Thinking about notation through notating. Pinning down the delicate tendrils of ideas that emerge, making tenuous connections, bringing together disparate concepts. As a tool for mediating experience. Extracting, documenting, capturing fragments from the environment. In order to better understand, to remember. Then writing back into these fragments, tracing them, tracing over them and connecting them to other fragments.
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The body as a mode of notation.
Rose Pavilion, Royal Botanic Gardens.
using the body to test and measure. exploring capacities of the site in relation to my body.
“To identify the substance in such cases is to perceive what can be done with it, what it is good for, its utility; and the hands are involved.”
James J. Gibson, The Theory of Affordances, pg 5.
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One minute sculpture.
Instruction: BE BOTH INSIDE AND OUTSIDE
a lateral response
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Ivan Wyschnegradsky, Hémisphère de 5184 cellules (Hemisphere of 5184 cells), Crayon, graphite and ink on paper and cardboard, 1943–50.
Complex, spiralling musical scores for micro-tonal music. Applying concepts of synesthesia - using colour to denote a particular tone.
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Material testing: water and stone pigment on paper.
Mapping trains of thought that emerge from an encounter with “Cave of Forgotten Dreams” –
stalactites / stalagmites --- water + rock + duration
water made solid / into a form
or water creating forms, water as artist
it mines limestone for materials
calcite
notating vast durations. durations outside of human scale
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The screen notates the relationships between presence and absence. It displays both transitory projections and flattened images of objects in space.
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Surfaces that reveal and conceal. Lines of the mesh create warped grids, optical illusions.
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