tag:blogger.com,1999:blog-73343772972729539592024-03-05T09:02:16.976+00:00lateral connections<p><a href="https://tomgraystone.com">tomgraystone.com</a>
</p><p> <a href="https://tomgraystone.cargo.site"> tomgraystone.cargo.site</a>
</p><p>writings, notes, research, ramblings</p>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.comBlogger27125tag:blogger.com,1999:blog-7334377297272953959.post-89263419636464376192022-03-21T18:47:00.001+00:002022-03-21T18:47:02.866+00:001 week old<p> i keep saying this</p><p>but i want to come back to writing for myself - to get thoughts out, or just to think through things through text</p><p>does this need to be done openly? probably not, but what's the harm when this is something that it really just for myself</p><p><br /></p><p>im teetering on the edge of being able to venture out again</p><p>10 days of isolation </p><p>coming to an end </p><p>too much has probably already been written on this</p><p><br /></p><p>im more interested in being self-interested</p><p>i want to read and write more again</p><p>now i have something occupying more of my time during the week i neeed to be considerate to how i move forward with my own practice</p><p>i dont want to let it slip behind</p><p>but the studio will do a lot to help out with that </p><p><br /></p><p>as will reading, crossing between some theory, some fiction, </p><p>it's funny how when you have all the time when you are out of work, you struggle to find a minute to read, or at least you find it hard to justify that time to yourself to read,</p><p>because there is this sense, well at least for me there was, that to give up that time to read, means i could have been looking for a job, or maybe trying to make work</p><p>but at its core, i find reading to be fundamental to how i develop my ideas, and to think back over the last year, i think through a lack of reading, and a lack of really feeling like i can have time for myself has stifled my thought process and led to struggling at times to flesh out and develop ideas.</p><p><br /></p><p>doom takes over more at that point, you feel like you shouldnt be wasting time</p><p>but actually when you are struggling you also lack the real brain space to take in reading in the same way</p><p>i could read</p><p><br /></p><p>i literally started writing this too long ago - i've been out of isolation for over a week now - i should post this now</p>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-90778885335959970592021-04-18T18:35:00.003+01:002021-04-18T18:35:23.641+01:00a reading list and some quotes to do with what i'm looking at<p> some quotes that have resonated with me while starting to think about what this project could become, and might offer a bit of direction</p><ul class="ul1"><li class="li1" style="font-family: "Helvetica Neue"; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-size: 13.2px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span>“One moment does not follow another, as a sequence of spatial givens that unfolds as moments of time. They are moments in which you lose one perspective, but the “loss” itself is not empty or waiting; it is an object, thick with presence. … You experience the moment as loss, as the making present of something that is now absent (the presence of an absence). You blink, but it takes time for the world to acquire a new shape. You might even feel angry from being dislodged from the world you inhabited as a contourless world.” - Sara Ahmed, <i>Queer Phenomenology<br /><br /></i></li><li class="li2" style="font-family: "Andale Mono"; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-family: "Helvetica Neue"; font-size: 13.2px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s2" style="font-family: "Helvetica Neue"; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">“Lines are both created by being followed and are followed by being created. The lines that direct us, as lines of thought as well as lines of motion, are in this way performative: they depend on the repetition of norms and conventions, of routes and paths taken, but they are also created as an effect of this repetition.” - Sara Ahmed, <i>Queer Phenomenology<br /><br /></i></span></li><li class="li3" style="font-family: Helvetica; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s3" style="font-size: 13.2px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span>“Since one of us was several, there was already quite a crowd” - Giles Deleuze and Felix Guattari, <i>A Thousand Plateaus: Capitalism and Schizophrenia <br /><br /></i></li><li class="li3" style="font-family: Helvetica; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s3" style="font-size: 13.2px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span>“Animated films are for children who believe that “things” (toys, nonhuman animals, rocks, sponges) are as lively as humans and who can glimpse other worlds underlying and overwriting this one.”<span class="Apple-converted-space"> - Jack Halberstam, <i>The Queer Art of Failure<br /><br /></i></span></li><li class="li3" style="font-family: Helvetica; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s3" style="font-size: 13.2px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span>“Writing against the competing philosophical paradigms of structuralism and phenomenology (and hermeneutics in its phenomenological influences), Foucault rejects both the idea that subjects are the mere e√ects of external structures of intelligibility located in large-scale social systems and the idea that reality is an internal product of human consciousness. That is, Foucault refuses the humanist assumption that presumes the existence of an autonomous subject that stands before discourse-power-knowledge practices; on the contrary, Foucault is interested in analyzing the historical conditions that call forth certain kinds of subjectivity. At the same time, he also rejects structuralist accounts of the production of the subject via the imposition of an external system of Power, Language, or Culture. In particular, Foucault eschews Marxist treatments of ideology and false consciousness as well as humanist accounts that make reference to the intentionality of a unified subject, giving power an interior location within the consciousness of a subject whose interests are taken to be self-transparent. Indeed, Foucault cuts through the agency-structure dualism held in place by the clash between phenomenology and structuralism. In Foucault’s account, power is not the familiar conception of an external force that acts on a preexisting subject, but rather an immanent set of force relations that constitutes (but does not fully determine) the subject.”<span class="Apple-converted-space"> - Karen Barad, <i>Meeting the Universe Halfway</i></span><br /><br /></li><li class="li3" style="font-family: Helvetica; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s3" style="font-size: 13.2px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span>“According to Foucault, discursive practices are the local sociohistorical material conditions that enable and constrain disciplinary knowledge practices such as speaking, writing, thinking, calculating, measuring, filtering, and concentrating. Discursive practices produce, rather than merely describe, the subjects and objects of knowledge practices. In Foucault’s account, these conditions are immanent and historical rather than transcendental or phenomenological. That is, they are not conditions in the sense of ahistorical, universal, abstract laws defining the possibilities of experience (Kant), but actual historically and culturally specific social conditions”<span class="Apple-converted-space"> - Karen Barad, <i>Meeting the Universe Halfway</i><br /><br /></span></li><li class="li3" style="font-family: Helvetica; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s3" style="font-size: 13.2px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span>“Anyone who has engaged with video games in the last three decades is familiar with the primary institution that games have been successfully deployed in service of: the consumer marketplace. <b>Games were once created and mutated as a form of folk creativity, distributed and taught by word if mouth;</b> (bold my own) the rehabilitation of games’ association with morally degenerate gambling made the family-friendly board game market possible, and the computing revolution enabled an explosion in the number of increasingly disposable product choices available for consumers” - Naomi Clark, 'What <i>Is </i>Queerness in Games, Anyway?', in <i>Queer Game Studies </i>(ed. Bonnie Ruberg and Adrienne Shaw)<br /><br /></li><li class="li3" style="font-family: Helvetica; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">"Bolter and Grusin say, "We call the representation of one medium in another 'remediation,' and we will argue that remediation is a defining characteristic of the new digital media. ... The electronic medium is not set in opposition to painting, photography, or printing; instead, the computer is offered as a new means of gaining access to materials from these older media, as if the content of the older media can simply be poured into the new one"." - Edmond Y. Chang, 'Queergaming', in <i>Queer Game Studies </i>(ed. Bonnie Ruberg and Adrienne Shaw)<br /><br /></li><li class="li3" style="font-family: Helvetica; font-size: 11px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">"Queergaming is utopia, what José Esteban Muñoz calls "a structuring and educated mode of desiring that allows us to see and feel beyond the quagmire of the present ... that thing that lets us feel that this world is not enough, that indeed something is missing" - Edmond Y. Chang, 'Queergaming', in <i>Queer Game Studies </i>(ed. Bonnie Ruberg and Adrienne Shaw)</li></ul><p style="text-align: left;">and a quick extended reading list, in addition to those quoted above</p><p style="text-align: left;"><br /></p><p style="text-align: left;">McKenzie Wark, Édouard Glissant, Fred Moten, Katherine McKittrick, Katheryn Yusoff , Maurice Merleau-Ponty, Sarah Elwood, Tim Ingold</p><div style="text-align: left;"><br /></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-28396418178837708212021-04-18T17:18:00.001+01:002021-04-18T17:18:40.300+01:00some examples for what I am kinda thinking about for hotel generation<p> i've got some example here of some early thoughts and what it is that i'm trying to get at </p><p>below are some images - videos - sounds - and quotes</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3h_jYbp_tIRRybfvh1Ohy7hNy3gMBWnOxYJzgzIXunGAE4E2RhbHT1195nw-w9vFp3rzmzkQIu43L0y_6qOxiOQy24cD8tC6U8VaYFD3amHsoVDtnaPgqKELIIBuSpON9V7_UxtHKbi6v/s2048/Screenshot+2021-04-18+at+16.30.51.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3h_jYbp_tIRRybfvh1Ohy7hNy3gMBWnOxYJzgzIXunGAE4E2RhbHT1195nw-w9vFp3rzmzkQIu43L0y_6qOxiOQy24cD8tC6U8VaYFD3amHsoVDtnaPgqKELIIBuSpON9V7_UxtHKbi6v/s320/Screenshot+2021-04-18+at+16.30.51.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-eG8tGEL2PbFl-DyvXD6YKG9pviUzhoQgSPU1wVgffFZvaC4xUf952-bSOoMS99K0RrC2tFCJORu7sx5xx0SUYnIxuU4IMOC5fM9gDnDdWIM8RVAfIs3e0duvQRG6VHwjRddhrZA4wa3/s2048/Screenshot+2021-04-18+at+16.30.44.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-eG8tGEL2PbFl-DyvXD6YKG9pviUzhoQgSPU1wVgffFZvaC4xUf952-bSOoMS99K0RrC2tFCJORu7sx5xx0SUYnIxuU4IMOC5fM9gDnDdWIM8RVAfIs3e0duvQRG6VHwjRddhrZA4wa3/s320/Screenshot+2021-04-18+at+16.30.44.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO-NzfFsKKEpbaRixyE6OLqyqAYRvGM8B-sMeDMKxzi0THXgeVrAP2HGmwt1KH-kSTwYiOYNLLQUajdqawc-pieHoyPtwlhWdbT4fvAGa09faBCG5sYZ2cE17vlfOyAcFC6oka7pfdscvH/s2048/Screenshot+2021-04-18+at+16.30.34.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO-NzfFsKKEpbaRixyE6OLqyqAYRvGM8B-sMeDMKxzi0THXgeVrAP2HGmwt1KH-kSTwYiOYNLLQUajdqawc-pieHoyPtwlhWdbT4fvAGa09faBCG5sYZ2cE17vlfOyAcFC6oka7pfdscvH/s320/Screenshot+2021-04-18+at+16.30.34.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmYlFAjUo7LxjsgDW712C9egsOuKgmtSPs5xhEpRt1gLnQEVAmHwE7RYwsSbbo31JQ7hSvtD3oblcr7_dMQaMMOtPbosaaR2aMTDOs0cQgMzCBWxV52jG5FTI_T7fHT9cO77kZ4gAYZkCd/s2048/Screenshot+2021-04-18+at+16.30.24.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmYlFAjUo7LxjsgDW712C9egsOuKgmtSPs5xhEpRt1gLnQEVAmHwE7RYwsSbbo31JQ7hSvtD3oblcr7_dMQaMMOtPbosaaR2aMTDOs0cQgMzCBWxV52jG5FTI_T7fHT9cO77kZ4gAYZkCd/s320/Screenshot+2021-04-18+at+16.30.24.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTK_ly5W5mbF3KQ1xR8S1u7o1odl-mm0XSEsRPuPqpG38-FJj_8OvGR_iTYY32XA-pqjbepwQYjroCV2x97_ECQ1pmVpVrQZSO09hGW3gjHsqBS7DjmKMtO1PWXTxJyPMADI7Axc0Xe7_/s2048/Screenshot+2021-04-15+at+18.35.50.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTK_ly5W5mbF3KQ1xR8S1u7o1odl-mm0XSEsRPuPqpG38-FJj_8OvGR_iTYY32XA-pqjbepwQYjroCV2x97_ECQ1pmVpVrQZSO09hGW3gjHsqBS7DjmKMtO1PWXTxJyPMADI7Axc0Xe7_/s320/Screenshot+2021-04-15+at+18.35.50.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">some examples of collecting point cloud data from a simple landscape, the amount of points is changeable via the point density input</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwtiwMHKdwZXehfq6brQlmGySZTpjxD1AOuMavJrZ7f0fItJZNh3hEBK-mIwVLGzkqIuKuflR4smWZnO_ElAw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><div class="separator" style="clear: both; text-align: left;">a render of changing the point density on a model i made of my kitchen</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">below are some quick versions of sounds created from datasets - i used https://musicalalgorithms.org to create these with just using a selection of the x co-ordinates from a point cloud, ultimately i want to write a script to feed into a DAW so i have more control over the initial midi instrument sounds</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div>
<iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1031979793&color=%239ca48c&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/user-566504688" title="tomtompotato" target="_blank" style="color: #cccccc; text-decoration: none;">tomtompotato</a> · <a href="https://soundcloud.com/user-566504688/vibraphone-dataset" title="Vibraphone Dataset" target="_blank" style="color: #cccccc; text-decoration: none;">Vibraphone Dataset</a></div>
<iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1031979340&color=%239ca48c&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/user-566504688" title="tomtompotato" target="_blank" style="color: #cccccc; text-decoration: none;">tomtompotato</a> · <a href="https://soundcloud.com/user-566504688/piano-dataset" title="Piano Dataset" target="_blank" style="color: #cccccc; text-decoration: none;">Piano Dataset</a></div>
<iframe width="100%" height="300" scrolling="no" frameborder="no" allow="autoplay" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1031979664&color=%239ca48c&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true"></iframe><div style="font-size: 10px; color: #cccccc;line-break: anywhere;word-break: normal;overflow: hidden;white-space: nowrap;text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif;font-weight: 100;"><a href="https://soundcloud.com/user-566504688" title="tomtompotato" target="_blank" style="color: #cccccc; text-decoration: none;">tomtompotato</a> · <a href="https://soundcloud.com/user-566504688/synth-drum-dataset" title="Synth Drum Dataset" target="_blank" style="color: #cccccc; text-decoration: none;">Synth Drum Dataset</a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><a href="https://tomgraystone.com/wip" target="_blank">here</a> is a link to some current works in progress, i've been experimenting with blender as a video editing tool, as well as trying to understand more about animating, and utilising blender's new geometry nodes</div><p></p>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-60609320956198054202021-02-18T17:25:00.002+00:002021-02-18T17:25:41.226+00:00from iphone notes<p> <b style="font-family: "Helvetica Neue"; font-size: 17px;">This is a push right now</b></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">But I’m trying to comprehend avenues of exploration for research</p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">And I’m thinking looking at ideas of phenomenology in relation to digital life/space is interesting. This can link into to research around repetition. Which I think is inherent in my practice. And often the forms i can be creating/reproducing (maybe regenerating) pieces (I was going to use work, but I don’t know if I want to distance myself somewhat from that word).<span class="Apple-converted-space"> </span></p><p class="p3" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">As an initial reading list<span class="Apple-converted-space"> </span></p><ul class="ul1"><li class="li2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Fred Moten - ‘The Universal Machine’</li><li class="li2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Sara Ahmed - ‘Queer Phenomenology’</li><li class="li2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Giles Deleuze - ‘Difference and Repetition’</li><li class="li2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Laura U. Marks - ‘Skin of the Film’</li><li class="li2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Emanuel Levinas - unsure.<span class="Apple-converted-space"> </span></li><li class="li2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Martin Heidegger?</li></ul><p class="p3" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">This list will expand. Some of it is coming off of who I know moten and Ahmed look at in their writings (Levinas and Heidegger). Marks’ ideas around hapticality I think will be interesting to look into and think about how touch <i>can </i>inform phenomenological perspectives — often a sensual experience of something can lead to the belief of it being real.<span class="Apple-converted-space"> </span></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Maybe there’s interesting angles in looking into Cartesian dualism? And the schools of thought that go against certain strains of phenomenology.<span class="Apple-converted-space"> </span></p><p class="p3" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p class="p3" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><br /></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><i>This is a side thought — but does digital phenomenology create what can maybe only be described as a digital proximity, or at least a belief in such a proximity, to those that only exist digitally to us? I guess I’m trying to think about this in the way people create certain fan cultures, speak about celebrities as though they are friends, and have the ability to interact online with them, although most of the time only in a one directional way — fan to celebrity, though communication never returned — I dunno this is interesting because it feels like it links in to conversations we’ve been having to do with the ways in which social media, isn’t a space for particular discourses due to its limitations. It doesn’t encourage conversation as much as a cacophony of multitudes, voices from every direction saying the same and different. But without the unison that is apparent in a conversation. And I guess in this way it becomes (I’ve forgotten the word right now, but there’s a great word in 1000 Plateaus, to do with trees and linked to roots growing down from the tree) but it’s that, it’s coming from a particular stem every time. So you get these different roots that always link up to the main stem, but sometimes have their own offshoots as well.<span class="Apple-converted-space"> </span></i></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><i>And obviously there is something interesting existing within this practice of communication. In a lot of ways it feels like it emulates the manner in which books/magazines can operate. It’s like the editors letters, but more immediate. That you might ask something, but you probably won’t get a response from someone deemed bigger/reputable. This has kinda spiralled, but there’s maybe something to look at here that links. <span class="Apple-converted-space"> </span></i></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><i><span class="Apple-converted-space"><br /></span></i></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><br /></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><i>addendum </i></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><i><br /></i></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">as I'm copying and pasting this, I have this funny moment of pause</p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">I couldn't exactly say what it is that is making me want to publish this out - I mean it really is just some inner thought scrawlings in relation to having been reading some of <i>The Universal Machine</i></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">and there are some interesting things here, and I thinks it (alongside exploring different online exhibitions) has made me feel excited to try and put something together, hopefully with a group of people, I guess just depending on what the people I speak to think about it</p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><br /></p><p class="p2" style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: Helvetica Neue;"><span style="font-size: 12px;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Helvetica Neue;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/53I6fcFXqxo" width="320" youtube-src-id="53I6fcFXqxo"></iframe></span></div><span style="font-family: Helvetica Neue;"><br /></span><p></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><br /></p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">I'm going to try and post on this more regularly again</p><p class="p2" style="font-family: "Helvetica Neue"; font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">I lost a lot of energy over the past few months and was only doing things sporadicly, so maybe trying to keep more of a digital record could be helpful</p>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-45122088041588822152020-10-11T16:07:00.001+01:002020-10-11T16:07:56.994+01:00LiDAR <p> trying to research into LiDAR technology a little bit, get a kind of understanding of it</p><p><a href="https://www.youtube.com/watch?v=7bW4VJh6N84&feature=youtu.be&list=PL1c6oWavvaQrZiTXiVCU00xlQvdDhBkZy">https://www.youtube.com/watch?</a></p><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.youtube.com/watch?v=7bW4VJh6N84&feature=youtu.be&list=PL1c6oWavvaQrZiTXiVCU00xlQvdDhBkZy"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7bW4VJh6N84" width="320" youtube-src-id="7bW4VJh6N84"></iframe></a></div><br /><p></p><p>i dunno, there is something that i really enjoy about the imagery of these point maps<br />i guess it gives this feeling of how a computer could see - this mixture of a heat map/point map </p><p>everything is constructed through these points, there's a strange atomisation of everything, the way a road marking is viewed is the same as how a person, or a vehicle is realised</p><p>it's a kind of holistic view of the world </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Y8C33NvQbLY" width="320" youtube-src-id="Y8C33NvQbLY"></iframe></div><br /><p>and with this video - the manipulation of the view point gives a visualisation to the difference of the method of capture - because i think there's a pull to see this as a type of photography - and in a way you have this development process of the image, but maybe a question arises in thinking about this in Bathes terms of studium and punctum - could a 3D scan like this have a punctum? or maybe that is kinda the challenge of how you make sure this technology doesn't only become situated as just a <i>tool</i><br />because it maybe feels easier to assign the cultural position of the studium to an image/scan created in this way - and it almost feels double layered in its studium at the moment because of the relative newness of the technology </p><p>what's maybe interesting is that everything it is picking up is relative to something existing on different layers (<i>textured</i>)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg4oiIsQzdalqwS4YDPoW5I9zAgv2gUrGbRiJTQEInqtna0PNwBKLDPsdVw8gPvJFXcSAiQHspGEeDxVxubzQQWztKt8vcnSbII3p9M5wbbepJXW-k4lNTajVVa54MjQ6pPJ52BWUXBiSc/s1255/Screenshot+2020-10-11+at+15.26.03+copy.