Homonomy and physical/conceptual architecture modelling
Difference-similarity in working across different media in animation
To define the terms of difference and similarity one can think of Haeckle's homology, and Batesons difference-similarity is to examine the tension between different forms of animation through a systems theory frame of reference.
Bateson writes " This brings us to a very important motif in my thinking - a habit of constructing abstractions which refer to terms of comparisons between entities " p79
He goes on to explain the term Homology is deployed in zoological theory to deal in comparability between organs - homology and analogy. Homology was originally written by Haeckle in 1854 but fell out of usage. Bateson explains that the analogy-Homology-Homonomy relation is a type of equivalence, a way in which similar and different things can be compared. P79-p81. Without considering the type of equivalence, theory can become muddled.
In applying this to the current research experiments to better understand difference-similarities between physical and conceptual model construction it is useful to think about the types of equivalence being considered.
These are not currently clearly defined but can currently be described as :-
The sense of the body in relation to the construction of physical architecture.
The sense of the eye in relation to the positioning of light in virtual architecture and on screen in relation to the hand.
The conceptual modelling of difference spaces.
The navigation through different physical and conceptual architecture.
The transportation of the body and mind across physical and mental boundaries in practice process.
In practice, the sense of the body-mind responses can be considered in relation to three different working environments and can be described as a heightened sense of proprioception ( the sense of body in space and time) and mind, conceptual modelling. I first came across this term when reading the catalogue from Len Lyes Body electric exhibition and it seems appropriate to use here.
The body senses the structure of the architecture within which it is working, the fixed static physical architecture, but also the dynamic architecture of physical forces, the elements of nature. The mind responds to this input by constructing a conceptual model of the space.
To give three examples for comparison one can think about these three environments,
Ecological physical space
Stop-motion studio space
The cgi virtual space
One is most sensitive to fixed architecture and the conditions that effect shifts that may be considered the elements of a space, it's dynamic architecture.
In the ecological physical space, no elements are fixed and the whole scene can be considered to be dynamic when one considers the static conditions required to take a still photograph.
In the stop-motion space, all elements should be fixed, the term used is locked down. One is aware of the fixed architecture, the set and models as well as the use of lighting. Light is a dynamic architecture in a sense it can be controlled through bouncing, filtering and layering light in the space.
In the cgi virtual space, all elements can be controlled at will. The software has preprogrammed standard setting but these can be changed, for example to produce 2D or 3d effects, and dynamic particle effects can be applied.
In ecological physical space and in the stop motion studio space, the body creates a Rhythm in the process of making, this is created as the movement falls into a pattern of repetition in work. There is an internal monologue of music that is associated with this process.
In these two cases the rhythm establishes a pattern that constructs a dynamic conceptual model of the architecture in which one works. This works in conjunction with the senses of the whole body.
In cgi virtual space, working on the cgi 3D software package, the rhythm can also be established in any repetitive action but the hand is limited to very small movements and is closely aligned to the small movements of the eye. An example of this is in the repeated replication, scaling and repositioning of the balls and cylinders process of constructing the star constellation Perseus.
In working in an ecological physical space one can examine the process of physical and conceptual modelling through working with error. This interrupts the rhythm of constructing conceptual modelling, pattern and structure in practice.
The difference-similarities in this method of comparison seems to reveal a transarchitectural approach. That is to say that many models of the space are constructed across different media physically and conceptually.
