Phenomenology-
Loosely described is a discipline of philosophy that focuses on the structure of consciousness. In phenomenology, the structure of an objects experience is its intention and that intention is built from the internal core out. This material and building methods are used for their (projected) sensory affect onto both the maker and the object’s audience.
Sensate-
Able to perceive by the senses.
Question for consideration:
? How can a part that is designed on the computer and milled out from the computer contribute to a sensate experience when the “building” is based more on the sensation of “tracking” (the hand and eye path that one’s body does when mapping out space on the computer screen) vs. tactility?
In this assignment, sensation can come in a few ways, in the making of the object as well as how the object “performs” in space to the viewer.
In this assignment, sensation in making can come in the (known) and (unknown) integration or analog and digital, and using each approach to enhance the properties of one another.
1. In your idea, please describe how you are approaching the digital aspect of your Sensate: PLAN project and how the digital attributes are being used to heighten the total experience of your idea:
2. In the selected excerpts from Elizabeth’s King’s Attentions Loop, an articulation of materiality is a constant cord. Liz talks about the materiality of trying to make an object do two things at the same time. This sets up a string of excerpts that revolve around time and memory. As a maker, we deal with simultaneity often. How to prop a part up while another section is being secured is a very practical description of this. Being engaged with constructing while the material leads you to another place based on conscious and unconscious associations with that material/idea is another description of simultaneity when making. Creating an “all encompassing” experiential work (as in the case of Pipolotti Rist), is a “walk in” version of experiencing simultaneity. As Liz describes her effort to do two things at one time when constructing a hand, she relates the contest between
Image- What it looks like
And
Machine- What it does.
Think about your idea. Break it down as an image and a machine to the viewer: First, describe what the image of your work is like to the viewer. Then describe what it does to the viewer (note- “what it does” is not kinetic dependent, as an object “can do” something experientially)
3. Location.
In the excerpt, Cascade, Elizabeth describes in her mind, the problem of location as our fascination with finding a spot when one thing turns into another. A moment of change. When making an object, the gravity it shares with a viewer makes it both a collaborator of space as well as an alien to its surroundings. We make objects to provoke thought, salve personal narratives, construct meaning, and construct feeling. We make objects to turn the invisible into something visible for sharing and connecting.
Using Elizabeth’s perspective on location, where do you think the point of transformation is in your idea? You are making a mimesis of something. Why? What do you want it to say or make people feel that isn’t apparent in the “real” location point?
The Virtues and Misfortunes of Interruption
? Point for consideration-
listen to your process. Know when to interrupt and follow your instincts and when to politely listen. This is a skill, based on repetition, revisitation, sharing, and directing. Making art is in the end, about building a relationship. The more invested you are in seeing where that relationship can go in your work, the higher the likely hood that the experiential result will be not what you plan, nor what became happenstance, but a third “known and unknown” manifestation, one based on merging the ghost and the machine of your mind, your material, and most importantly, your heart.
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