Joining the dots...
How one observes, one constructs physical things, one thinks, how one acquires, stores and recalls knowledge makes us one with nature.
In the same sense, the way in which one observes and recognises the structural patterns of nature, one is led to a replication of nature through computational mechanisms, the basic principle of recursion and how this operates in computer generated graphics. The mind is wired to operate in the same way as this. CG modelling tools have this as an essential part of the mechanism and yet there is tension on encountering the tools/medium. The reasons for this are complex and currently dominating research, range from CG materiality and the haptic, tactile response; developments in human-computer interface, software interface, cognitive load and a.i.
My research finds a perspective by engaging with the problem from within animation practice and deploying a framework of second order cybernetics to focus on the modes of reading information as one engages with tools, media and environment in contemporary 3D animation practices.
My research finds a perspective by engaging with the problem from within animation practice and deploying a framework of second order cybernetics to focus on the modes of reading information as one engages with tools, media and environment in contemporary 3D animation practices.
In a sense computation, human mind and nature are similar but it is the differences that make a difference.
I am unsure that this difference is a mechanistic, atomistic or material. I think it is much more likely that relations between cg modelling and craft materiality are located in the way in which one reads and actively engages with pattern in the natural environment and craft processes. This can be best explored at the cusp CG modelling and craft materiality in contemporary 3D animation practice, both in its industrial and fine art forms.
Recursion, repetition and rhythm embedded within the processes of nature-craft-CG as engaged with in 3D contemporary animation (stop-motion and cg practices in art animation and industry), human modes of knowledge acquisition and creativity is key to this experimental study.
Recursion, repetition and rhythm embedded within the processes of nature-craft-CG as engaged with in 3D contemporary animation (stop-motion and cg practices in art animation and industry), human modes of knowledge acquisition and creativity is key to this experimental study.
Tension between cg modelling and craft materiality can be understood as differing in the way in which one needs to create error through play, trial and error, finding affordances and constraints in the medium itself as a way in which one engages with and creates new pattern. This is the loss, the disconnection one feels when one encounters a tight software architecture.
The challenge is to offer the artist, these tools and medium in a way in which will extend visual arts practices in a way in which the future development of new aesthetics is enormous.
The artist must feel that they can access the potential of 3D modelling without an intermediary specialist. There is a turn towards basic computer programming and basic computer making that reflects the early demoscene. This is emerging through the marketing of raspberry pi, and the pi chunked program's. It is in this area that I can see future development that is very exciting for the visual artist, the new art animator.
The challenge is to offer the artist, these tools and medium in a way in which will extend visual arts practices in a way in which the future development of new aesthetics is enormous.
The artist must feel that they can access the potential of 3D modelling without an intermediary specialist. There is a turn towards basic computer programming and basic computer making that reflects the early demoscene. This is emerging through the marketing of raspberry pi, and the pi chunked program's. It is in this area that I can see future development that is very exciting for the visual artist, the new art animator.
One recognises error and actively creates it, to find a sense of creativity.