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="892" data-original-width="1255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg4oiIsQzdalqwS4YDPoW5I9zAgv2gUrGbRiJTQEInqtna0PNwBKLDPsdVw8gPvJFXcSAiQHspGEeDxVxubzQQWztKt8vcnSbII3p9M5wbbepJXW-k4lNTajVVa54MjQ6pPJ52BWUXBiSc/s320/Screenshot+2020-10-11+at+15.26.03+copy.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxA1zLacSk5Tv3mhHSWwhltDcdaBd4AvYPsooBV2TOnyxI18Z57TO_u5_7AiUaCnLm7C2zwCGWCGrWlaF_uj3NZzOtMMm8kWwkPPnhpappkYLpD5v1hC_bWTFbtkj8CQEkcBDQGtQRD0jo/s1477/Screenshot+2020-10-11+at+15.27.38.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1236" data-original-width="1477" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxA1zLacSk5Tv3mhHSWwhltDcdaBd4AvYPsooBV2TOnyxI18Z57TO_u5_7AiUaCnLm7C2zwCGWCGrWlaF_uj3NZzOtMMm8kWwkPPnhpappkYLpD5v1hC_bWTFbtkj8CQEkcBDQGtQRD0jo/s320/Screenshot+2020-10-11+at+15.27.38.png" width="320" /></a></div><br /><p>looking at the comparison between these two images, you can see that the LiDAR has registered the STOP markings on the tarmac, raised painted marking, versus the stop sign that only shows the shape, with any printed marking being lost</p><p>to capture something with this - you need an element of depth - without depth you are left with a plain front </p><p>for a minute i was thinking that this maybe lends itself more to looking at natural forms, as there is much more likely to be elements of texture, less flat surfaces, but i guess in thinking about it more, i would be really interested to see the level of detail LiDAR could capture - because realistically even something we visually perceive as being smooth, is most likely going to have at least small imperfections</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iwO_QPA0dYk" width="320" youtube-src-id="iwO_QPA0dYk"></iframe></div><br /><p>there's something about the contexts that this technology is being presented in by the creators - obviously it is very much linked to notions of automation, self-driving cars/smarter cars, and then in this warehouse setting - and in this warehouse setting, i guess it makes me think of maybe the above point of how does it register smooth surfaces? does there have to be an integration of LiDAR to allow some form of automated device/vehicle to move around the space, then another kind of barcode scanner that registers an item for collection - i think the thing is that the potential of technology like this for examination of spaces, whether that be natural sites (woodlands, rainforest, deserts etc.), and also for examination/recreation of historical sites feels very exciting, but obviously there has to be this push towards business, ways of seemingly making things <i>easier</i>, removing the potentiality of human error - gradually phasing out workers</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/TsXuvT5CDsM" width="320" youtube-src-id="TsXuvT5CDsM"></iframe></div><div><br /></div>i am looking at the moment at one particular maker of LiDAR sensors, but interestingly on their website i've just seen this <br /><span> </span><span> </span><span> </span><span> "The OS1 now outputs fixed resolution depth images, signal images, and ambient images in real <span> </span><span> </span><span> </span><span> </span><span> </span>time, all without a camera...The OS1 captures both the signal and ambient data in the near <span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>infrared, so the data closely resembles visible light images of the same scenes"</span><div><br /></div><div>i mean i'm still trying to fully understand how all of this works.</div><div><br /></div><div>more to come</div><div><br /></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-86518860326270428732020-08-29T16:10:00.003+01:002020-08-29T16:10:54.095+01:00thoughts<p> seeing as most people viewing my work are coming from my own facebook/instagram sharing, and are viewing on mobile i'm trying to have a bit of a rethink of how this all exists</p><p>i like it online, i think the desktop version works, but i feel like its not engaging people</p><p>there are a couple of changes i have planned</p><p>and im going to go back to unity to work out how to develop it as a mobile app - because maybe then people would explore the space? maybe it could be something that gets regularly updated</p><p>new spaces could be added?</p><p>i dunno it feels like it opens it up more to a way that people are engaging with.</p>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-14824354033877447782020-08-02T17:39:00.003+01:002020-08-14T17:31:01.051+01:00position stalemate - sorry statement<iframe src="https://drive.google.com/file/d/1Wz0_dKV6ZR0icbpOJSLzySrLVHgfzRqX/preview" width="640" height="480"></iframe>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-78190638202566115582020-08-01T19:32:00.000+01:002020-08-17T12:11:21.009+01:00A Rhizomatic Approach to Disorientating Language and Embracing Hapticality <p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">flitting around the scene</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>attempting to form some</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>coherent</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">stream<span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>of writing - befitting this</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>moment ahead</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">attempting not to make you</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>lay your head.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">A study into ginger,<span class="Apple-converted-space"> </span></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">turmeric, <span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>and potatoes,</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>offers some guidance<span class="Apple-converted-space"> </span></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>for the</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>disparate structure —</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>some verticality</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>clear from one point to the next,</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>other moments stretching</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>attention, split screen</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>hundreds of monitors,<span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>like</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span>looking into<span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>a security office from any</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>sit-com.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span class="s1" style="font-kerning: none;"><i><span class="Apple-tab-span" style="white-space: pre;"><font face="helvetica"> </font></span></i></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"><i></i></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"><i></i></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><i><font face="helvetica"><br /></font></i></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"></p><blockquote><font face="helvetica"><i>Disorientation could be described … as the “becoming oblique” of the world, a becoming that is at once interior and exterior, as that which is given, or as that which gives what is given its new angle. Whether the strangeness is in the object or in the body that is near the object remains the crucial question </i>(Ahmed, 2006, p162)</font></blockquote><p></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">What I want to try and present here is an examination into the methodology, methods, and contexts within which I am trying to create a study in making language fugitive, embracing hapticality, and disorientating it, to take terms from Fred Moten and Sara Ahmed.</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Language is enmeshed through social consciousness, effecting every decision we make. It is something that we can only ever learn, rather than just acquire, and the way we learn it places us within a wider collective. In some instances, this offers value and reinforcement, but in many other ways it provides a prison to reside in. How can we move beyond the milieu of language? One that finds itself rooted in heteronormative, anglo-centric ideals. How do we rationalise the fact that language is just a creation of someone else, a total fabrication that only makes sense due to the compounded history of its use?</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">What follows is an exposition into a rhizomatic methodology, trying to create a sense of what Fred Moten calls ‘hapticality’ in the way in which I create work.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"></span></font></span></p><blockquote><font face="helvetica" size="2">when Black Shadow sings “are you feelin’ the feelin?’’ he is asking about something else. He is asking about a way of feeling through others, a feel for feeling others feeling you. This is modernity’s insurgent feel, its inherited caress, its skin talk, tongue touch, breath speech, hand laugh. This is the feel that no individual can stand, and no state abide. This is the feel we might call hapticality. (Harney and Moten, 2013, p98)</font></blockquote><p></p><p class="p3" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"><b><i></i></b></span><br /></font></p><p class="p3" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"><b><i></i></b></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><b><i><font face="helvetica">Rhizomatic Methodology</font></i></b></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"><i></i></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">I am situating my practice from a rhizomatic methodology that entails both writing and making in a generative space that allows a cross-dissemination of ideas that isn’t structured rigidly. In a way that allows shifts to take place whether between ideas, modes of making, or what is underpinning my work.</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">I have also situated a lot of what I’m doing around ideas of language, how it functions, the inconsistencies of language, and how it is a made up thing. So in this way it subverts a direct notion of rhizomes as Deleuze and Guattari stipulate it, but in repurposing this as a methodology it allows a freedom from, or potentially, using a term from Fred Moten, a fugitive course of working through rhizomatic thinking and doing. However, it should be noted that there is a difference between <i>freedom</i> and <i>fugitivity, </i>I see freedom existing as something that is offered to me by my position in the world, the lived experiences I have, and my place to have the opportunity to work openly. Fugitivity functions as a sliding away from the predetermined ‘norms’ of working, writing and making. It allows a functioning within an institutional framework, and the academy, while finding paths to traverse that elude and duck away from the homogenising framework present within academic/institutionalised writing and making. <a href="http://arika.org.uk/archive/items/episode-6-make-way-out-no-way/fugitivity-and-waywardness" target="_blank">(Moten, 2014)</a></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Through this rhizomatic methodology, I have been trying to employ different methods of working that allows dispersed thinking and deciphering of ideas. Two of the key working methods I have tried to situate myself in are free writing and subconscious making.</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Free writing, or stream of conscious writing, allows for a form that removes established protocols of writing, such as formatting, grammar, spelling, and coherence around what is being posited. It allows thinking to take place in all directions, it allows moments to err, to question, to rethink, and to establish links between what can feel like disparate thoughts. It allows new thinking to flourish and diverge, often within moments of each other; and then after a chance to reappraise what it is that you have been thinking, find ways to further delve into ideas that are bubbling under the surface.