1. Do you consider yourself a person of routine? 2. Do you have a daily routine or a certain set of actions you complete daily? please describe them... 3. Do you think routine is an important aspect of todays sociery? why? 4. In 2 years time what are your aims, career wise? 5. Describe the lifestyle setting you see yourself in, in 2 years time? e.g. where geometrically you are living, what type of accommodation, plus and minus points of supposedly living in this way, etc... 6. If you had no restraints on money and no responsibilities, how would your supposed life in 2 years differ from the above scenario? e.g. where geometrically you are living, what type of accommodation, plus and minus points of supposedly living in this way, etc...
Sunday, 8 January 2012
Friday, 6 January 2012
yo news flash. i watched episode 3 series 2 of green wing about 10:10mins in aaaaaaaaaaaaaannnnnndddd, i'v got an i idea about a sound peice. sue white is stiring her tea with a spoon -mundane noise. repetative noises, maybe do a mix. i think i'll make one, get on it.
i have been thinking about doing a painting on how people are similar to insects and how some people have an image that they uphold and spend time on it before they leave the house in the morning. like a kind of gift wrap or onion skin. maybe do a painting of insects in cellophane, or really big insects with ribbon tied around them. how do i make this idea interdisciplinary?
why do i put make up on in the morning? because it makes me feel more confident.
why do i put clothes on in the morning? because it is cold outside. if i defeated the idea of cold. why do i put clothes on in the morning? to stop people from staring at my body parts, to avoid the conversation of 'why have you no clothes on?' so i don't get arrested for inecency. so people don't laugh at me. basically to avoid confrontation and embaressment. why would i feel em barest?
following a routine that you think you are trapped in...
maybe paint a large insect on a map. yes. what other things follow a routine? computers. binary. soildiors. most people with 9-5's most people with kids. kids that go to school.
why is there such a need for routine?
mental security? predictability has its possessive points.
what is non-routine?
answers.com gave me this answer... A routine is a sequence of actions regularly followed. Non-routine would be something you wouldn't do at all regularly. My evening routine is home by six and dinner on the table by seven. Sleeping late is not or non routine in my family. routine is someone banging a drum to the time of music. rituals are routines. what if i routinely at 6pm everyday did something completely spontaneous?
i think sometimes routine makes me feel safe and comforted, but also it bores me and i have to go find a vice. once the vice has been experienced i might just go back to the routine.
watches are routine. until the moment when the stop working and then they are routinely not working.
i am loitering over something paula said the other week, it went something like 'do be afraid to make aesthetically beautiful things' it made me think about it and i think i might have been avoiding making beautiful things because i think when something is beautiful other aspects of it can be overseen and not so pungent. but then when something is not beautiful at all it might be overseen completely and ignored.
i'm still very interested in the subject of nihilism.
ni·hil·ism(n-lzm, n-)
n.
1. Philosophy
a. An extreme form of skepticism that denies all existence.
b. A doctrine holding that all values are baseless and that nothing can be known or communicated.
2. Rejection of all distinctions in moral or religious value and a willingness to repudiate all previous theories of morality or religious belief.
3. The belief that destruction of existing political or social institutions is necessary for future improvement.
4. also Nihilism A diffuse, revolutionary movement of mid 19th-century Russia that scorned authority and tradition and believed in reason, materialism, and radical change in society and government through terrorism and assassination.
5. Psychiatry A delusion, experienced in some mental disorders, that the world or one's mind, body, or self does not exist.
Nihilism (/ˈnaɪ.ɨlɪzəm/ or /ˈniː.ɨlɪzəm/; from the Latinnihil, nothing) is the philosophical doctrine suggesting the negation of one or more putatively meaningful aspects oflife. Most commonly, nihilism is presented in the form of existential nihilism which argues that life is without objective meaning, purpose, or intrinsic value.[1]Moral nihilistsassert that morality does not inherently exist, and that any established moral values are abstractly contrived. Nihilism can also take epistemological, metaphysical, orontological forms, meaning respectively that, in some aspect, knowledge is not possible, or that contrary to popular belief, some aspect of reality does not exist as such.
The term nihilism is sometimes used in association with anomie to explain the general mood of despair at a perceived pointlessness of existence that one may develop upon realizing there are no necessary norms, rules, or laws.[2] Movements such as Futurism and deconstruction,[3] among others, have been identified by commentators as "nihilistic" at various times in various contexts.
Nihilism is also a characteristic that has been ascribed to time periods: for example, Jean Baudrillard and others have called postmodernity a nihilistic epoch,[4] and someChristian theologians and figures of religious authority have asserted that postmodernity[5] and many aspects of modernity[3] represent a rejection of theism, and that such a rejection entails some form of nihilism.
do i have to have a job and a boyfriend and kids to be a respected person? who am i seeking this respect from?
