[Hyper]drawing
(last edited: 2024)
author(s): Russell Marshall, Phil Sawdon
This exposition is in progress and its share status is: visible to all.
[Hyper]drawing is a research project.
Hyperdrawing is an opportunity for [fine art] drawing practice.
This Research Catalogue exposition documents ongoing research into Hyperdrawing: Hyperdrawing is an ambiguous practice. Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity. Hyperdrawing has the capacity to enable and sustain drawing practices.
Algorithms in Art
(last edited: 2024)
author(s): Magda Stanová
This exposition is in progress and its share status is: visible to all.
People interested in artificial intelligence usually ask whether computers could become as intelligent and creative as humans. I decided to think about it the other way around: I'm interested in the extent to which the creative process of artists is algorithmic. It's not difficult to create something that will look like art; you just need to imitate an already existing genre or style. The challenge is to create something that will be able to trigger an art experience.
In this visual essay, I'm studying where, in a spectrum of different kinds of experiences (jokes, magic tricks, pleasure from solving a mathematical or scientific problem), there are thrills triggered by art. All of these experiences depend on a sufficient amount of novelty. Therefore, the creators of experience triggers face the same problem: the impact of a joke, a magic trick, or an artwork tends to diminish when heard/seen repeatedly. The human brain has evolved in a way that it is able to distinguish repeating patterns, formulas, schemes, algorithms. Uncovering an algorithm causes pleasure. But once an algorithm is uncovered, it does not cause pleasure any more. To trigger an experience of the same intensity, we need a new trigger. In this work, I also address the question of why certain types of triggers wear off more slowly than others.
The outcomes of this project are a book—a visual essay in which drawings and texts form one line of an argument—and a series of lecture-like events, in which I combine sincerity and directness of lectures, panel discussions, and guided tours with richer ways of expression typical for object theatre, performances, and magic shows.
Dialogue as a Poetic Practice
(last edited: 2024)
author(s): Sara Key
This exposition is in progress and its share status is: visible to all.
To examine artistic choices made by filmmakers, regarding textual space, namely the utilizing of the actor´s thinking process and reaction, I am looking at three scenes by directors Stephen Frears, David Lynch and Marguerite Duras.
Looking at written text and how dialogue can be used as a tool in creating reflective thinking, lifting the narrative up to a level of poetry.
Drawing Disambiguation
(last edited: 2023)
author(s): Russell Marshall, Phil Sawdon
This exposition is in progress and its share status is: visible to all.
Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity.
Drawing Disambiguation can be seen as the process of resolving the conflicts that arise when drawing is ambiguous. Our hypothesis is that Drawing Disambiguation could be established as a methodology for Hyperdrawing. The initial enquiry will take the form of a collaborative drawing, with text and image all being seen as ‘marks’, ‘lines’ and ‘gestures’ in a drawn dialogue / discourse.
Quiet Observations
(last edited: 2019)
author(s): Åse Huus
This exposition is in progress and its share status is: visible to all.
By looking closer, the normal and ordinary can become something else, something extraordinary, if we pay attention or exercise attention. And, by exercising attention we can get into the ordinary´s simple, but equally complex scope, but then – with a distance – something we no longer stand in the middle of. The artistic research project «Quiet observations» is about reflections related to wonder, relation and proximity. The project has evolved into a research project from a pre-project where the starting point was to research the concept of ambiguity. As I see it, the nature of everyday life and everyday surroundings are elusive and ambiguous, and by its inherent complexity, a source of wonder.
In ambiguity, we can find an indefinite space, a space for speculation and imagination. In this perspective, ambiguity provides a space for creative receptivity, to actively consider multiple interpretations of meaning and reconsider preconceptions.
Dedicated observations can provide proximity to everyday surroundings which make them no longer seem obvious, but rather manifests themselves as source of wonder, abstraction, imagination and daydreaming.
The project has two parallel areas of interest; the field specific perspective is defined as research through editorial design beyond media, and the other perspective is based on educational interest in the design process itself.
Editorial design in this context is understood as the framework and the architecture of how a given content is read and interpreted.
[Hyper]drawing is a research project. Hyperdrawing is an opportunity for [fine art] drawing practice. This Research Catalogue exposition documents ongoing research into Hyperdrawing: Hyperdrawing is an ambiguous practice. Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity. Hyperdrawing has the capacity to enable and sustain drawing practices.open exposition comments (0)
To examine artistic choices made by filmmakers, regarding textual space, namely the utilizing of the actor´s thinking process and reaction, I am looking at three scenes by directors Stephen Frears, David Lynch and Marguerite Duras. Looking at written text and how dialogue can be used as a tool in creating reflective thinking, lifting the narrative up to a level of poetry.open exposition comments (0)
Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity. Drawing Disambiguation can be seen as the process of resolving the conflicts that arise when drawing is ambiguous. Our hypothesis is that Drawing Disambiguation could be established as a methodology for Hyperdrawing. The initial enquiry will take the form of a collaborative drawing, with text and image all being seen as ‘marks’, ‘lines’ and ‘gestures’ in a drawn dialogue / discourse.open exposition comments (0)