</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">For me as well, free writing allows the opportunity to write in a way that can feel more poetic, that allows a shift between prose and poetry as a way of understanding. Sometimes using mechanisms such as rhyming or rhythm feel as valid to dig into an idea, as prolonged meditation on a point that exists only within your mind.</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Using the rhizome as a basis for a methodology allows the generation of ideas to take place as a constant ongoing process, as opposed to something static, existing only within one place or time. The making process takes place in a state of flux, it is something that is volatile, and in someways something we could question as whether it is truly existent.<span class="Apple-converted-space"> </span></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">I find a link to this form of generative, process-based working as linking to the metaphysical paradox of the <a href="https://en.wikipedia.org/wiki/Ship_of_Theseus" target="_blank">‘Ship of Theseus’</a>, because when all of the work is existing within a realm of constant process, with no defined beginning or end, does the work, or the project of research find itself as the same throughout? As the boundaries shift, as the work that is being created is repurposed and recontextualised, is it the same piece of work? And in the same vein, when this links up to language, how does a constantly evolving language ever find a way to situate itself as a defined ‘<i>language’</i>? Because what we describe as English today, in parts widely differs from how it was situated when it was first collected together, and even how it was used 10, 20, 50, and 100 years ago.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Within the notion of the rhizome, one key is the removal of hierarchies, Deleuze and Guattari posit the rhizome in contrast to the arborescent structure of using the tree as an analogy for thinking. The arborescent functions alongside Cartesian ideas around dualism, positing binaries as a way of contending and thinking through ideas. The arborescent model only allows for unidirectional thinking, one point must lead on to the next and it has to be a constant development of a thought - i.e. Darwinian evolution. In contrast, the rhizome allows thinking to take place in a way where connections can be drawn between any thought and another, there is no hierarchy in place to pride one idea over another, everything is seen as equally as valuable.<span class="Apple-converted-space"> </span></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">The principles of the rhizome set out by Deleuze and Guattari can provide a clear view of what a rhizome can be, and how we can enact this.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><i><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"></span></font></i></span></p><blockquote><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Deleuze and Guattari introduce A Thousand Plateaus by outlining the concept of the rhizome (quoted from A Thousand Plateaus):</font></span></p><ul class="ul1"><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s2" style="color: #1a1a1a; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">1 and 2. Principles of connection and heterogeneity: "...any point of a rhizome can be connected to any other, and must be";</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s2" style="color: #1a1a1a; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">3. Principle of multiplicity: it is only when the multiple is effectively treated as a substantive, "multiplicity", that it ceases to have any relation to the One;</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s2" style="color: #1a1a1a; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">4. Principle of asignifying rupture: a rhizome may be broken, but it will start up again on one of its old lines, or on new lines;</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s2" style="color: #1a1a1a; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">5 and 6. Principle of cartography and decalcomania: a rhizome is not amenable to any structural or generative model; it is a "map and not a tracing". <a href="https://en.wikipedia.org/wiki/Rhizome" target="_blank">(Wikipedia, Rhizome)</a></span></font></li></ul></blockquote><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">I find the fourth principle, “<i>asignifying rupture” </i>particularly important - the idea can be broken, but it will start up again, whether as something linked to an older line of thought, or reemerges in a new line.<span class="Apple-converted-space"> <span class="Apple-tab-span" style="white-space: pre;"> </span></span></font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"><font face="helvetica"> </font></span></span></p><blockquote><font face="helvetica">Rhizomes do not propagate by way of clearly delineated hierarchies but by underground stems in which any part may send additional shoots upward, downward, or laterally. There is no hierarchy. There are no clear lines of descent. A rhizome has no beginning or end. It is always in the middle. All that is required to grow potatoes is burying the discarded skin of a potato. They simply begin again wherever they are. The key to the rhizome, and the reason Deleuze and Guattari take it up as a way of thinking about not only books but things in general, is that the rhizome continually creates the new. It is not predictable. It does not follow a linear pattern of growth and reproduction. Its connections are lateral not hierarchical. (Adkins, 2015, p23)</font></blockquote><p></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Alongside this - the rhizome as a way of thinking about work has also allowed for it to be thought of within the fifth principle of cartography, laying out a map of connections between divergent ideas and forms of making. This mapping takes the form of documentation of changing work and working environments, whether through photographing or videoing work in various iterations of existence, or through the connections that can be drawn between physical objects within the space of either the studio or somewhere else work is being shown. Not only the exteriority of physical research exists within this cartography, interiority, the ideas that have yet to fully manifest, the ones that I feel unsure whether to make physical, also exist within this mapping. Navigating day to day life, reality television, interactions with people, with my cat, autopilot journeys to the studio from home and back, all leave a mark on the map.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">I want to situate this cartographical experience within Ahmed’s work around disorientation, taking disorientation to stipulate a method of confusion as a means of advancing research. Within the rhizomatic methodology, there is not a straight line always to be drawn between differing ideas that arise during researching. Engaging in a material-led practice that is attempting to draw on subconscious making can often feel in opposition to pursuing academic research.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"> </font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: right;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>Confusion is generative.<span class="Apple-converted-space"> </span></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: right;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span><span class="Apple-tab-span" style="white-space: pre;"> </span>Disorientation is generative.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: right;"><span class="s1" style="font-kerning: none;"><font face="helvetica"> </font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Staring into the rabbit hole opens vast new opportunities to follow the old lines of the rhizome and develop new ones. The research and work acts as though another body in the space,</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span></font></p><blockquote><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">If the sexual involves the contingency of bodies coming into contact with other bodies, then sexual disorientation slides quickly into social disorientation, <i>as a disorientation of how things are arranged</i>. The effects are indeed uncanny: what is familiar, what is passed over in the veil of its familiarity, becomes rather strange. (Ahmed, p162)</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"></p></blockquote><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Through intimate engagement with the research, it begins to take on a form of its own. The project becomes living and breathing, an embodiment of your ideas in a new form. It reinforces a strangeness, a confusion that is necessary to move the research forward.<b><i> </i></b>As Henry Rodgers suggests, “should we find ourselves in moments of queer confusion, it would do us well to remember that confusion is productive for it always leads to yet another critical thought.” (Rodgers, 2007, p16) It can present itself as a wall that feels like you’re banging your head against, but it is all worthwhile, even in the moments that feel static.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><b><i><font face="helvetica">Echolalia<span class="Apple-converted-space"> </span></font></i></b></span></p><p class="p3" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"><b></b></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Another method I have been using in conjunction with trying to think and work rhizomatically is a bastardisation of the term echolalia. The etymology of echolalia shows it is derived from “the Greek ἠχώ, meaning “echo” or “to repeat”, and λαλιά (<i>laliá</i>) meaning “speech” or “talk”” <a href="https://en.wikipedia.org/wiki/Echolalia" target="_blank">(Wikipedia, Echolalia)</a>, and it is often used to describe the mechanisms used by young children as they begin to learn to speak. It can also be viewed as imitative learning, with young children mimicking the sounds they hear the people around them use as they begin to assign sounds as semiotic signs.</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">Within my own practice I have adopted the term echolalia to refer to both making work through repetition, and verbatim copying of quotes from different sources. Alongside this, using repetition has become a signifier for language as a whole, the way that even after being young children we still learn through repetition, we assign meaning to things through a repetitive use, or description, of what something should be, or is like.<span class="Apple-converted-space"> </span></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s1" style="font-kerning: none;">Engaging with echolalia as a making method allows for a forensic look into the materiality of what is being used, how it responds to different actions, how it is made up, and how it can be transformed through repetition. Within my own practice, I have taken to looking at yarn and different means of shaping yarn through repetitive action, starting first with crocheting and later looking at knot tying. In both the crocheting and knot tying you see the way in which repetition allows something to form and change shape and composition. Through the repetitive making, it becomes clear how addition layers effect the entirety of what is being made, whether that is shown through an error in the crocheting that changes the shape of the piece, or how the density of the knot builds as more layers are knotted around it. And for me, this signifies how language functions as a collective knowledge,</span><span class="s3" style="color: #fb0207; font-kerning: none;"><b> </b></span><span class="s1" style="font-kerning: none;">in the same way one change effects the shape of the crocheting, minor changes take root in english, slowly changing the way we spell or use words. With language we can work through the etymology of a word, which in a sense becomes its material, while then starting to see how the shape of language can change through the recontexualisation of a word, or how words develop leaving lingering traces of its past life in a different societal moment. Language is ultimately palimpsestuous, especially within the colonial and postcolonial sites english has found itself situated. It adopts slang and patois, as a means of assimilation and control.