Existential nihilism is the belief that life has no intrinsic meaning or value. With respect to the universe, existential nihilism posits that a single human or even the entire human species is insignificant, without purpose and unlikely to change in the totality of existence. The meaninglessness of life is largely explored in the philosophical school of existentialism.
maybe a painting of the bottom of a boot, with a squished human on it.
maybe a human distorted into the shape of the underside of a boot, or footprint.
Moral nihilism, also known as ethical nihilism, is the meta-ethical view that morality does not exist as something inherent to objective reality; therefore no action is necessarily preferable to any other. For example, a moral nihilist would say that killing someone, for whatever reason, is not inherently right or wrong. Other nihilists may argue not that there is no morality at all, but that if it does exist, it is a human and thus artificial construction, wherein any and all meaning is relative for different possible outcomes. As an example, if someone kills someone else, such a nihilist might argue that killing is not inherently a bad thing, bad independently from our moral beliefs, only that because of the way morality is constructed as some rudimentary dichotomy, what is said to be a bad thing is given a higher negative weighting than what is called good: as a result, killing the individual was bad because it did not let the individual live, which was arbitrarily given a positive weighting. In this way a moral nihilist believes that all moral claims are false.
no action is necessarily preferable to any other
fuck the <enter organisation/ authority figure/ politician here>
i have come across this problem before of 'how do i display things like this in a visual way'
i am very tempted to take things that have in societies eyes larger negative weighting compared to possessive and replace things that are the opposite. although value comes into this immensely.
Ethic value denotes something's degree of importance, with the aim of determining what action or life is best to do or live (Deontology), or at least attempt to describe the value of different actions (Axiology). It may be described as treating actions themselves as abstract objects, putting value to them. It deals with right conduct and good life, in the sense that a highly, or at least relatively highly, valuable action may be regarded as ethically "good" (adjective sense), and an action of low, or at least relatively low, value may be regarded as "bad".
What makes an action valuable may in turn depend on the ethic values of the objects it increases, decreases or alters. An object with "ethic value" may be termed an "ethic or philosophic good" (nounsense).
Deontological ethics or deontology (from Greekdeon, "obligation, duty"; and -logia) is the normative ethical position that judges the morality of an action based on the action's adherence to a rule or rules.[1] It is sometimes described as "duty" or "obligation" or "rule" -based ethics, because rules "bind you to your duty".[2] Deontological ethics is commonly contrasted with consequentialist ethical theories, according to which the rightness of an action is determined by its consequences.[3] Deontological ethics is also contrasted from pragmatic ethics.
Normative ethics is the study of ethical action. It is the branch of philosophicalethics that investigates the set of questions that arise when considering how one ought to act, morally speaking. Normative ethics is distinct from meta-ethics because it examines standards for the rightness and wrongness of actions, while meta-ethics studies the meaning of moral language and the metaphysics of moral facts. Normative ethics is also distinct from descriptive ethics, as the latter is an empirical investigation of people’s moral beliefs. To put it another way, descriptive ethics would be concerned with determining what proportion of people believe that killing is always wrong, while normative ethics is concerned with whether it is correct to hold such a belief. Hence, normative ethics is sometimes said to be prescriptive, rather than descriptive. However, on certain versions of the meta-ethical view called moral realism, moral facts are both descriptive and prescriptive at the same time.
Broadly speaking, normative ethics can be divided into the sub-disciplines of moral theory and applied ethics. In recent years the boundaries between these sub-disciplines have increasingly been dissolving as moral theorists become more interested in applied problems and applied ethics is becoming more profoundly philosophically informed.
Traditional moral theories rest on principles that determine whether an action is right or wrong. Classical theories in this vein include utilitarianism, Kantianism, and some forms of contractarianism. These theories offered overarching moral principles to use to resolve difficult moral decisions.
15(ish) things that could be considered insignificant/unimpotant/high negative weighting/un valuable:
people on benefits.
dirt
racism
dust
generally things that are put in bins
rubbish
faeces
malignant tumour
people who don't live a way that you respect. -alternative livers
anything a person might disapprove of
kids before marriage
drug dealers
carbon dioxide
sweat
15(ish) things that could be considered significant/impotant/high possetive weighting/ valuable:
gold
intellegence
qualifications
charm
tv's
clothing
water
food
conversation
light/heat/energy
electricity
rockets
career with a comparitively high yearly income
family and friends
freedom
transport
exersize
healthy eating
so basically i have just listed things that some people find important and others don't, the list might aswell not exsist becuase it's about what a person thinks. to be productive i need to ask individual people of what the think is important...
binary, but instead of binary make the 0's look like Beatles and the 1 look like a stick insect for example. then laser cut into a massive piece of paper (use illustrator to create the design).
philosophy: a guide to happiness on 4od i watched these and they were very interesting and insightful about philosophers and their comments on how people should be happy and live their lives.
a very high energy short film that displays the relationship between two people, good and bad. emotion provoking, exciting locations.
bizarre. in a old house, scenes are made in different rooms that contrast with the interior. good costume design, which is very fitting and causes me a very awkward and uncomfortable feeling.
i'm not sure what software was used to create this... maybe after effects? there isn't an obvious narrative. but just a display of a band plying in a forest with different effects. the situation projects isolation and the flying pixels reminds me of fairy dust so it is very other worldly. aesthetically good.
using after effects. a short which has imagery that relates to outer space, constilation diagrams, planets etc. the movement of the shapes is directly related to the music, it looks like the music has control over the way the colours and shapes move. visually interesting. no obvious narrative.
