- Outcome 2 Part 2 – Music and Light Development 1 & 2- Page 52-60

In these works I evaluated different key musical genres and translated my inspirations through it.

Location: Dark Room and Artificial Torch Light

1.05

Indila – Dernière Danse

The initial music that I explored was that of Derniere Danse. This kind of music is one that is inspired me to formulate a woman like presentation. Whilst doing such a work I came into remembrance of archaeological roundness that is found within different mother goddesses in the prehistoric era, such as the ‘Venus of Willendorf’ and ‘The Fat Lady’. The Roundness made me connect to the high pitch that such a music physically exposes.

2.

16

Polina Semionova : Ballet – H. Grönemeyer 

This music I found myself inspired to formulate it within clear and neat lines of abstraction. The boldness and elegance that is found within such a light and positive composition made revolve into such an expression. The boldness yet the clarity that i found myself listening to made me outburst in such a manner.  The string section has resolved in my head a distinctive line pattern  that resolved through a significant point of pressure.

3.

Clean Bandit Rather Be part 2

Clean Bandit Rather Be

Rather Be- Clean Bandit

Is the contemporary sound music that many relate to in popular cultural. Having heard this genre for endless times I found it surprisingly that I still had a sense of beat within such a fluidity. The eccentric and elegant effect that I was able to approach is a physicality that I would like to further investigate.

4.

Fire flight unbreakable Fire flight unbreakbale part 2

FireFlight – Unbreakable

This music and genre made me feel quite different towards my approach to light. The loud and deep bold rock feel to this sound has engage me within the coiling of a mass structure expression.

5.

14

Cinematic Orchestra -arrival of the birds 02

Cinematic Orchestra -arrival of the birds

The exploration of such a music meant that I would express myself through a volume and dimentionality that is different from the rest. The amplitude and dynamic sound that such orchestra in such particular work exposes, evoked me in such a manner. Light stands as an important key feature that enabled me to compose something that was unique and bears something of individual interest that can never repeat itself.

Outcome:

After having explored a number of different musical genres, I tried to resolve into one genre that truly justifies and brings within a sense of energy to further investigate my expression of light and music within my individuality.

Looking through the results the most significant parts where I found a clear bound connection was that to do with orchestral, string section pieces. The elemental qualities and sound that such instruments evoke make me relate to my own experience in the musical field. The energy that I translate through music sound from the violin resolves in me a sense of connection that I would like to show and justify its relevance to the viewer.

One of the most inspirational and deeply touchly individuals that marked the way I regard music and the anatomy of it, was in fact Stephano Grappelli. This violinist imprinted a deep impression on me that I started to perieve the true beauty that lies within the musicality that stands in his name.

6. Using same artificial light and dark tonalities, I interpreted Grappelli’s – Stardust

10 15

12

The distinctive features that such a music evokes in me brings out something that is of personal emotional impact. The results that I have maintained with such light quality is one that is still has to be worked and evaluated further more. The thick and bold elemental quality that such lines embrace are not fully engage with the same pitch that I would like it to result in.

Further investigation will allow me to explore and evaluate different light principles that will ultimately direct me to the development and investigation for my final shoots.

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.

IMG_1122 IMG_0951

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.

IMG_1071 IMG_1070 IMG_1069 IMG_1068

PRELIMINARY EXPERIMENTS

01 02 03 04 06 03

Developed work and current working process:


IMG_2297

IMG_3268

Galleries:

1.

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

2.

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

3.

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:

Figure2:

https://www.google.com/search?q=Etienne+Jules+Marey&rlz=1C1CHFX_enUS546US546&espv=210&es_sm=122&source=lnms&tbm=isch&sa=X&ei=wDQPU5K4BsnD4gTf94H4Ag&ved=0CAkQ_AUoAQ&biw=1600&bih=791#facrc=_&imgdii=_&imgrc=jo8SjMsMeSUvKM%253A%3B-daES74ppllk7M%3Bhttp%253A%252F%252Fupload.wikimedia.org%252Fwikipedia%252Fcommons%252Fc%252Fce%252FMarey%252C_der_einen_flexiblen_Stab_sch%2525C3%2525BCttelt_1886.jpg%3Bhttp%253A%252F%252Fcommons.wikimedia.org%252Fwiki%252FFile%253AMarey%252C_der_einen_flexiblen_Stab_sch%2525C3%2525BCttelt_1886.jpg%3B2048%3B902

Figure 3:

http://en.wikipedia.org/wiki/Nude_Descending_a_Staircase,_No._2

Figure 4:

http://www.moma.org/collection/object.php?object_id=81432

Figure 5:

http://life.time.com/culture/pablo-picasso-draws-with-light-1949/#4

Figure 6:

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