<span class="Apple-converted-space"> (Footnote: </span></span><span style="font-size: 11px;">Colonial and postcolonial control has also been asserted through forcing political and economic discourse to be carried out in the coloniser language, alongside minor attempts to encourage assimilation to the colonisers’ culture through the adoption of certain slang.)</span></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s1" style="font-kerning: none;">Through using echolalia, research changes from being referential to others’ work, to becoming psychosomatic allowing an embodiment of ideas to manifest through repetitive making, and the space for thinking these repetitive actions allow. Meaning becomes embodied through the generation of work, it comes from spending time with the work, allowing other ideas to gestate within the maker and subconsciously emerge through the work. It builds on the way the world is formed through repetition, whether that be on the natural level of the cycle of nature and seasons (Footnote: </span><span style="font-size: 11px;">And inherent in this, and linking to the way a mistake or error causes a change to the overall structure, we can also see the links to climate change as a compounding of historical errors and disrespect to the natural world.</span><span class="Apple-converted-space" style="font-size: 11px;">)</span>, or how we now in the technological age repeat, mimic, and mirror ourselves through online platforms.<span class="Apple-converted-space"> </span></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">To enable a wider understanding of what informs my working methods, and the context I am engaging with to create work, I have been looking at ways in which to democratise the exhibition space, following on from the removal of hierarchies discussed earlier related to rhizomes. This is as much an ethical issue for me, as it is one based off of the ideas of the rhizome. In delineating hierarchies, I want to make sure that all ideas of what is being shown are valid in the space, that there is not a wrong answer, and that allows the work to be referred to within the viewer’s own lived experiences. In trying to communicate this, and allow the viewers’ interpretations to be reflected back, the idea of a research/resource space (Harris, 2019) alongside any exhibited work is my ideal scenario, or if not potentially some online portal that allows access to what it is that has informed me, and somewhere where viewers can leave information they think may be relevant, or is at least relevant to them. It, in a sense, becomes an attempt at crowd-sourcing context for the work, allowing the work to continue to function on the rhizomatic level where new lines can be drawn, whether attached to old lines or entirely new. This keeps the exhibited work in the state of flux the rhizome entails, “a 'rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo.’” (Deleuze and Guattari, 2005, p25)</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">This communal library, or research/resource space, exists as a method of presentation, and runs in contradiction to the use of repetition in the working method of echolalia. While the echolalia is about the use of repetition and what can be seen through how we repeat things, in this form of presenting, I do not want the exhibiting to become about echoing only the ideas I have been putting forward, but to become an open forum for a shared engagement with the work. Adding to the cartographical practice, and enabling the viewer to become part of the mapping process of the overall research project.</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">The work and research exists at the periphery of finality, continuing in motion, in flux. Attempting to embody the hapiticality discussed by Moten and Harney,</font></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"><font face="helvetica"> </font></span></span></p><blockquote><font face="helvetica" size="2">Hapticality, the touch of the undercommons, the interiority of sentiment, the feel that what is to come is here. Hapticality, the capacity to feel through others, for others to feel through you, for you to feel them feeling you, this feel of the shipped is not regulated, at least not successfully, by a state, a religion, a people, an empire, a piece of land, a totem. (p98)</font></blockquote><p></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica">This hapticality disrupts the hierarchies in the Deleuzian and Guttarian way, creating an entanglement of maker and viewer, where both function separately and in conjunction. Where both parties contribute to the ongoing research, attempting to disseminate and decode multiple uses of language. Looking for the mirroring and repeating, of ideas and of self; the embodiment of language through physical ephemera.</font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><br /></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><br /></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><br /></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><br /></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><font face="helvetica"><br /></font></span></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><b><font face="helvetica">Bibliography</font></b></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><ul class="ul1"><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Adkins, Brent,<i> Deleuze and Guattari’s: A Thousand Plateaus Critical Introduction and Guide, </i>(Edinburgh: Edinburgh University Press, 2015)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Ahmed, Sara<i>,<span class="Apple-converted-space"> </span>Queer Phenomenology, </i>(Durham: Duke University Press, 2006)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">De Brabandere, N., “Sticky Currents: Drawing folds in serial exhaustion”, <i>Journal for Artistic Research</i>, Issue 9, 2015, <<a href="https://www.researchcatalogue.net/view/134510/134511"><span class="s5" style="font-kerning: none;"><i>https://www.researchcatalogue.net/view/134510/134511</i></span></a>>, [Last Accessed 10/12/2019]</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Deleuze, G., and Guattari, F.<i>, A Thousand Plateaus: Capitalism and Schizophrenia, </i>(Minneapolis: University of Minnesota Press, 2005)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Halberstam, J., <i>The Queer Art of Failure</i>, (Durham: Duke University Press, 2011)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Hannula, M., Vadň, T., and Suoranta, J., <i>Artistic Research: Theories, Methods and Practices</i>, (Helsinki: Academy of Fine Arts, 2005)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Harney, S., and Moten, F., <i>The Undercommons</i>, (Wivenhoe: Minor Compositions, 2013)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Kristeva, J., <i>Revolution in Poetic Language</i>, (New York: Columbia University Press, 1984)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">McLeod, K., “Writing/Art”, <i>Studies in Material Thinking</i>, Volume 01:1, 2007, <<a href="https://www.materialthinking.org/sites/default/files/papers/Katy.pdf"><span class="s5" style="font-kerning: none;"><i>https://www.materialthinking.org/sites/default/files/papers/Katy.pdf</i></span></a>>, [Last Accessed: 10/12/2019]</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">mojoDallas, and Steyerl. H, “No Ground”, </span><span class="s5" style="font-kerning: none; text-decoration-line: underline;">https://<a href="http://possiblebodies.constantvzw.org">possiblebodies.constantvzw.org</a></span><span class="s1" style="font-kerning: none;"> [Online], 05/03/2017 <<a href="https://possiblebodies.constantvzw.org/inventory/?012"><span class="s5" style="font-kerning: none;">https://possiblebodies.constantvzw.org/inventory/?012</span></a>>, [Last Accessed 10/12/2019]</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Moten, F., <i>Black and Blur</i>, (Durham: Duke University Press, 2017)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Moten, F., and Tsang, W., <i>Who Touched Me</i>, (Amsterdam: If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, 2016)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">Possible Bodies, “Disorientation", <a href="https://possiblebodies.constantvzw.org"><span class="s5" style="font-kerning: none;">https://possiblebodies.constantvzw.org</span></a> [Online], <<a href="https://possiblebodies.constantvzw.org/inventory/?Disorientation"><span class="s5" style="font-kerning: none;">https://possiblebodies.constantvzw.org/inventory/?Disorientation</span></a>>, [Last Accessed 10/12/2019]</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Rodgers, H.<i>, Queertexturealities, </i>(Birmingham: Article Press, 2007)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Ruiten, S. v., Wilson, M., and European League of Institutes of the Arts, <i>SHARE: Handbook for Artistic Research Education</i>, (Amsterdam: ELIA, 2013)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Singh, J.,<i> No Archive Will Restore You, </i>(Montréal: 3Ecologies Books / Immediations, 2018)</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"><i></i></span><span class="s1" style="font-kerning: none;">Wikipedia<i>, </i>“Echolalia”<i>, </i><a href="https://en.wikipedia.org"><span class="s5" style="font-kerning: none;">https://en.wikipedia.org</span></a> [Online], <<a href="https://en.wikipedia.org/wiki/Echolalia"><span class="s5" style="font-kerning: none;">https://en.wikipedia.org/wiki/Echolalia</span></a>>, [Last Accessed 09/12/2019]</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">Wikipedia, ‘Ship of Theseus’, <a href="https://en.wikipedia.org"><span class="s5" style="font-kerning: none;">https://en.wikipedia.org</span></a> [Online], <a href="https://en.wikipedia.org/wiki/Ship_of_Theseus"><span class="s5" style="font-kerning: none;">https://en.wikipedia.org/wiki/Ship_of_Theseus</span></a>, [Last Accessed 09/12/2019]</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">Wikipedia, ‘Rhizome’, <a href="https://en.wikipedia.org"><span class="s5" style="font-kerning: none;">https://en.wikipedia.org</span></a> [Online], <a href="https://en.wikipedia.org/wiki/Rhizome"><span class="s5" style="font-kerning: none;">https://en.wikipedia.org/wiki/Rhizome</span></a> [Last Accessed 09/12/2019]</span></font></li></ul><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><p class="p1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="s1" style="font-kerning: none;"><b><font face="helvetica">Other Sources</font></b></span></p><p class="p2" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 14px;"><font face="helvetica"><span class="s1" style="font-kerning: none;"></span><br /></font></p><ul class="ul1"><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">Harris, A., Artist Talk, 11/10/2019, Lecture</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">Ceglarz, J., ‘Queer methods and matters: Crisco, Palimpsestuousness and Faggoting’, 23/10/2019, Lecture part of Artistic Research Symposium</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">Hartman, S., and Moten, F., ‘Fugitivity and Waywardness’, Arika, <a href="http://arika.org.uk/archive/items/episode-6-make-way-out-no-way/fugitivity-and-waywardness"><span class="s5" style="font-kerning: none;">http://arika.org.uk/archive/items/episode-6-make-way-out-no-way/fugitivity-and-waywardness</span></a> [Last Accessed 09/12/19]</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">Rodgers, H., ‘Queertexturealities and Erotic Faculties’, 23/10/2019, Lecture part of Artistic Research Symposium</span></font></li><li class="li1" style="font-size: 12px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><font face="helvetica"><span class="s4" style="font-size: 14.4px; font-size: 14.4px; font-stretch: normal; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"></span><span class="s1" style="font-kerning: none;">Schwab, M., ‘The Exposition of Practice as Research’, 23/10/2019, Lecture part of Artistic Research Symposium</span></font></li></ul>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-90273252862768935482020-07-23T18:33:00.000+01:002020-07-23T18:33:59.281+01:00upupupupdatedatedatedateas the crit looms near<div>i've been trying to get some more up online for people to see</div><div>i'm unsure if i'll share this website or not</div><div>more because it's just a little bit rambly and probably a tad boring</div><div><br /></div><div>but anyway for myself and anyone who may be lurking</div><div>i have put up a couple of videos//renders of the flat</div><div>i want to think about how this work is going to be shown online</div><div>and at the moment it is just in the verge3d software</div><div>which is great, but i want there to be accessibility for people who struggle to use it, whether it be due to their browser, or just having issues working the software</div><div>so yeah there are going to be a series of videos that work their way around the flat to show off what you would see via the playable element</div><div><br /></div><div>i have put the first two iterations of these up on my other website</div><div>there's a new icon to work you're way to them</div><div>but for the impatient</div><div>i present</div><div><a href="https://tomgraystone.cargo.site/a-flying-visit" target="_blank">LINK</a></div><div><br /></div><div>the space is really starting to come together now</div><div>there's only one empty room</div><div>and the hallway, although that may remain as a plain transitory space</div><div>i'm unsure right now once the bathroom space has something in it i'll work it out</div><div>then really it's just making sure things are working </div><div>the aim is to get it fairly done for monday, then i want to work on sewing things, letter writing etc.