Outside-Inside

I have been thinking of how I will make the film a journey, how i will enter the body moving from reality to the internal landscape, the above is still works in progress but a start entering from the back of the head getting out of the complications of the everyday


Draft Chronogram

Progress studio

 

 The evolution of the lists.. lists.. lists....

 

 

 Drawing...

Thesis floor space- ideas

Test animations portrait..

Cant seem to get the quality the same as the original render am working on it for blog uploads....

Landscape test animation

Testing quality & Animations Tests

 

Threshold......

 

How far can you go??......

 

 

Dissect the matter and disconnect yourself from reality......

 

Struggling to understand yourself or place yourself? do you know what you want your world to be? what do you know your world to be? Why fear why worry why have emotion.... ? What makes you you?? what is your reality? Does it even matter?? This is my therapy space....  offload into a new architecture.... a mentally formed space.....disconnect yourself from the everyday.... but can you really?

what is of the speaker? great importance, what the world is said to be like described to be by an individual......the communication of ones ideas ones impressions of space...

An architecture created through mind space, a spatial representation of consciousness.... 
 

When architecture stops being about the physical space, stops being material, a mentally fabricated architecture, forming spaces of a world which only exists through your mental state, what you want to see what you believe to be true

  
Animation:

Evolving-growing- we evolve for survival, selfishly
Howling Disconnection 
Disorientation

 My plan & list for the Christmas crit- dont know if I will achieve all of this but I hope to

Design Narrative (revised written with clear intent and architectural position?)
Analytical drawing (showing the technical)
Title all drawings so far
Paper edit- Chronogram
Test animation (3 tests combined into a test world)- with sound, relative to design narrative
Draft design development document & research booklet 
Thesis diagram (revised) & A4 revised for thesis (outline)

Experimenting- tests ' the priced specc...?!animation tests to follow

David Lynch on Creativity & the Brain

Internal space

Have you ever found yourself watching people? Ever wondered why you think about something when you are in a certain place? What makes us think, decide, worry, feel or just stare into space?

What is your reality? where do you place yourself?

The everyday-the robotics of our external shared environment, but our self is internal within our bodies how you feel comes from within  yourself, however does it not originate from external experience, knowledge gathering, background, identity... what we think to be true... what we think we know (the everyday),  how do you construct your reality?

"Men can see nothing around them that is not their own image; everything speaks to them of themselves Their very landscape is alive' Karl Marx

I have been trying to find a way to make my drawings more 3dimensional creating spaces to move trough and explore, have been trying to learn new techniques to pan through a 3d space and using subtle movments, have started an animation but it is a work in progress, would like to use the voice over of people as audio from live interviews which form part of my thesis to represent the outside world together with possible projections of elements such as people gaze and things I notice from the outside. 

What matters of who is the speaker... 'expositions of a model of he way the world can be said to be working.... attaching the fabric of abstract 'theoretical' speech to a frame of mortal and embodied experiences:of specific places, of specific times'  Burgin, Victor, 1996

I have come to realize that bias does not concern me as I will be writing my thesis and part of the argument will be using myself as a reference point, therefore any data I collect through interviews, learning about people will be from my own desire to find something out about what we think we see what I think I see.......

BBC Horizon The secret you. Consciousness. Pt6 of 6

Scientists Confirm That Reality is an Illusion - Our 3D Universe Is A Hologram

http://www.youtube.com/watch?v=qngieHWZXcM&feature=fvwrel

Testing 2 & 1/2 D Time World- How do we see

Architectural Design Brief Draft

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How do we think we perceive space--How do we collect information within our brains through moments in time?..... IS HOW WE THINK WE PERCIEVE SPACE IS GENERATED & INFLUENCED BY OUR IDENTITY,BACKGROUND KNOWLADGE BASE AND EXPERIENCE WE TELL IT WHAT OR HOW TO SEE UNCONCIOUSLY, HOW WE THEREFORE COLLECT INFORMATION DERIVES FROM WHAT WE THINK WE KNOW ABOUT THE WORLD-OUR OWN REALITY WHAT WE KNOW

We share the external space but our experience is internal… I am inside I am outside.. An architectural world created from our biology the communications within our brains driving the architecture. It derives from the internal , what is happening within the body spaces created within it.. an understanding of information collection & interpretation/ communication within ourselves followed by an integration of the research to aid in bettering the space. How we learn how we form the connections? The structures & forms literally converted into the architecture. A literal interpretation of our information translation within our brains forming an architecture.

