1D Museum visit – Transparency: Literal and Phenomenal

In our last session at the museum we were on our own to search for a definition for the 1st dimension, backing up with found text.


  1. A pin, defining an insect a specimen.
  2. A single grain in an oyster creating precious pearl
  3. The initial form, ideal. What something should look like.

 

Thinking about 1D and the First Dimension in some context of transparency was 20160310_103725.jpgchallenging.
Walking around the natural history part of the Museum, and finding a transparent wall full of pinned insect, the pin and pinning itself seemed literal 1D to me.
Looking at the phenomenal level, pinpointing and displaying a specimen, a perfect representation of a living creature in the outside world, was very peculiar, but useful procedure.

Later on, I came across a video explaining Plato’s ideas behind forms.
It explained how important it is to pinpoint and imagine ideals, such as how would a perfect friendship, school or city look like.

The insect in the same way is presented like a form, a perfect representation of a certain species, family of an animal.

 

 

4D Museum visit – Transparency: Literal and Phenomenal

20160310_214217.jpgReading an extract from the First Act of play ‘The Seagull’ (1895) by Russian dramatist Anton Checkov (1860-1904), and small extract from ‘The Notebooks of Leonardo da Vinci’ (1452-1519) and finding a definition for the Fourth Dimension at the National Museum Cardiff.


  1. as the writing in Leonardo da Vinci’s notebook states how 2 dimensional shadows give form to the 3 dimensional objects, does 3D creating 4th dimension?
    Darkness in a 3D space, building, creating emotions and responses.
    As dark aspects of a character in a play.
  2. Another observer – dystopian control from outside, above, audience, shadows. Cameras and internet traffic.
  3. Control by the shadows/darkness, unseen.
    Body by its chemical balance and subconscious mind. Irrational feelings.
  4. Hidden failure from our view, perception and expectations.
  5. Performing and mask, an extra identity. As well as 2D elements of a stage creates 3D scene of a false space.

    Cardiff Museum 4D

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Icarus by Alfred Gilbert 1884

The story of Icarus would perfectly illustrate the 4th point about failure, how it’s never noticed when we are so sure of success.
With his preparation, wings, ambition, confidence and brilliance.
Sure of his successful flight for the sun, he couldn’t see any failure in the task.

Our incomplete perception is judged, processed and shaped by us and our past experiences, so often resulting in our inability to see the darkness.

As in Checkov’s play the clear lake is obstructed by the stage in front of us. Everyone “interpret[s] the same idea [or image] by different means.”

In processes of ceramics, we try to control everything, with our extended perception with readers and controllers, be sure of success from our stand point; but the reality shifts into another position, giving possibility for failure to appear.
“There’s many a slip twixed cup and lip” – an old English proverb suggesting that even if we know how something might turn up, and even if we are certain, something might still develop in an undesirable way.

 

3D Museum visit – Transparency: Literal and Phenomenal

Another session at the Cardiff Museum involved a search for definition of Third Dimension, with an extract from The Optical Unconscious by Rosalind Krauss.

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After reading the text and trying to imagine what 3D could define, some initial ideas rise:

  1. a layer not visible to a quick perception, glance.
  2. basic emotions that interact and mix, creating new sensations and emotional balance.
  3. procreation, preservation, destruction.
  4. the most familiar world to us.


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Last Punch of the Clock by David Garner 2009

The familiarity of life in 3D and the cycle of procreation~preservation~destruction as well as their non-existential boundaries.
The text talks about the mot common dimension, and foreground being also background or the top being the bottom, erasing the perceptions of boundaries. The image speaks of destruction in preservation as gushing winds are sweeping through the landscape, people trying to keep the flying circular object (a planet?) (with the man) from flying away, them being entangled and their freedom restricted.

The “Last Punch of the Clock” talks about the familiar, 3D cycle of life, as the clocks themselves. The punch card are being destroyed, to preserve the record of procreation/work, which destroys the body of the worker which then allows to procreate itself.

Ceramic is very much about preservation (archeological significance, writing tablets, contains, or stores) through procreational but at the same time destructive powers of fire and heat.

In all cases, procreation, preservation and destruction are essential parts of our life and world, the 3D of our 3D world, interlinked and in ever-changing cycle.

2D Museum visit – Transparency: Literal and Phenomenal

For our first session in the Cardiff Museum we were asked to redefine the Second Dimension, using an extract from “Phenomenology of Perception” by French philosopher Maurice Merleau-Ponty as well as an object from the museum, to help us define and back up our definition.
This definition should be then connected to my subject – Ceramics.


Logo for Treasures exhibitionI took the chance to see the new exhibition “Treasures: Adventure in Archeology”, and when reading the text few interesting points came out to me, and somehow I could see a connection with the exhibition, new ideas and definitions for ‘2D’ were emerging.

