Little Star
"twinkle,twinkle little star how I wonder what you are, up above the world so high, like a diamond in the sky, twinkle, twinkle little star how I wonder what you are"
This codes as,
01010100 01110111 01101001 01101110 01101011 01101100 01100101 00100000 01110100 01110111 01101001 01101110 01101011 01101100 01100101 00100000 01101100 01101001 01110100 01110100 01101100 01100101 00100000 01110011 01110100 01100001 01110010 00100000 01101000 01101111 01110111 00100000 01001001 00100000 01110111 01101111 01101110 01100100 01100101 01110010 00100000 01110111 01101000 01100001 01110100 00100000 01111001 01101111 01110101 00100000 01100001 01110010 01100101 00100000 01110101 01110000 00100000 01100001 01100010 01101111 01110110 01100101 00100000 01110100 01101000 01100101 00100000 01110111 01101111 01110010 01101100 01100100 00100000 01110011 01101111 00100000 01101000 01101001 01100111 01101000 00100000 01101100 01101001 01101011 01100101 00100000 01100001 00100000 01100100 01101001 01100001 01101101 01101111 01101110 01100100 00100000 01101001 01101110 00100000 01110100 01101000 01100101 00100000 01110011 01101011 01111001 00100000 01110100 01110111 01101001 01101110 01101011 01101100 01100101 00100000 01110100 01110111 01101001 01101110 01101011 01101100 01100101 00100000 01101100 01101001 01110100 01110100 01101100 01100101 00100000 01110011 01110100 01100001 01110010 00100000 01101000 01101111 01110111 00100000 01001001 00100000 01110111 01101111 01101110 01100100 01100101 01110010 00100000 01110111 01101000 01100001 01110100 00100000 01111001 01101111 01110101 00100000 01100001 01110010 01100101
Translated in binary coding, the code used to operate an electronic computational machine.
This text was chosen in response to thinking about the 99.999999% certainty of the discover of the Higgs Boson, present at the creation of the universe. I configure this as the motion of the 'glue' that sticks particles together (over-simplified). It is the quest of humankind to seek and attempt to discover the origins of life (science) and the meaning of life (theology and philosophy) and the expression of the meaning of life and human experience (art).
In a sense this text was chosen as a simple, 'universal' expression of human questioning regarding humans origin, identity and questions of the agency of creation. The narrative has roots in passifying the infant, voiced by a maternal narrative. The text could be read as an illustration of humans infantilisation and the comfort this brings but also the wonder and beauty experienced in encountering the unknowable. The method of production also attempts to embody the sense of ones control or liberty in the contemporary experience of living through a pervasively technological age, engaging with the complex tension at the triangulation between human-computation-nature.
The music chosen for this piece is Mozart 12 Variations Ah vous dirais-je, maman. The wonderful repeats and cyclical motion this work has will fit the visuals very well.
The treatment was to think about the meaning of finding the 'God particle', as the origin of life in the universe becomes relevant when thinking about 'life' in animation. Thinking of animation as the expression of the human story intimately linked to human invention and the technological tools that extend human capacities. A story of physical limitations overcome by technology and the tension between the applications of power that have the potential to resukt in either domination or liberty of the human. The tension between human limitation/technological extension with nature as a benchmark of what is considered to be 'natural'. This is a complex set of ideas that will require unravelling in the practice-theory however, In simple terms this work relates to how human identity is configured in a pervasively technological age (that is a narrative that is not only contemporary but arguably stretches back to the First prehistoric tool makers that is configured in practice as the needle and knife, and how this is the story of animation in it's formalist roots and experimental engagement with technology from the beginning of humans time on earth, the machine age and in the technological revolution, animation is an expression of the story of human evolution that functions as a method of expressing human narrative using the tools of the age. The narrative expressed as either myth, fact or self-reflection. The story illustrated as an anxiety, fear, repression; utopian ideals, beauty 'truth' and extension of the human capacity for freedom power or enslavement, and in all aspects of what it means to be human at the encounter with a new technology.
The key to resolving this anxiety could be the revelation of knowledge, a revealing of function and control mechanisms behind automated function. It is only through revealing and better understanding the anxiety that choice and control of one's own will may be exerted. To be free or at the very least, the willingness to be enslaved.