</div><div><br /></div><div>and if anyone is reading this and has anything they want to say, i'd love to hear, i'm sure i have a contact form on this page, a link to my email is also on the cargo and tomgraystone.eu page</div><div>x</div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-71538942295663401362020-07-19T18:41:00.001+01:002020-07-19T18:41:58.775+01:00messagingthe root isn't here to feed any head<div>or tree</div><div>for the root is the body</div><div>the heart</div><div>the mind, the soul</div><div><br /></div><div>roots reigns supreme</div><div>a sprawling mass </div><div>messaging </div><div>forget the plant for that is just a figurehead</div><div>the root is what gives sustenance </div><div><br /></div><div>x</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO5Z1wOw8FgSx2hLuyEmZREZKj38cyftrbQ47MJ2ZjkOo2EWYfQxAQf2wHTFQ_7TPl-KNs0LowZ-fh-wd60nYlW416ObXMHgLeh5oi3igwR3COl1zC-SjrEcN68dpzKLgsBwThybMt2bN4/s1920/that+looks+rooted.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO5Z1wOw8FgSx2hLuyEmZREZKj38cyftrbQ47MJ2ZjkOo2EWYfQxAQf2wHTFQ_7TPl-KNs0LowZ-fh-wd60nYlW416ObXMHgLeh5oi3igwR3COl1zC-SjrEcN68dpzKLgsBwThybMt2bN4/s320/that+looks+rooted.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzC2YEvKqPHesr5swlkPFsJ9Ux4EB5TO92DhnPticdLbpnSkJ2pw63Gut0aikI_EVnVwaob_hQB-80kgs6QXw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><div><br /></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-14838043977604469962020-07-16T13:41:00.002+01:002020-07-16T13:41:58.613+01:00ref. REF Ref wanted to share some images i've been looking at over the past couple of days while i think back on what i have been doing over the year, and more so over the last month or so<div><br /></div><div>the oldenberg work is in relation to the earlier soft sculpture work - i dont think i had seen the saw before, although im now comparing that image to how i have the fabric saw appearing on my website, even using very similar colouring </div><div>'</div><div>there's a lot of ideas around space, both gallery and domestic present in all of these - matta-clark's anti-architecture is making me think about how i'm trying to skew what you seen in the home - i guess it makes me think as well what else i could do with the model i have made of my flat - how the whole space can be manipulated as well as just a obscuring or anonymisation of household objects</div><div><br /></div><div>well i say obscuring - but not everything is related to some kind of real object </div><div>if anything most things are entirely removed - they're just coming from manipulations of basic polygons</div><div>its more a matter of projection by the viewer that's assigning any value or meaning to them</div><div>i think at this point to me they are becoming this strange collection of vertices, and being viewed in a means that are entirely removed from how someone will see them</div><div><br /></div><div>and with that being said i need to get more images of the way i am seeing them and manipulating them <br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbCQdNO219_bbbp_nTXgh4IbPd29pwibQfvMca1WKoKhh9tzqs6mUpnsc1r1b8RAM-E__-mR2B9OI2ntpa5_GINmgRiQR90ozqJPOhjORGDea1fI6T5TpeMhKfftYYH85hREBUL6ibwseO/s1440/Asher+Bern+Kunsthalle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="945" data-original-width="1440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbCQdNO219_bbbp_nTXgh4IbPd29pwibQfvMca1WKoKhh9tzqs6mUpnsc1r1b8RAM-E__-mR2B9OI2ntpa5_GINmgRiQR90ozqJPOhjORGDea1fI6T5TpeMhKfftYYH85hREBUL6ibwseO/s320/Asher+Bern+Kunsthalle.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><font size="2">(Michael Asher - Kunsthalle Bern, 1992) </font></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8ReWpXXYJSO1WskxQrGOmkT_N6aI2V6SP4CAeUxfAlG03S9myeCm-kxTO1BBrBxAZxF0TrE_MhYTy5ESlAcbGkqU2c8yyKg5CI1PPtyV-DhyzeUQ0DTPtSlgxFwvr34kCRsX9rG-l2pw/s450/Gordon+Matta+Clark.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="330" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8ReWpXXYJSO1WskxQrGOmkT_N6aI2V6SP4CAeUxfAlG03S9myeCm-kxTO1BBrBxAZxF0TrE_MhYTy5ESlAcbGkqU2c8yyKg5CI1PPtyV-DhyzeUQ0DTPtSlgxFwvr34kCRsX9rG-l2pw/s320/Gordon+Matta+Clark.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><font size="2">(Gordon Matta-Clark, <i>Office Baroque</i>, 1977)</font></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGb9bRUQ1KLqQDT_l8iEGp7Ngcj8YHcXxf9r7SdWBDueXi00JgmdEg9lb-GP4pA0TlX_c5r4gXbR3kjDu8waux_DxNWXXy9QSqmsRg_kfA5oMJGEZZu08LTXCuMuarAXihwE8FJMsOEZ82/s1047/Matta+Clark.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1047" data-original-width="730" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGb9bRUQ1KLqQDT_l8iEGp7Ngcj8YHcXxf9r7SdWBDueXi00JgmdEg9lb-GP4pA0TlX_c5r4gXbR3kjDu8waux_DxNWXXy9QSqmsRg_kfA5oMJGEZZu08LTXCuMuarAXihwE8FJMsOEZ82/s320/Matta+Clark.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><font size="2">(Gordon Matta-Clark, <i>Splitting</i>, 1974)</font></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtpDRT7wZhqWx1Rocx754QIcktjumQC8oq5ENg4WbANIi5387IYz6LieI5BY8TZfKt4BMsfgkUfCT208WdoPr17Qxn1SdHbgm87oQgBp8Vr88NgXAafTbNklrcVv3ZuOoCu1hl_2DfDVWi/s700/Michael+Asher+SMMoA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="465" data-original-width="700" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtpDRT7wZhqWx1Rocx754QIcktjumQC8oq5ENg4WbANIi5387IYz6LieI5BY8TZfKt4BMsfgkUfCT208WdoPr17Qxn1SdHbgm87oQgBp8Vr88NgXAafTbNklrcVv3ZuOoCu1hl_2DfDVWi/s320/Michael+Asher+SMMoA.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><font size="2">(Michael Asher, Santa Monica Museum of Art, 2008)</font></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoJx4I1M2SZ-4KQlPtQrkGvvq6j-MPhcvZ8MqBXO4GfcvBvrXqgDvHcF4jHtudexti0MLgHD-ThH7v_JPgVzyt1luYmjQTRNyLwIu9ja8oJoQ-bqoxZOtN9YNz0zxVDYYA9rkJdbaiLZPa/s512/oldenberg+saw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="397" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoJx4I1M2SZ-4KQlPtQrkGvvq6j-MPhcvZ8MqBXO4GfcvBvrXqgDvHcF4jHtudexti0MLgHD-ThH7v_JPgVzyt1luYmjQTRNyLwIu9ja8oJoQ-bqoxZOtN9YNz0zxVDYYA9rkJdbaiLZPa/s320/oldenberg+saw.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><font size="2">(Claes Oldenberg, <i>Saw, Sawing</i>, 1998)</font></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmSKQu0wILaYWya7U0feamtZ1Yitk0w0LLKx6roN95ltwzOnSbNQLHD2OWlcn8Ux7hRm4bA-Wvvj14OmNXvpgh6xv8gk8sGVXB9FmNe4CzKb3IGxa1sX-LsEWkP_nh-o44olxGNDjv7WdJ/s570/oldenberg+toilet.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="364" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmSKQu0wILaYWya7U0feamtZ1Yitk0w0LLKx6roN95ltwzOnSbNQLHD2OWlcn8Ux7hRm4bA-Wvvj14OmNXvpgh6xv8gk8sGVXB9FmNe4CzKb3IGxa1sX-LsEWkP_nh-o44olxGNDjv7WdJ/s320/oldenberg+toilet.jpeg" /></a></div><div class="separator" style="clear: both; text-align: center;"><font size="2">(Claes Oldenberg, <i>Soft Toilet</i>, 1966)</font></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiMw4yHfMXnJcZ0feHzEM4XUyoipW3kMivW3ZCE2gMZScXCPaL5pT7luOYiRG2DZURCCA0aKBgfsRzmGwXQeaRhQ3hRapN1lEQ4P2RuzMFlN3cmIVXhTtyA-qEyELRQzaGlMU0YJJXEsiy/s1000/Rachel+Whiteread.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="816" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiMw4yHfMXnJcZ0feHzEM4XUyoipW3kMivW3ZCE2gMZScXCPaL5pT7luOYiRG2DZURCCA0aKBgfsRzmGwXQeaRhQ3hRapN1lEQ4P2RuzMFlN3cmIVXhTtyA-qEyELRQzaGlMU0YJJXEsiy/s320/Rachel+Whiteread.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><font size="2">(Rachel Whiteread, <i>House</i>, 1993-94)</font></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgreMCCfDLDSYmNEzbAILqCY-RWyEGVSSsO9ZObka0akLl2mtXqZsP7a6RkFlX77PtDYwKqhWixo9xQixRWtegJUcQqDUHbsdpCnQVeJmMuNw-M2e101e5rXWvcJdmTCWHDKbK5RuKpnhvf/s570/Senga+Nengudi.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgreMCCfDLDSYmNEzbAILqCY-RWyEGVSSsO9ZObka0akLl2mtXqZsP7a6RkFlX77PtDYwKqhWixo9xQixRWtegJUcQqDUHbsdpCnQVeJmMuNw-M2e101e5rXWvcJdmTCWHDKbK5RuKpnhvf/s320/Senga+Nengudi.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><font size="2">(Senga Nengudi, <i>Nuki Nuki: Across 188th St.</i>, 1982)</font></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs3DsPFoc3rK5lOM2KScCn_E5-Y3npzh65O_W3HTm07iH1HlGADLQwP8_NmDVu9fj0YITJZIvJWb9ihfbU3pDXtWzEhuqJ_uvl6l5qn5XcohC4B9JXgF7KE28gzZoaxTju9XfzuRCNsTMB/s512/Whiteread+stairs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="417" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs3DsPFoc3rK5lOM2KScCn_E5-Y3npzh65O_W3HTm07iH1HlGADLQwP8_NmDVu9fj0YITJZIvJWb9ihfbU3pDXtWzEhuqJ_uvl6l5qn5XcohC4B9JXgF7KE28gzZoaxTju9XfzuRCNsTMB/s320/Whiteread+stairs.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><font size="2">(Rachel Whiteread, <i>Untitled (Stairs)</i>, 2001)</font></div><div><br /></div></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-50541830326431952132020-07-11T19:05:00.000+01:002020-07-11T19:05:02.597+01:00still uploading<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCrsrYrjydK0WuTD3sK-1AQM48doZt-Dn15HumKqE0oZYUiq8oxzIaAP5OVfUkJkDLUPEiJLRih7u6KZ_gN7ajPa8iAyINcAp-9AugHswXPoN3yr3J7NNBrPeeCc-mCwoVCkyfk3GcfH9D/s2048/Screenshot+2020-07-08+at+15.37.18.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCrsrYrjydK0WuTD3sK-1AQM48doZt-Dn15HumKqE0oZYUiq8oxzIaAP5OVfUkJkDLUPEiJLRih7u6KZ_gN7ajPa8iAyINcAp-9AugHswXPoN3yr3J7NNBrPeeCc-mCwoVCkyfk3GcfH9D/s320/Screenshot+2020-07-08+at+15.37.18.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqiF0QW2KHmv4O9LCDCZxDt61AeaDXBtBSi9COzOpOXlAULdTFnpnFrnyzuwZ4LqW29mt_qOiYsBPAup_9FutYL4G39KAF7TWMGXACYGnDW1tv0rwOi28lgcT-j7RtBMUCwtpCvsWcf0kF/s2048/Screenshot+2020-07-09+at+20.02.02.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqiF0QW2KHmv4O9LCDCZxDt61AeaDXBtBSi9COzOpOXlAULdTFnpnFrnyzuwZ4LqW29mt_qOiYsBPAup_9FutYL4G39KAF7TWMGXACYGnDW1tv0rwOi28lgcT-j7RtBMUCwtpCvsWcf0kF/s320/Screenshot+2020-07-09+at+20.02.02.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYapEgrbHAKWy3h6bNdnamAwdhZt2EKNWtY4t39VflBPyRuokG64_VfXg_DpA2TTMdSMfzyYLI81wLV1eTp4bk98PUgaY4IQrvuhMjylxkOOv0sVkrbikBiKDcF6KijEpgYmsoGlwg9w4J/s2048/Screenshot+2020-07-09+at+21.01.14.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYapEgrbHAKWy3h6bNdnamAwdhZt2EKNWtY4t39VflBPyRuokG64_VfXg_DpA2TTMdSMfzyYLI81wLV1eTp4bk98PUgaY4IQrvuhMjylxkOOv0sVkrbikBiKDcF6KijEpgYmsoGlwg9w4J/s320/Screenshot+2020-07-09+at+21.01.14.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL30ttBfK0dmbbKu3nT9mYv9fQsVJatfcryNxC6N2i8g4VPTtRkEv6TXB9rofV1I6YhmngCksf-ZOB-yIYwau2ur9moOObMba5fI-8CLI_vi40QLWPkFjMTnzqVz54VFqFCDattL3fHyLM/s2048/Screenshot+2020-07-09+at+21.01.21.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL30ttBfK0dmbbKu3nT9mYv9fQsVJatfcryNxC6N2i8g4VPTtRkEv6TXB9rofV1I6YhmngCksf-ZOB-yIYwau2ur9moOObMba5fI-8CLI_vi40QLWPkFjMTnzqVz54VFqFCDattL3fHyLM/s320/Screenshot+2020-07-09+at+21.01.21.