Architectural worlds created through the eyes of different people, this is where the research gathered will be integrated into the design. What we think we perceive, travel between worlds- A time machine slowing down time into what people see in a moment, going back in time into what we remember analyzing how we think we perceive space in the architecture- using the axon as a transport mechanism where the worlds of information is created within the nucleus, transferred between synaptic connections. A literal- theoretical interpretation?

To create an architecture surely we must need to understand how a space is used how people will navigate feel and identify the space. An architecture created for and by the public, the human, understanding context . using the research as a tool to create information & environments within the space, a project which responds to its context, understanding the everyday & global, understanding the people.

 How do we navigate space?

Set on the DLR between Beckton & Bank the journey takes us through a world of different peoples perceptions analyzing elements of space through what we think we know it to be

The creation of a world from the eyes of different peoples eyes, how we think we perceive space.

Thesis Diagram

Draft Design Development Document Test- For Portfolio

Beau Lotto work- Research

http://www.youtube.com/watch?v=mf5otGNbkuc

Work Of Gillian Wearing- Research

'There has been a lot written about the death of privacy in our hyper-connected world, but one certain casualty of our mediated lives is the sanctity of public space, the generational erosion of the idea that what you might want to tell your best mate you wouldn't necessarily expect strangers to want to hear.'http://www.guardian.co.uk/artanddesign/2012/mar/04/gillian-wearing-whitechapel-gallery-feature 

'Wearing's first landmark work was quite a quaint exercise in exposing interior lives to the world. She approached people at random on London streets and asked them to write down on a piece of card what was on their minds. She then photographed them holding the signs. The images were surprisingly revealing, intentionally and not – the City worker with thinning hair who scrawled "I'm desperate", the black policeman who wrote "Help". They not only gave her subjects a voice, they gave viewers an instant snapshot of worlds of interiors. Some of Signs that say what you want them to say and not signs that say what someone else wants you to say will be included in Wearing's compelling retrospective, which opens at the Whitechapel Gallery at the end of the month. I wonder how she sees them herself, now?'http://www.guardian.co.uk/artanddesign/2012/mar/04/gillian-wearing-whitechapel-gallery-feature 

In the quest to find new ways to learn about people she learn t more of herself

Find out more from 

http://www.guardian.co.uk/artanddesign/2012/mar/04/gillian-wearing-whitechapel-gallery-feature 

Gillian Wearing -"Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say"
 

Self Made Trailor

Published on Apr 13, 2012 by whitechapelgallery 

available at http://www.youtube.com/watch?v=dj3_CaJOgCk

Wings of Desire Subway Scene- Reference

Uploaded by kevinahoward on Jun 18, 2008

Shared from - http://www.youtube.com/watch?v=2izlo8UX_PA&feature=related

Chronogram of space time analysis film

Inside the Human Brain

What happens inside our brains what connections are we making? are these dependent on who you are, where you come from and what you know? or is it a biological process? Probably both..

 

“Science DOES ‘touch the real’ its knowledge IS ‘Knowledge in the real’ – the deadlock resides  simply in the fact that scientific knowledge cannot serve as the SYMBOLIC ‘big other’.

Where we are dealing with rules/laws which function, they cannot be ever translated into our experience of representable reality

Sciences cannot provide the answer 

http://lacan.com/zizek-matrix.htm

Space time analysis 2

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The film looks at the inside and the outside, voiceover of peoples thoughts and consciousness jumping from one to the other together with my own over in places… taking the camera inside the human brain how its working at a particular time the connections it may be making, with the coordinates factual,  zooming into the body and going back out again

 We share the external space but have an internal experience

How do we think we perceive space? How do we create our cognitive map of our surroundings and environment? Is this connected to our social staus, gender, age, race, culture & background, knowlage base and educational background were we come from? what of the biological human process that occurs within the brain? Is it therefore different for everyone or is there a control of the same?

Process; 

Back on the  DLR retaking footage and interviewing people on the train recording their thoughts namely asking what are you thinking rite now.. trying to think about what was going through their minds trying to understand what they were aware of in that moment

From my interviewing I found that people who I saw to be of english origin  had comments such as

Im not thinking of anything

Im reading my twitter

What hospital have I got to get to

My dog iv left him at home

I don’t have a phone

Im thinking of where I am going.. shopping canary wharf

Followed by a questioning of what I was doing followed by their ideas of architecture in London.. a very practical level

Others from elsewhere on the train  were saying

I don’t speak English very well

Im hungry

Im thinking of going away.. going to Barcelona

Should I move my bag if someone comes?