The exhibition on archeology, and archeology itself is my object/subject from the museum, as it’s trying to compress multidimensional (time, space, humans, stories, events, lives, …) into 2D form, behind a glass, trying to show the invisible/transparent relationships between the objects, events… and link it/direct it at a thinking individual in another dimension, in a specific time and place.

So my definition for second dimension looks like a phenomenal glass to look at past where objects and events,  time and space overlap, creating/revealing new images or angles, in relation to the observer, which is me, a person, again at specific time and place, looking at the same objects, just aged.

This reminded me slightly of Flatland, being in 2D, you can only see the lines.
Timelines.

From the text I circled certain sentences that I was able to understand and which helped me create the definition. It spoke about knowledge and transparent relationships, between history and perceived objects, which in my opinion spoke exactly about archeology. The text also tried to position us and our consciousness as a subject, having an important role.

To link it to ceramics is simple. Ceramic is the 3D 2D timeline of time and space.

Another definition could be how we perceive the world around us. Most the time we perceive the objects and events around us in 1D, just absorbing the sensual stimuli with our body but not thinking about it or even noticing it fully.
However, when we look at an object with our gaze, an inner reflective eye and start thinking, applying our experiences, thoughts and phenomenal layers, we see an subject in a 2D, possibly 3D when more layers of meaning and seeing are in play.
Our brain, mind is a prism that changes the 1D world around us into multidimensional realm of endless points of view, possibilities and meanings.

More ideas that emerged from this exercise, which could be possibly explore:
Preservation – mummifying – 2D – second life
2 overlapping ideas, objects, feelings, create a new possibility.
Second dimension is the space between boundaries, and when the inside of something becomes the outside, revealing the transparent space of a boundary from completely different angle.

Session I Recap – Creativity and Cognitive Development in Arts

Missing my first study group session with Sarah Smith, I have received the extract that they read and notes of the arguments they went over.


“But as every chip of the chisel contributes to the emergent form of the statue, so every drop of supersaturated solution from the roof of the cave contributes to the form of the stalagmite. When subsequently, the statue is worn down by rain, the form-generating process continues, but now without further human intervention.”

“Creativity happens between things”

Ingold, Tim, (2003), Making: Anthropology, Archeology, Art and Architecture; Abingdon, Routledge.


Hylomorphism is the theory that every physical object is composed of 2 principles, a combination of a prime matter, and form.
Hylomorphic model argues that creation of an object is composed of an idea and raw materials, processed/fused (form giving process) until we end up with an artefact that is the idea.

This is a beautiful notion, that shows how our creative thought/inner world can shape the world of matter outside, manifest the ideas in object significant to a human.
This can partially explain why humans tend to surround themselves with manmade objects; or rather thoughts, feelings and ideas of others, like endless, silent conversations.


If we consider ‘agency’ and theory of Material Engagement we can see an argument suggesting that making is a process in which “the matter [is] a participant in amongst a world of active materials” (Ingold, 2003, p.21)

Malafouris, L., (2003), How Things Shape The Mind: A Theory Of Material Engagement, MIT Press, Cambridge, MA.

Session II of Creativity and Cognitive Development in Arts by Sarah Smith

The majority of the session was receiving and reading a three pages extract individually.

We found out Arnheim’s argument that thinking without perceiving first hand is close to impossible. He strongly argues the importance of teaching arts in education, as artistic expression is a different way of reasoning. 


For a homework we were asked to write a 300 words blog post on how the text can relate to our subject.
As a ceramicist I’m probably more aware of the malleable, universal and interactive properties of a clay. These qualities are potentially essential for a creative/perceptual thinking and reasoning; perhaps similar to a language.
Expressing a person’s inner thoughts, or creating a new ones.
An interaction with clay would strengthen individual’s perceptional skills, essential to healthy and productive thinking in other fields of learning.

Also teaching about clay and techniques to control it, such as throwing are close to impossible to teach by written or spoken word. Even demonstration is not enough; direct perceiving and interaction of the individual with the material and technique is essential for her/him to comprehend.

Designing object which would stimulate someones creativity and perceptual playfulness is an interesting topic to explore, and I wonder how a cup, bowl or other pottery could have these stimulating qualities.


University studies in the past required their learners to spend time extending their artistic skills too, in the field of music, painting, craft or sculpture. Perhaps they could feel more the positive impact creative development have on overall human intellect.


I would like to know about more research in that topic and around Arnheim’s arguments.
However this first session of mine has disappointed me greatly, with too much time spending reading the few pages on the one idea, that could be read at home in a more suited atmosphere.
With no more contradicting arguments, research to back it up or any other facts.
It’s like the lecturer wanted to prove the argument; with no stimulating interactions, discussions, not even perceiving new ideas through listening. Rather just reading and watching the lecturer on their phone, laptop and running off.