Epistemology
Gregory Bateson on epistemology: the way in which we know something or the way in which we think we know something.
The way in which one knows something can become a dominant factor in the way in which we think we know something... By the dominance of the eye, the hand or the intellect. The project represents knowing visually/sensorially and intellectually.
The message is never the thing communicated I.e there is no 'nose' in your chromosomes
How many fingers do you have on your hand? No... You are asking the wrong question. We should talk a language in similar shape to the DNA language, as there is nothing in DNA language that expresses the thing 'fingers'.
This seems to lead to the importance of posing the right question within the right language for a more accurate answer.
What is the language of animation? Time? Motion? Visual representation? Music? Rhythm? Pattern?
Practice based research offers the valuable opportunity to use ones own language to investigate ones own form from its inherent language structure.
How does one think about animation? How does one represent ones ideas? What methods should one use?
Words, images and motion. This brings the thoughts back to the superimposed image, or the organic diagram and, of course, the animation that illustrates a dynamic thought process about a dynamic idea.
This is the reason why it is the intention to illustrate the double feedback oscillation that operates between theory-practice, and the emergent thought process as an organic illustration of emergence, amplification and decline of ideas is an essential part of the presentation of the research process.
The focus of the research project is an exploration of contemporary animation on the cusp of CG modelling and craft materiality reveals different-similarities and similar differences, and in this the relationship between these polarities that can be explored in animation as a hybrid artform.
The polarities are much closer than the tension belies and the reasons behind the tension can be understood in a multiple of frameworks. They key is to frame the question in terms of the language of animation rather than science, psychology, biology etc, from practice.
A number of metaphoric leaps are possible in practice that could be written down but the dynamic principle behind the ideas cannot be explored in a static representation, this can only be represented and analysed as a dynamic form that illustrates in the language of animation, which is the static-dynamic, the analogue-digital, matter-immaterial, atom-wave. The relationship between the two polarities are dynamic in motion.
This investigation of the shifting between the representations of multiple dimensions and perspectives of form, space and time can only be explored within animation. (Norman Mclarens investigations of a line springs to mind here)
The way in which one knows something can become a dominant factor in the way in which we think we know something... By the dominance of the eye, the hand or the intellect. The project represents knowing visually/sensorially and intellectually.
The message is never the thing communicated I.e there is no 'nose' in your chromosomes
How many fingers do you have on your hand? No... You are asking the wrong question. We should talk a language in similar shape to the DNA language, as there is nothing in DNA language that expresses the thing 'fingers'.
This seems to lead to the importance of posing the right question within the right language for a more accurate answer.
What is the language of animation? Time? Motion? Visual representation? Music? Rhythm? Pattern?
Practice based research offers the valuable opportunity to use ones own language to investigate ones own form from its inherent language structure.
How does one think about animation? How does one represent ones ideas? What methods should one use?
Words, images and motion. This brings the thoughts back to the superimposed image, or the organic diagram and, of course, the animation that illustrates a dynamic thought process about a dynamic idea.
This is the reason why it is the intention to illustrate the double feedback oscillation that operates between theory-practice, and the emergent thought process as an organic illustration of emergence, amplification and decline of ideas is an essential part of the presentation of the research process.
The focus of the research project is an exploration of contemporary animation on the cusp of CG modelling and craft materiality reveals different-similarities and similar differences, and in this the relationship between these polarities that can be explored in animation as a hybrid artform.
The polarities are much closer than the tension belies and the reasons behind the tension can be understood in a multiple of frameworks. They key is to frame the question in terms of the language of animation rather than science, psychology, biology etc, from practice.
A number of metaphoric leaps are possible in practice that could be written down but the dynamic principle behind the ideas cannot be explored in a static representation, this can only be represented and analysed as a dynamic form that illustrates in the language of animation, which is the static-dynamic, the analogue-digital, matter-immaterial, atom-wave. The relationship between the two polarities are dynamic in motion.
This investigation of the shifting between the representations of multiple dimensions and perspectives of form, space and time can only be explored within animation. (Norman Mclarens investigations of a line springs to mind here)