A larger sample would obviously need to be taken to make such assumptions but could this show connections between our society and our knowledge base, background and experience

Am interested in the idea of our perception being biological & instinctive something we learn and develop instinctively over time ,through practice knowledge base and experience. Our awareness of self  & being able to be self aware based on what we tell ourselves how we train ourselves so we have connections inbuilt within us.

Being in an external reality, the factual but internally experiencing the moment.

I am inside, I am outside…

The culture and society in which we live inevitably influences the way in which we experience things, our brains build connections by what we see what we learn and what we lead ourselves to believe or what we are lead to believe. It is factual biological seemingly connecting to the global facts of location, time, actuality.

Have been looking at how the brain works, the connections it forms when it becomes better at it - Like how you learn to walk , you fall down first time but biologically you train your brain to learn it then becomes an unconscious action you do it instinctively

 The brain - consciousness where does it come from??

The readings have added to my thinking through the following interests I have picked up

Frederic Jamesons ideas on cognitive mapping and how we must understand the global complexity for you to understand it on a local level

The psychic processes which engage production and reception

The intersection of the personal and the social

Articulation of the local and the global

Instinctive or unconscious forms of genius

Kevin Lynch image of the city-  the construction and reconstruction of an articulated ensemble which can be retained in memory and which the individual subject can map and remap along the moments

Cognitive mapping as coordination of existential data the empirical position of the subject abstract conceptions of the geographic totality.

Van Goughs pheasant shoes-sight the visual the eye, a semi autonomous space in its own right, Heidegers central analysis – the work emerges from the gap between the earth and world meaningless between body and nature and the meaning endowment of history and the social

Transformation of one form of materiality the earth itself and its paths and physical objects- The earth protected in the world of the pheasant woman

Feelings & emotions connected to our images what we see what we have seen

Expression separates within the subject, inside & outside, the wordless pain, the moment which the emotion is projected and externalized, desperate communication & outward dramatization of the inward feeling

Scream deconstructs is own aesthetic expression while remaining imprisons within it, cry , raw vibrations of the human throat incompatible within its medium

Daily life our psychic experience, our languages are dominated by categories of space rather than of categories of time.

Fredric Jameson (1991) Postmodernism or, The Cultural Logic of Late Capitalism

Colin MacCabe: Preface. In: F. Jameson: The Geopolitical Aesthetic. Cinema and Space in the World System. London 1995, xivf

 

 

Crit 17'10'2012

 

Space- Time Analysis Docklands Light Railway

My first attempt at a film- A work in progress,  recording the DLR thematically & representationally

'A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of mobile elements. It is in a sense actuated by the ensemble of movements deployed within it.'  Michel De Certeau - The practice of everyday life 

I am interested in our awareness of our bodies in space and our awareness of our surroundings/locality & how we experience the world around us both through body & mind. How do we measure the mind body connections?

I start with the coordinate- Mapping our locality on the earth, are we aware of our directional movement, speed & time?

I am inside & then I am outside, how do we respond to this- an unspoken reaction? If my environment is unfamiliar is this a conscious thought? Is it a conscious awareness of my current surroundings or am I using what is imbedded in my unconscious mind,my nature, is it part of my biology & physical memory? Entering, departing both geographically and physically in person.

Your feet, why are we aware of them on a train?Stepping on, stepping off, standing still sitting down. Is it because our feet aid in our balance when we move or is it because our feet touch the ground and collide with solid matter? Or is it that we are simply looking down connecting our bodys location with our mind?

51° 30′ 44.64″ N, 0° 2′ 22.92″ W 5:55.50 PM.......A flood of bodies from all walks of life appear each to their own with their own background, culture, knowledge base & experiences. All beings become aware of their breathing, sense of smell and owns body in space, where is my hand how should I stand...? 60 seconds pass the push & throw......25 second stop....

The disorientating effect of unpredictable events make me loose my awareness of self. One moment its still silent, the next overwhelming with events, colliding bodies and the space is transformed into a space made by the beings & movement of bodies. 

Tada Rasa- Clean Slate (Audio By Avro Part)

Based on a theory that individuals are born with out  built in mental content, knowledge comes from our experience. 

Avro part quotes 'it is like that magic experience when you speak to someone in a language they don't speak but they understand all you say... Communication happens on another level, somehow we all are one... Although musically from different worlds the feeling is the same, the desire is the same it is as if we are on different trains but going to the same destination.'