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBNPN0K1rp6pILZTP-nipQfEjLV9W6DMXuAWWRO1WlSLO3W95OrYwGiL6Ky4S2n6DdSH2LKVs9MSHeL0CyQUkfwler0dQLxgx9eIDAH9aVzKB8UflWWu0-eNHNVaow8wt0BCshp4Ls-4R0/s2048/Screenshot+2020-07-11+at+15.13.45.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBNPN0K1rp6pILZTP-nipQfEjLV9W6DMXuAWWRO1WlSLO3W95OrYwGiL6Ky4S2n6DdSH2LKVs9MSHeL0CyQUkfwler0dQLxgx9eIDAH9aVzKB8UflWWu0-eNHNVaow8wt0BCshp4Ls-4R0/s320/Screenshot+2020-07-11+at+15.13.45.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXV9SwPNdBs4QiZ3VX-X6o1C1spagm3VkRKEchG4tuYD1Xr8BFMCnPRS0S3Xdz2N1PrUpFzRBVWSOMu5ZBgVBrNfxAA00S2nDaKM55VPJtQVB-2u71ekvJbUzzaFKgXHNv_A2RUN1ALrcF/s2048/Screenshot+2020-07-11+at+15.13.50.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXV9SwPNdBs4QiZ3VX-X6o1C1spagm3VkRKEchG4tuYD1Xr8BFMCnPRS0S3Xdz2N1PrUpFzRBVWSOMu5ZBgVBrNfxAA00S2nDaKM55VPJtQVB-2u71ekvJbUzzaFKgXHNv_A2RUN1ALrcF/s320/Screenshot+2020-07-11+at+15.13.50.png" width="320" /></a></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-7932703616886857162020-07-11T19:03:00.000+01:002020-07-11T19:03:44.209+01:00COOKERY CLASSES AVAILABLE FROM 12RD OF AUGEMBER REGISTER INTEREST NOWi actually finally have something up now that is viewable<div><br /></div><div>click what you can and full screen to work</div><div>directional keys to move, mouse to change view direction</div><div>Online Cookery Classes Available Soon</div><div><a href="https://tomgraystone.eu/kitchen">https://tomgraystone.eu/kitchen</a></div><div><br /></div><div>i mean this is still an early version - i guess it cant be too early now, time is ticking</div><div>but it's given me a good chance to work out how to get my animations to interact with verge3d, how to make it interactive - although still have a lot more experimenting to do with that</div><div><br /></div><div>i do have the concern that the full flat when it is full and there is a whole bunch going on will take quite a lot to run</div><div>i think right now i'm just hoping it won't effect user experience, i will run tests before hand though</div><div>and i do have a back up plan if it does all start to not properly work</div><div><br /></div><div>i still need to consider how this can have sound interactions, how to fill cupboards and drawers, or at least what to fill them with</div><div><br /></div><div>it's a conundrum of deciding between keeping it playable, interactive, and also overloaded</div><div>hoping to hit the right point</div><div><br /></div><div>i was about to end this post, but i guess i want to add one more thing</div><div>(and sorry these all drag on)</div><div>but i want people to have different experiences of the space, i know some people are going to want to push the limits of the space, whereas others may not delve to deep, i think thats exciting, so i guess its making sure that both can have rewarding experiences of the space</div><div>i don't know where i'm going with this so i'm going to stop</div><div><br /></div><div>x</div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-44167523402917459912020-07-07T15:20:00.003+01:002020-07-07T15:21:05.571+01:00intel core i235832482349process<div>processing</div><div>processor <span style="color: rgba(0, 0, 0, 0.85); font-family: "Helvetica Neue"; font-size: 11px;">2.6 GHz Intel Core i5</span></div><div><span style="color: rgba(0, 0, 0, 0.85); font-family: "Helvetica Neue"; font-size: 11px;"><br /></span></div><div><span style="color: rgba(0, 0, 0, 0.85); font-family: "Helvetica Neue"; font-size: 11px;">x</span></div><div><span style="color: rgba(0, 0, 0, 0.85); font-family: "Helvetica Neue"; font-size: 11px;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuiZ1CM1xJBygr8If9w6CVGyJ3KgWOWgNQg3pcO7hbpRzEotAFrsZ-DLERQk6aiPpTo5b8DTow52i09fZGsmFEza3jAozR5CmuL27lFx4utxV2Tk2eerZkqsTZlICqtZ1606OzJ_BVABGk/s1920/Cabinets.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuiZ1CM1xJBygr8If9w6CVGyJ3KgWOWgNQg3pcO7hbpRzEotAFrsZ-DLERQk6aiPpTo5b8DTow52i09fZGsmFEza3jAozR5CmuL27lFx4utxV2Tk2eerZkqsTZlICqtZ1606OzJ_BVABGk/s320/Cabinets.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNEviA5tox9Y9a6OI8U_LEvVNWrx9x5KRUnSHBjMidjrEboqNNS22JS7KZIZ4XaAwKO4hHiysVUsIM24LqsbThhx94SqErSwKvz9TgxFd94zsAdqrpI7gkhc3TBC-ynyz29lMoAmADdTYv/s1920/glossy+pot.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNEviA5tox9Y9a6OI8U_LEvVNWrx9x5KRUnSHBjMidjrEboqNNS22JS7KZIZ4XaAwKO4hHiysVUsIM24LqsbThhx94SqErSwKvz9TgxFd94zsAdqrpI7gkhc3TBC-ynyz29lMoAmADdTYv/s320/glossy+pot.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhijhyzh4Gxpf-3mhy_HB0SzxXs2SFPXumFuSFOZk2JsCdO8RHAUFOmwVVwy-JZs0SRKN5_yA3J7UnX0VXG0ybzOw4oPY6pw1I0YbMepeguo7VGjYlAuLGq2014J0SnKTf6rTrqDt-7Uwmt/s1920/clear+potato.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhijhyzh4Gxpf-3mhy_HB0SzxXs2SFPXumFuSFOZk2JsCdO8RHAUFOmwVVwy-JZs0SRKN5_yA3J7UnX0VXG0ybzOw4oPY6pw1I0YbMepeguo7VGjYlAuLGq2014J0SnKTf6rTrqDt-7Uwmt/s320/clear+potato.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="color: rgba(0, 0, 0, 0.85); font-family: "Helvetica Neue"; font-size: 11px;"><br /></span></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-24286016213295167572020-07-06T17:35:00.000+01:002020-07-06T17:35:25.239+01:00rhizhomehome feels like a funny place to think about relating to rhizomes//rhizomatic space<div>like it's throwing up this question of is the home a non-hierarchical space?</div><div>or do we have to work to make it a rhizomatic space?</div><div><br /></div><div>because with the tenement in particular you have this hub space of the hallway, it's leading off into all rooms, that although we create routines, there is never a set route through the home</div><div>when you travel through the home you are constantly mapmaking rather than tracing this particular line of the map</div><div><br /></div><div>and i guess the home is heterogenous, it is constantly changing to match the way in which you utilise it</div><div><br /></div><div>this is all kinda rough and so basic right now - this has been a bit of an aside from blender modelling</div><div>i'm going to come back to this later and think it through more, because i think this can start to draw together what at times can feel some what disparate in what i'm doing </div><div><br /></div><div>it's becoming a weird amalgamation of ideas around rhizome, home//domestic, some elements to do with video games coming in with the 3D building, and i guess trying to work out how to have audience interaction while in this separated time</div><div><br /></div><div>yeah</div><div>more to come</div><div>x </div><div><br /></div><div><br /></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-54646857092503169502020-07-05T21:51:00.001+01:002020-07-05T21:51:34.705+01:00tenement supplement quick update for some images<div><br /></div><div>accurate tenement window colour guaranteed</div><div><br /><div>one day you'll be able to walk around</div><div>x</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oKCD0t8Rz55A7zIiZ8mM80J_zN4zwyBmf2o4_G5WoMBS9LDlcvhrQUzX2-ZZVF6WiUonkFe1nD7B4NjrmxMtgB7PdembnRvxDh7k5WuHBo8-OZ82NRFfco443H9Tlnx_pQS3ZNb2ATqj/s1152/Screenshot+2020-07-04+at+19.23.17.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="894" data-original-width="1152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oKCD0t8Rz55A7zIiZ8mM80J_zN4zwyBmf2o4_G5WoMBS9LDlcvhrQUzX2-ZZVF6WiUonkFe1nD7B4NjrmxMtgB7PdembnRvxDh7k5WuHBo8-OZ82NRFfco443H9Tlnx_pQS3ZNb2ATqj/s320/Screenshot+2020-07-04+at+19.23.17.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a 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href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8mRsmttMM9ZEpLg3UBomQZL67piER_b_cb91ZVZYthHJYNHR-AfTvjUnO8ajidO1X7wpc_aR4OqCStwi2aFnzceTc4CcR7TU_nnj8axIK0dJNUukh_xzfCDJGsaAkTLcRHBq_-vAJMDFb/s2560/Screenshot+2020-07-04+at+19.22.55.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8mRsmttMM9ZEpLg3UBomQZL67piER_b_cb91ZVZYthHJYNHR-AfTvjUnO8ajidO1X7wpc_aR4OqCStwi2aFnzceTc4CcR7TU_nnj8axIK0dJNUukh_xzfCDJGsaAkTLcRHBq_-vAJMDFb/s320/Screenshot+2020-07-04+at+19.22.55.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijgsegx2spwv6Z5emTYLxdIQe-t2gCVDYfR76s98hfl8SRA_ff7SDlv9UJPJtGOPGREbZWVSagVIZe8x7GyvpiKtEfzRbHdMwQObiuDKTlPo1frdmHQeN_KoLnz9yVjRGGsHZAN99lqYxx/s2560/Screenshot+2020-07-04+at+19.20.32.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijgsegx2spwv6Z5emTYLxdIQe-t2gCVDYfR76s98hfl8SRA_ff7SDlv9UJPJtGOPGREbZWVSagVIZe8x7GyvpiKtEfzRbHdMwQObiuDKTlPo1frdmHQeN_KoLnz9yVjRGGsHZAN99lqYxx/s320/Screenshot+2020-07-04+at+19.20.32.png" width="320" /></a></div><div><br /></div><div><br /></div><div><br /></div></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-42203968107706304892020-07-02T19:15:00.000+01:002020-07-02T19:15:08.214+01:00don't get hit by the door on your way outi know i'm more than likely the only one reading this<div>and i mean i don't blame people it's not exactly the most riveting read</div><div><br /></div><div>but it feels nice to keep adding to this</div><div>so i've nearly made the whole flat now</div><div>i've got two rooms left to do, but they shouldn't take too long</div><div>i just spent some time playing with animating a door and image projection on to walls</div><div>its making me think about how to have the rooms</div><div>what is going to be in each room</div><div><br /></div><div>in making the whole flat, i've in effect set myself the task of not only designing the space and what is going into it, but also curating the entire space</div><div>and on top of that i should be making physical things to interact with the digital</div><div><br /></div><div>but the plan at the moment is to get the digital made - then i can look at how i take from the digital and translate into the physical</div><div><br /></div><div>or at least in keeping with the whole rhizomatic theme - kinda offshoot from digital</div><div><br /></div><div>i guess this has been a cartographic project - mapping the home</div><div>but the home is all a little off</div><div>sometimes theres a little gap in between the walls</div><div>or the corners are exceptionally sharp</div><div>at the moment there's only one door</div><div>its all on one floor</div><div>but in separate files</div><div>i think i must have about 3 copies of each room in very slightly different iterations</div><div>although that's reminded me i <i>need</i> to back them up</div><div><br /></div><div>because if these go missing they aren't regrowing back quickly from the peelings of drawings and screenshots</div><div><br /></div><div>well there's something i should go do now</div><div><br /></div><div>also new website page</div><div><a href="https://tomgraystone.cargo.site/slam-the-door">https://tomgraystone.cargo.site/slam-the-door</a></div><div>x</div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-44705369979283606952020-07-01T15:11:00.000+01:002020-07-01T15:11:29.694+01:00the only thing i had unity with was frustrationmaybe i'm trying to look too far forward right now, but i've been trying out both unity and verge3D <div>unity i tried yesterday, with very little joy - unified i was not</div><div>i guess if i was more experience with coding//scripting maybe unity would have made a bit more sense </div><div>but when you try to use a basic first person view asset put together by unity, it feels somewhat surprising when it decides it does not want to even be read</div><div>i guess with unity being such a big name i had higher expectations of usability, but that's how it goes sometimes</div><div><br /></div><div>so come to today - verge3D</div><div>i mean i've only been using it for the past hour or so, </div><div>but wow it is so much more user friendly</div><div>its a plug-in straight into blender so no playing around moving assets across etc. </div><div>looking through the online tutorials their 'puzzle' system seems to make interactivity seem fairly effortless</div><div>within 5 mins of installing it into blender i was able to take the rooms i have made, make a first person camera view and start moving around</div><div><br /></div><div>so if i was a reviewer - this would be a terrible review - but i'd recommend verge for how easy it is</div><div>maybe i'll be cursing it out in a few days when i try to add more to it, but right now i'm feeling very optimistic</div><div>x</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dw4bHgIItS3DWaBRdb1RAO9hKq3-7kdVGQVtrqPyaQe9eKsWH4pkeTaLBm0nEbGhVF3kAqR2kmOuRt3YYt2ow' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><div><br /></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-68183412573156552212020-06-30T11:10:00.000+01:002020-06-30T11:10:39.815+01:00room 1<i>all the rooms were empty</i><div><br /></div><div>domestic space has encapsulated us, those of us lucky enough to have it</div><div>as with all architectural spaces it is hierarchical, whether knowingly or not</div><div><br /></div><div>so how do we place it on a rhizomatic structure?