Aesthetic Experimentation// Motion_Reduction
Hypothesis//
That the interplay between structural geometry and patterned content of a work can direct the movement of viewers in a space, and promote the comprehension of complex order. Evidence gathered through first hand conversations and observations.
Method//
A deterministically irreducible phenomena is presented in stages of symbolic reduction, and experienced through the movement of the gaze and motion around the piece. Comprehension of the broken self similarity of vortices, and its evidence of functioning at multiple scales, is presented in pattern and reinforced through embodied cognition.
Geometric reduction of spiral to triangles [directional/ arrow] as macroscopic form, occlusive angles so the piece cannot be viewed in its entirety from any one point, positioned with 360 degree open surrounding space. A spiralling motion for both the body and the gaze, testing the effect on viewer movement.
Progressive visual reduction both digital [finding edges on edgeless image] and through pattern grammar.
Testing the effect on common sense comprehension of complex non linear order [imperfect self-similarity].
Conclusions//
Movement functions as designed, motion occurs in spiral around piece, this holds true even when under extreme crowd conditions. although disrupted by other crowd dynamics.
Aesthetic Experiment// Attention_Association
Hypothesis//
That in reducing contrast and tonal variation, the work acquires a flat horizon of salience, attention not given to any one element above others, allowing for more extended association between the component images.
Method//
A connective network links the images, its form an abstract reduction of the patterns examined in the content, its surface coated in a material that decomposes over time, its decomposition manifesting the patterns examined in the content.
Employing a grayscale with small tonal variations. Testing the effect of minimal internal contrast on the orienting attention network, pronounced environmental contrast ensuring the alerting network is primed towards the piece.
Employing small irregularities in fixings, to prevent formal resolution, to encourage further active interrogation of the relation between meaning and formal properties.
Conclusions//
Successful in intended effects, sourced images insufficient, pre-exposure proportional to lack of novelty, therefore reward, therefore attention.
¬ THINGS FALL APART -
Installation // 2014
Wood | Polyfilm | Acetate | Metal | Glass | Light | Paper | Ink
Aesthetic Experiment// Association_Perception
Hypothesis//
That the installation can function as an associative field, promoting associative cognition through underlying pattern grammar. Chosen interesection is entropy and growth.
Evidence gathered through first hand conversations and observations.
Method//
Employing high contrast, orders of magnitude and gestalt grouping. Testing the effect on the viewer's perception of order or chaos.
Employing high contrast, orders of magnitude and gestalt grouping. Testing the effects on on the assosciation between discrete but related patterns.
Conclusions//
Contrast [Including light] effects perception of content, being limbically reinforcing it has higher salience than other visual elements such as pattern and must be balanced appropriately. This disrupts associative cognition on a content level, and promotes it at a group level. It creates boundaries between objects, but can demarcate those objects as grouped. Balance required.
¬ TURBULENCE -
Installation // 2014
Wood | Acrylic | Ink | Light
¬ A PRINCIPLE OF LEAST ACTION-
Installation // 2015
Acetate | Thermo-contractive polymer | Acrylic | Nails