Is our experience therefore purely instinctive & primal? Something which our bodies inherit and learn over time, a knowledge base that is biologically stored?  Is there therefore no norm of representation, as communication happens instinctively, is our perception measured by what we hold within ourselves rather than the fact of position & orientation? How do we represent our architecture to reach this level of instinctive communication? Can we create an experience that builds our knowledge base connecting the architecture with the user.. like a language? especially since all beings are individuals but are we really? ..... The feeling is the same... how can we be certain??

Mapping the Journey on the DLR showing speed, direction, location & travel time, entry & exit - to be updated after crit 17'10'2012

Robin Evans Translations from Drawing to Building- Text 05'10'12

'To translate is to convey, It is to move something without altering it.'

Quotes from this text which I have found interesting;

Before embarking on the investigation of drawings role in architecture a few more words might be spent on language... the common antilogy that would have architecture be like language but also independent of it. All things with conceptual dimension are like language.

With our minds prefixed on the predominance of language we might even risk enclosing architecture...denying it communication with anything else to preserve its integrity. This is unlikely.. there is one unfailing communicant and that is the drawing. 

To insist on direct access to the work may be to designate the drawing as the real repository of architectural art.. earth art, performance, installations constructions.. architectural themes, several are remarkable not just for the fact that they make little or no use of the drawing, but for the impossibility of their development through the medium.'

Turell's work 

'if drawn up within current architectural conventions, could only construed as indicative of witles simplicity. Their effect as installations can none the less be completely overwhelming..... Observers not being able to believe their own eyes..

 it is impossible to envisage its depth even by an act of conscious will'

'Involvement, substantiality, tangibility, presence, immediacy, direct action vs disengagement, obliqueness, abstraction, mediation & action at a distance.

The Campanile drawing- 'required two imaginative steps never before taken together.. a completely abstract conception of projector lines... an ability to conceive of the thing being represented (the surface of the building) as not equivalent to the surface of representation.'

Evans, Robin.  Translations from Drawing to Building and Other Essays. Cambridge:  The MITPress, 1997

A Notation - Representing Chemical Brothers Star Guitar

The above attempts to represent the film by Chemical Brothers star guitar- please scroll across to see the whole drawing.

From slowing the film down it is evident that the film was created with a series of still images set in a sequence and then repeated and layered.

The strip on the right of the drawing represents this repition of sequence repeat together with the cameras drawn in plan.

 Relationship of the viewer to the moment- The cross section of the eye how our eye translates the image to our brain via our optic nerve, orientation is blurred by the repetitive nature of the images and the altering of scale. The outside space moves into the train through the motion.

The Absence of bodies- The absence of bodies in the drawing within the train is deliberate , the film was created using a series of still images, the environment within the train is therefore calm, still & timeless there is no movement at the point in which the images were taken as the train is not actually moving, an illusion of it doing so has been created. Time at the point of capturing the landscape is 0.00.00.00.

The atmosphere created by the film gives the feeling of chaotic disorientation and movement; the opposite to how still a still camera is when taking a photograph. Objects are synced with sound as they form the landscape.

Representing motion through using light & Dark- Landscape in the drawing has been drawn using charcoal shadow lines & sight lines. When the light hits the landmarks, resulting in shadow it forms the landscape as it moves through time.

Chemical Brothers Star Guitar- Representing Movement

Stan Allen Essays - Practice Architecture, Technique and Representation

My thoughts & general response- We are a product of our own environments, our knowladge base and background, we experience architecture on some level through our 'baggage' what we come with into the space, what we know.  How we percive a notation is somehow also dependent on this.  Architects have the ability to somehow control the space but total control will never be possible....

We are influenced by our unconcious mind what we have seen, been educated upon or experienced, with out being aware of it. Similar to how we learn to climb, the first step always a conscious movement, you think about it translating it from the brain to your body learning the way it should be performed, as you climb higher it becomes second nature an unconscious movement a physical memory.

Parts I found interesting.......

The Autographic vs Allographic

'Notations are 'abstract machines'

'Many aspects of the experience of architecture can never be effectively simulated or predicted through representational drawing' 

'The limits to architectural drawing map out a paradox... but buildings are much less subject to control than drawings.. unpredictable and intangible effects are produced'

'To elaborate the consequences of architectures mixed status requires looking more closely at the interaction of the built and the drawn.'