</div><div>and this has to focus on the singular home, because housing as a system is hierarchical </div><div><br /></div><div>i want to make the home as uncanny</div><div>hopefully not unfunny</div><div><br /></div><div>here is a room, a room in my home,</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid_o_zyffElir4kJKB1CXDQ4oqs_odMhyphenhyphenJziqEq38ps4gX2CcgTs1ErWpv54CzJltcsgPEZla03-J1KqpKZHrt27p6Awilmrux4vA0Vtq_2Qys1f3gvYVFJd2__2g17nrvQwKWwkulGtod/s1920/room+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid_o_zyffElir4kJKB1CXDQ4oqs_odMhyphenhyphenJziqEq38ps4gX2CcgTs1ErWpv54CzJltcsgPEZla03-J1KqpKZHrt27p6Awilmrux4vA0Vtq_2Qys1f3gvYVFJd2__2g17nrvQwKWwkulGtod/s320/room+1.png" width="320" /></a></div><div><br /></div><div>it's a start</div><div>it will be explorable</div><div>maybe a game</div><div>where you just snoop around my home</div><div>a looking inward at someone else</div><div>when it feels uncomfortable to enter another home</div><div>x</div><div><br /></div><div><br /></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-5245340175262929312020-06-29T10:34:00.000+01:002020-06-29T10:34:30.197+01:00some more images i feel unsure where to posttrying to play around with what projection mapping could look like<div>utilising the uv editing on blender and project from view to get a front facing view - the one issue at the moment is that it is projecting around the whole object rather than just one face</div><div>ideally i want to make it so i could think about having different projections//images on different faces of the objects - maybe by lunchtime i may have figured a way</div><div>or you know, maybe not</div><div><br /></div><div>anyway here is the first go, working with the recurring saw shape (not my best) and a sphere because it was easy to just add in a simple shape</div><div> </div><div>(i also have a video im going to upload to <a href="https://tomgraystone.cargo.site/my-hair-blows-like-the-grass-in-the-wind">here</a> the animation i rendered)</div><div><br /></div><div>x</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8lZEJV2pVeCPd5eAS99liChnWYtyj9at8baOCzOOsSvwSOHn9q0t_SVP7-hFW1M9D6tqdF7D8Dnsq2kf-Mh0Mu2i2wr9jGp4nGV-6EucF7J4VA2vYWlW5gBhNmrex7KLQ5BPr0C370aQC/s2560/Screenshot+2020-06-27+at+17.30.22.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8lZEJV2pVeCPd5eAS99liChnWYtyj9at8baOCzOOsSvwSOHn9q0t_SVP7-hFW1M9D6tqdF7D8Dnsq2kf-Mh0Mu2i2wr9jGp4nGV-6EucF7J4VA2vYWlW5gBhNmrex7KLQ5BPr0C370aQC/s320/Screenshot+2020-06-27+at+17.30.22.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFB_onf9iryxvrgInoNLyhG5G-ON96gxgcRKxWExEozGoa8ON37Us30MLWYoNh5A0tqYgk9B147sJxJMZDsEmUR6SRquEZFgO3zr3rHJsRlWXy2GO5UxR5pqXfz49z8bQP4nSbk3jzvGdP/s1920/0001.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFB_onf9iryxvrgInoNLyhG5G-ON96gxgcRKxWExEozGoa8ON37Us30MLWYoNh5A0tqYgk9B147sJxJMZDsEmUR6SRquEZFgO3zr3rHJsRlWXy2GO5UxR5pqXfz49z8bQP4nSbk3jzvGdP/s320/0001.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiU0kUtTUdd_92fskdTwbCeJh1lxv47YcsRLNSDwcjkh8qENK9ebixQTsh8IZLbL6ISst5DzpS-TM6b7u2a4GSZW5M2k0ucjcqsoaH2z2_Un0xXNKT0iOlDLe5SsHtDa1Yf2-tjOb1LmXg/s1920/0002.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiU0kUtTUdd_92fskdTwbCeJh1lxv47YcsRLNSDwcjkh8qENK9ebixQTsh8IZLbL6ISst5DzpS-TM6b7u2a4GSZW5M2k0ucjcqsoaH2z2_Un0xXNKT0iOlDLe5SsHtDa1Yf2-tjOb1LmXg/s320/0002.png" width="320" /></a></div><div><br /></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-44811094728399964002020-06-28T11:29:00.002+01:002020-06-28T22:08:18.454+01:00a continual updatei'm trying to think about designing a space<div>about what that space will contain</div><div>about how to encapsulate what it is i'm hoping to get across in my research </div><div><br /></div><div>and when i think about what i have been researching</div><div>it comes down to a mixture of the rhizome and of language</div><div>repetition</div><div>mimicry</div><div>removal of hierarchy</div><div><br /></div><div>a sense of delineating from a circumscribed order - away from what is the normative, away from a binary, away from dualism, and away from the arborescent as Deleuze and Guattari define it</div><div><br /></div><div>and at the moment i am thinking of using blender to create this space - but i want it to be something that is physically achievable - blender is the sketchbook that allows some kind of realisation of it</div><div><br /></div><div>i'm going to come back to this later in the day and update it</div><div>right now i'm going to go play</div><div>x</div><div><br /></div><div>i've been playing a bit more this afternoon with different materials to place on objects, more looking towards an aesthetic view of how what i'm doing could come together - i guess especially with how we can work in the digital to make things that can both be made physically and also not (or at least not fully (re)creatable)</div><div><br /></div><div><br /></div><div>another little experiment a couple more to follow after dinner</div><div>x</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwXFZnN45VpvjZr59rtj79pucdi94lDrFHhHp_REGRa-jDrEldKEGYpgo-gRF4TqJNuP6OELH5p0vTPmW7Jzw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;">(a better version of this is available through the <a href="https://tomgraystone.cargo.site" target="_blank">maze</a>)</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-57242247615827191802020-06-27T16:40:00.000+01:002020-06-27T16:40:47.841+01:00technical issuesit's been a slower couple of days, i've been working through ideas in my head rather than making<div>and this can be good and bad for me</div><div><br /></div><div>on the positive side, it's made me realise that i want to focus in on some more research to backdrop what it is i have been making, i'm delving back into Fred Moten's <i>Black and Blur</i>, Claudia Rankine's <i>Citizen: An American Lyric</i>, and i do want to get back into Deleuze and Guattari's <i>Anti-Oedipus: Capitalism and Schizophrenia </i></div><div>i say all this, but it's worth noting i keep getting sucked up into reading through twitter, it feels a lot more digestible to be able to go through quite short things at the moment</div><div>whether that is just a worry about really getting into theory, trying to find the headspace to really focus on something that isn't making</div><div><br /></div><div>i guess what has felt bad about being in my head is the lack of transferring these ideas into something more tangible </div><div>there's this constant looming feeling of wasted time, which i know in real terms it isn't</div><div>but it can be difficult to not succumb to the doubt of not making</div><div><br /></div><div><b>today</b></div><div>today has just felt like an attempt at making so far</div><div>i was playing with blender earlier, but because my laptop doesn't like to run physics animations smoothly, or maybe that should be, "can be <i>temperamental</i>" about running them</div><div>what i am hoping to do is to start to think about projection mapping, how that could be realised through blender, and how ultimately that could be something to think about post-digital</div><div>maybe if i can get it to run slightly smoother (maybe closing the 40 odd internet tabs i have open might help) i can get something up soon</div><div><br /></div><div>watch this space </div><div>x</div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-52990052387976080482020-06-23T20:05:00.001+01:002020-08-17T12:13:16.150+01:00practice smactice <div><span style="font-family: helvetica;">the previous post is an essay on my methodology that can hopefully begin to explain some of what it is i am looking at</span></div><div><font face="helvetica">it was written around december time 2019, so i want to think a bit about the progression from that point</font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica">and its a bit odd, because with everything going on i feel like i've been on hold since march</font></div><div><font face="helvetica">so this feels like its lagging behind where i had hoped to be, and that's something i can have a hard time with</font></div><div><font face="helvetica">but it's also like, chill out, it's not the end of the world (we could hope for the end of capitalism and the end of police, but that's a different conversation)</font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica">i think in the essay there could and should be a more radical approach to dismantling and rethinking art institutions, im trying to do some more reading around this now, using the recent white pube <a href="https://www.thewhitepube.co.uk/riots" target="_blank">text</a> as a great starting point for research </font></div><div><br /></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica">with the overall situation severely limiting physical interaction with work im in the process of establishing ways to link digital spaces with physical ephemera - at the moment i've been thinking about either instructions to encourage senses while viewing digital work, or//and postal art to be viewed, felt, smelt alongside anything existing in a digital space.</font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica">x</font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica">as an update, i have moved the essay, i want it to be more visible as i find it kinda encapsulates what my process has been this year</font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-15905212081955836972020-06-23T14:26:00.001+01:002020-06-23T14:26:32.241+01:00blenderamai feel like im trying to treat the other website as its own entity <div>then view this as more informal</div><div>so im going to include some working images that can flesh out more what is appearing on the other website</div><div>some experiments on blender - working with images/videos as planes, putting images on 3D object, the cloth modifier, and texture painting</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a 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href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsOfSwX3xhU0SCqBQb1aaFXXGGIK8qv6v8zqO-JJUNqolYPQ-bw4vSF_kHgk2ysyis2y280AdH_oqp4IA0OnKUUOl78mMpgj3kAhTQa10YdJzVtGozAmtggXSklov40sdAxVGUC_jyrBCj/s2560/Screenshot+2020-06-23+at+11.18.06.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsOfSwX3xhU0SCqBQb1aaFXXGGIK8qv6v8zqO-JJUNqolYPQ-bw4vSF_kHgk2ysyis2y280AdH_oqp4IA0OnKUUOl78mMpgj3kAhTQa10YdJzVtGozAmtggXSklov40sdAxVGUC_jyrBCj/s320/Screenshot+2020-06-23+at+11.18.06.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">x</div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0tag:blogger.com,1999:blog-7334377297272953959.post-76236122767152788372020-06-22T12:56:00.001+01:002020-06-22T12:56:50.072+01:00middlingtrying to work around the limitations of the <a href="https://www.tomgraystone.cargo.site" target="_blank">cargo website</a> <div>embedding videos is pushing me to my data limit, but i need to see if there is a way to have these files accessed through elsewhere </div><div><br /></div><div>at the moment it feels a bit <i>rhizomatic</i> - i guess lack of any real clarity on where you're going and what you're seeing adds to that</div><div>its a series of hyperlinks sending you around in circles </div><div>i feel like i want to have each page going off in different directions (but ones that link up to the kinda sporadic thoughts that have led work in different directions)</div><div><br /></div><div>its all potato peels</div><div>shoots in different directions</div><div>everywhere is a middle point</div><div>even when you have to a <i>front</i> page</div><div><br /></div><div>x</div>tomgraystonehttp://www.blogger.com/profile/09083885594540966671noreply@blogger.com0