Process
Paper mulch was produced from the off cuts from 'one' and 'interconnection' and animation paper recycled for this project. Text was printed onto ohp film and cut into fragments of binary '0' and '1'. The mulch was poured into a water bath and stirred by hand. At the point that the water remained still, the fragments of binary were poured onto the surface of the water and photographed. The binary sank to the bottom of the water bath. The mix of organic and binary material was then agitated and stirred by hand to create a swirl of composit Material.
How I wonder what you are?
The deckle was pulled through the water revealed a large number of binary figures that appeared on the surface,many more than expected. This first layer was then pressed flat on the felts.
In a second pass through the mulch composit, the deck captured many less binary figures. This was then placed on top of the first layer.Obscuring the first, filtering the information, making the information readable.
The first layer of paper filter a large number of binary coding whereas the second layer filtered the information from the first layer, concealing all but the a few visible binary digits.
This process could be applied to a process of counting layers obscuring the layers underneath in laying down the material from the subsequent passes through the cloud. In reflecting on this process, the method could be aligned to the instinctive process of feeling a strong impression for the location of knowledge and having a strong desire to finding answers. There is a point at which the answer is revealed however the repetition of searching in the same location can increasingly obscure the obvious. In practice I have developed a sense of when this moment occurs, likening it to painting in that overworking can muddy the waters.
In actuality one does not search in the same specific location but moves in constant motion within the site of a location, knowledge is not bounded but interconnected and so motion is the process of discovery. This is illustrated in a practice experiment entitled 'Organima', this animation is currently in unfinished but will be produced in conjunction with this project. The work illustrates the process of oscillation between theory-practice in the practice based research project as a form of 'feedback' as configured by cyborg theory and referred to as an iterative process.
The code 001101100101111 produced in reading the darker and most apparent figures from bottom left then proceeded to be read towards the top and then towards the bottom right of the screen. The figures notes became apparent as the darkest and most obvious figures revealed in the process but were read in a way that seemed the most natural to me instinctively. The decoded code representing the answer was not known at the time it was entered into the binary decode software.
When read in this way the code was decoded to reveal the number 6.
The data revealed by The Hadron Collider has been analysed to reveal, concealed information not through the process of human observation, requiring the eye and light to reveal but by the data set itself.
I am interested in how natural light will filter through the material and how the material will take projected light, and this is the next part of the film experiment.
This codes as,
01010100 01110111 01101001 01101110 01101011 01101100 01100101 00100000 01110100 01110111 01101001 01101110 01101011 01101100 01100101 00100000 01101100 01101001 01110100 01110100 01101100 01100101 00100000 01110011 01110100 01100001 01110010 00100000 01101000 01101111 01110111 00100000 01001001 00100000 01110111 01101111 01101110 01100100 01100101 01110010 00100000 01110111 01101000 01100001 01110100 00100000 01111001 01101111 01110101 00100000 01100001 01110010 01100101 00100000 01110101 01110000 00100000 01100001 01100010 01101111 01110110 01100101 00100000 01110100 01101000 01100101 00100000 01110111 01101111 01110010 01101100 01100100 00100000 01110011 01101111 00100000 01101000 01101001 01100111 01101000 00100000 01101100 01101001 01101011 01100101 00100000 01100001 00100000 01100100 01101001 01100001 01101101 01101111 01101110 01100100 00100000 01101001 01101110 00100000 01110100 01101000 01100101 00100000 01110011 01101011 01111001 00100000 01110100 01110111 01101001 01101110 01101011 01101100 01100101 00100000 01110100 01110111 01101001 01101110 01101011 01101100 01100101 00100000 01101100 01101001 01110100 01110100 01101100 01100101 00100000 01110011 01110100 01100001 01110010 00100000 01101000 01101111 01110111 00100000 01001001 00100000 01110111 01101111 01101110 01100100 01100101 01110010 00100000 01110111 01101000 01100001 01110100 00100000 01111001 01101111 01110101 00100000 01100001 01110010 01100101
Translated in binary coding, the code used to operate an electronic computational machine.
This text was chosen in response to thinking about the 99.999999% certainty of the discover of the Higgs Boson, present at the creation of the universe. I configure this as the motion of the 'glue' that sticks particles together (over-simplified). It is the quest of humankind to seek and attempt to discover the origins of life (science) and the meaning of life (theology and philosophy) and the expression of the meaning of life and human experience (art).