'Representation is not something added onto a building but that which makes it possible in the first place.'

'If architecture has lost its historic capacity to fix and determine the limits of urban space and territory, are architects left to work exclusively with images? Or is it possible to accept the reality of this new condition.....?'

'In order to describe or intervene in this new field architects need representational techniques that engage time and change, shifting scales, mobile points of view and multiple programs. '

'Notations- Go beyond the visible to engage the invisible aspects of architecture'

'Even if already performed the work it describes is open to interpretation and change in the course of human performance'

Practice: architecture, technique and representation / essays by Stan Allen; with commentary by Diana Agrest Amsterdam: G+B Arts International, 2000
ISBN 9057010720
AA SHELFMARK: 72.01.036:7.04 ALL

Early thoughts 29.09.12

I struggle with the representation of my interests and ideas which mainly fall around the sensory, phenomenological experiences. Architectural experience as being multidimensional & unpredictable, how is the experience of architecture brought out in its representation? 

I have struggled with the  translation of abstracted theoretical ideas into an architectural language. 

My particular interest which begins to set off this blog for this year is the conscious experience of architecture, being present in a moment at any place &  time, capturing it and just feeling, sensing,being.

How do we begin to represent consciousness in an architectural space?
 

Definitions(taken from other sources);

Consciousness- awareness of one's own existence, sensations, thoughts, surroundings

It has also been defined as: 'subjectivity, the ability to experience or to feel, wakefulness, having a sense of selfhood, and the executive control system of the mind. Stated in the Companion to Consciousness As being: "Anything that we are aware of at a given moment forms part of our consciousness, making conscious experience at once the most familiar and most mysterious aspect of our lives."

Presence- could be described as the 'the part of space within one's immediate vicinity', the spacious relationship to this moment in time, the completeness of being, a 'being which is activated'.

How can we be in two places at once mind in one, body in the other?

How do we  represent architecture in a way that allows individuals to fully experience the architecture through a conscious mind?

The possibilitys of film
Film has the ability to take the viewer to a particular place and moment in time. It has the ability to connect the viewer with the character or the place in an emotional  way without any prior knowledge of the place or person involved. It has the ability to tell a story, represent movement & atmosphere, capture moments with out stripping those moments down to pure still images or altered realistic end realities.

Before Unit 15 Diploma PT Yr 2

Awakening the Psoas- Research Institute dedicated to the PSOAS

Derived from ideas of the architectural experience as one that is facilitated by the body.  We experience architecture and the city through our bodies and therefore  our biology, mental state and awareness of self influences how we experience the world around us. As we move through space we respond to our environment through what the body senses, taste,touch,smell,sight and sound but in order to  experience all aspects of the senses we need to physically move through space/the city. The  Project therefore  aims to experiment with the  body and architecture, the merging of body movement and architecture.

Taking particular interest towards the psoas muscle, our core & centre what gives us the ability to stand upright as vertical beings. The muscle allows for movement, stance, balance and sensory experience, our matter & biology is that what gives us awareness, mental & physical stability & translation. Movement -the way in which we measure, experience and translate space through the body & mind.

Through movement we stimulate the unconscious mind and awaken the Psoas, stimulating fluid flow in the body connecting the skeleton emotional &  muscular core. Through motion the body polarises external realities and becomes an instrument of meaning, Beyond the bodys and the minds spatiality constitutes the thrust of architectural design, the creation of an order not dissimilar from the bodys own.

My proprio receptors help me be aware of my body in space, give me balance sensory perception and transform information into action through my muscles.
I am Stepping back in time to find the rope maker of Deptford, the rope maker who crafted and fabricated the rope to supply the royal navy, the first royal dockyards as it was known. In Deptford he thrived until the v2 rocket hit, suffering in decline through the economic downfall, robbed traumatized feeling empty inside. The Psoas muscle, the core, the centre of his instincts & survival provided him with stability and strength to stand and kick off the enemies, to remain grounded. Emotionally empty with the desire to craft and fabricate, suffering from loss of identity. Falling deeper into fear, the psoas pulls all the extremities together creating an enclosure, safety and protection for the soft vulnerable parts of the body

A system for researching the Psoas, our core, our centre what keeps us stable  & centered, gives us the ability to move, rotate and experience the world around us.

‘I am caught between a peculiar state of consciousness and delusion. My disorientation is exacerbated by the immaculate cleanliness of the pavement and ceiling, totally free of organic matter.’ Polyphilo, The Dark Forest Revisited