After effects. morphing images using correlations between colour and shapes of objects. very surrel and exciting,
Here i have laser cut a design in jpeg format into a piece of oak (wood 3mm). i had to repeat laser cut about 4 times. it set on fire slightly on the last go so i had to press the emergency stop. i blended a mixture of natural yogurt and moss found in the city. i then painted it into the grooves, and put the oak into a shaded sheltered cold place outside. i hope for the moss to grow in the grooves.
“Edwin Deen is an artist of comic relief in daily life. Displaying remarkable collections of combined natural and cultural objects which at first sight seem quite trivial, however with a closer look uncover a web of cross associations in shape, color, function and meaning. Using existing objects as mind triggers. Whether the objects are empty shampoo bottles, a juicer, a pressure cooker, parts of a freezer, Deen sorts, organizes and converts the objects stimulating a broad range of associations triggered by his manipulation. Because many of the objects have been stripped of their every day identity their definition becomes undetermined, hereby opening their reading to be interpreted anew. Edwin Deen’s work and practice is very close to that of a scientific laboratory, with projects like Terra Incognita (2009) showing water and plastic’s ability to transform from solid to liquid to gas undergoing phases of melting and evaporation, his endeavors are of utmost focus however he deconstructs what we “know” as opposed to building on it. In science things are proven based on previously proven facts. Science needs imagination and intuition other wise there would be no progress just as in Edwin Deen’s homespun laboratory the search is into the unknown. In Deen’s work the facts are disappearing and the imagination is physical.” – TAG
“I make objects that serve both as investigations of and bad jokes about the difference between what we believe and what we know about reality. For all the effort that scientists and philosophers have made trying to define and understand the true nature of being, an acceptance of unreality pervades contemporary life, as, among other things, hyperreality, the precession of simulacra, and “truthiness.” Despite the unavoidable, crushing banalities of existence, utopian ideals abound, and in the face of empirical proof that the universe is by and large a cold, random, and unforgiving void, we necessarily seek and expect to find meaningful order. As bleak as this all sounds, it’s not as though contemporary society is blind to these unrealities. It is, after all, a willful suspension of disbelief that makes narrative (and really all social functioning) possible. Still, there is something both sad and hilarious in acknowledging the apparent fallacies inherent in our experience of reality, and my work plays with these absurdities and contradictions without critiquing theories of ontology. Rather than fret about if and why society in late capitalism has adopted a set of symbols that have usurped and replaced some true reality, I’m interested in how such signs affect perceived reality and how altering them in turn affects one’s conscious perception.
As such, geometry is a common theme in my work, as it presents a fundamental example of a gap between what is perceived as real and the “true” reality represented. We tend to think of geometry as the most “physical” or material branch of mathematics, focusing on the visual representation of mathematical axioms, not the axioms themselves. Yet, of course the idea of a heptagon is a pure abstraction, and the visual depiction of the seven-sided object typically evoked by the word “heptagon” is incorrect both as a crude representation of an immaterial concept and as a mere approximation (in that heptagons cannot be precisely constructed with classical methods). Additionally, geometry serves a fundamentally opposite, though equally unreal, secondary symbolic purpose associated with mysticism and the occult. Playing on these symbolic associations, I make large scale wall sculptures using neon or electroluminescent wire that evoke spiritual icons and/or mathematical proofs. Some of the pieces are programmed such that the lights turn on and off rapidly to generate an overwhelming pattern of shapes and light. Though the sequence is based on pseudo random numbers, the rigid symmetry of the symbols imply intentionality and order. Similar pieces are mounted on faux-stone plastic laminate, highlighting the unreality of the material. I’m interested in whether it is possible to generate a sense of sublime experience through the manipulation of quasi-mystical symbols while challenging any subconscious suspension of disbelief by calling attention to the obvious falsity of the construction.
Other works approach such perceptual biases in more ridiculous ways. In Endless Summer, a modified slide projector quickly cycles through images culled from a web search for photos tagged as “paradise,” while the mechanical grind of the projector is amplified in the space. In this piece, and in much of my work, I employ techniques of sensory overload and visual aggression both to emphasize the cognitive dissonance generated by the way the symbols and their associations are manipulated and to create a space of immersion that distorts the viewer’s perceptual capacity in the presence of the object and consequently focuses and delimits the viewer’s perception when the encounter is over. Ultimately, recognizing that any sculptural exploration into the nature of perceived reality is a rather silly, self-defeating activity, my work hews as closely to the comic as possible. There are no mystic truths to reveal but plenty of mundane limitations to laugh at.” – Evan Engstrom
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