In a sense this text was chosen as a simple, 'universal' expression of human questioning regarding humans origin, identity and questions of the agency of creation. The narrative has roots in passifying the infant, voiced by a maternal narrative. The text could be read as an illustration of humans infantilisation and the comfort this brings but also the wonder and beauty experienced in encountering the unknowable. The method of production also attempts to embody the sense of ones control or liberty in the contemporary experience of living through a pervasively technological age, engaging with the complex tension at the triangulation between human-computation-nature.
The music chosen for this piece is Mozart 12 Variations Ah vous dirais-je, maman. The wonderful repeats and cyclical motion this work has will fit the visuals very well.
The treatment was to think about the meaning of finding the 'God particle', as the origin of life in the universe becomes relevant when thinking about 'life' in animation. Thinking of animation as the expression of the human story intimately linked to human invention and the technological tools that extend human capacities. A story of physical limitations overcome by technology and the tension between the applications of power that have the potential to resukt in either domination or liberty of the human. The tension between human limitation/technological extension with nature as a benchmark of what is considered to be 'natural'. This is a complex set of ideas that will require unravelling in the practice-theory however, In simple terms this work relates to how human identity is configured in a pervasively technological age (that is a narrative that is not only contemporary but arguably stretches back to the First prehistoric tool makers that is configured in practice as the needle and knife, and how this is the story of animation in it's formalist roots and experimental engagement with technology from the beginning of humans time on earth, the machine age and in the technological revolution, animation is an expression of the story of human evolution that functions as a method of expressing human narrative using the tools of the age. The narrative expressed as either myth, fact or self-reflection. The story illustrated as an anxiety, fear, repression; utopian ideals, beauty 'truth' and extension of the human capacity for freedom power or enslavement, and in all aspects of what it means to be human at the encounter with a new technology.
The key to resolving this anxiety could be the revelation of knowledge, a revealing of function and control mechanisms behind automated function. It is only through revealing and better understanding the anxiety that choice and control of one's own will may be exerted. To be free or at the very least, the willingness to be enslaved.
Process
Paper mulch was produced from the off cuts from 'one' and 'interconnection' and animation paper recycled for this project. Text was printed onto ohp film and cut into fragments of binary '0' and '1'. The mulch was poured into a water bath and stirred by hand. At the point that the water remained still, the fragments of binary were poured onto the surface of the water and photographed. The binary sank to the bottom of the water bath. The mix of organic and binary material was then agitated and stirred by hand to create a swirl of composit Material.
How I wonder what you are?
The deckle was pulled through the water revealed a large number of binary figures that appeared on the surface,many more than expected. This first layer was then pressed flat on the felts.
In a second pass through the mulch composit, the deck captured many less binary figures. This was then placed on top of the first layer.Obscuring the first, filtering the information, making the information readable.
The first layer of paper filter a large number of binary coding whereas the second layer filtered the information from the first layer, concealing all but the a few visible binary digits.
This process could be applied to a process of counting layers obscuring the layers underneath in laying down the material from the subsequent passes through the cloud. In reflecting on this process, the method could be aligned to the instinctive process of feeling a strong impression for the location of knowledge and having a strong desire to finding answers. There is a point at which the answer is revealed however the repetition of searching in the same location can increasingly obscure the obvious. In practice I have developed a sense of when this moment occurs, likening it to painting in that overworking can muddy the waters.
In actuality one does not search in the same specific location but moves in constant motion within the site of a location, knowledge is not bounded but interconnected and so motion is the process of discovery. This is illustrated in a practice experiment entitled 'Organima', this animation is currently in unfinished but will be produced in conjunction with this project. The work illustrates the process of oscillation between theory-practice in the practice based research project as a form of 'feedback' as configured by cyborg theory and referred to as an iterative process.
The code 001101100101111 produced in reading the darker and most apparent figures from bottom left then proceeded to be read towards the top and then towards the bottom right of the screen. The figures notes became apparent as the darkest and most obvious figures revealed in the process but were read in a way that seemed the most natural to me instinctively. The decoded code representing the answer was not known at the time it was entered into the binary decode software.
When read in this way the code was decoded to reveal the number 6.
The data revealed by The Hadron Collider has been analysed to reveal, concealed information not through the process of human observation, requiring the eye and light to reveal but by the data set itself.
I am interested in how natural light will filter through the material and how the material will take projected light, and this is the next part of the film experiment.
