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NOTES
CAUTION - this is the raw stuff
but if you have comments let me know on contacts pg.


COORDINATES:  "92ND AND MADISON",   N.Y. Times Sunday mag. Aug 30, 98
contemporary silhouette
		
		
HIGHWAYS
OCEAN CURRENTS
WIND CURRENTS  (AIR TUNNELS/  TURBULENCE/ FLIGHT PATTERNS)
GRAVITATIONAL FIELDS/ CURRENTS
OPTICS  (SPECTROGRAPHICS)
		

Perspective
Space: fold/outline/install
    Forces: gravity/wind currents		


aerospace materials
astrophysics
Sensory Investigation We scan the world with our senses - our senses process information in different ways - the intermingling of those differences define a point of information - multiple levels of meaning are inherent to each point of information we understand Knowledge Objects are initially determined through a process of extracting points of information from the world We are taught to understand what a chair is -----> CHAIR PIC. (chair highlighted in a room with word chair over it) Multiple levels of meaning develop through extended interaction and investigation We learn that there are different kinds of chairs and each has specific qualities------> PICS. OF 3 CHAIRS W/ names Standard Dinning Casual PICS. AGAIN WITH HISTORICAL info PICS. AGAIN WITH PERSONAL info As we process more information we are capable of seeing connections between objects on various levels of definition. We are taught what tables are - We are taught specific qualities--------> PICS. OF 3 TABLES W/ names - pers/his info PICS. OF CHAIRS W/ all info create links w/in groups We are able to relate previously unrelated objects through the similarities which exist between those levels - tying the world together through subtle yet significant connections these things go together We are taught that chairs and tables go together (abstract concept) why? what is created when we do this?---->PICS, OF T AND C W/ INFO LINK INFO what is created and expressed physically and abstractly object level/ info level/ personal level NEW SET OF IMAGES SPELL OUT SENTENCE W/ INFO These kinds of connections may seem complex and tenuous, yet their prevalence in the environment is enormous We learn many objects - somethings go together some don't - sometimes it's strange----->LET LOOSE connect 3 or 4 things from 30 We learn many objects and sense connections between them --- This connectedness is an aspect of the nature of and reason for human understanding example of cultural recognition and interest in this concept and the form used to describe it - insects - recent descriptions of insects involve the fact that there are more insects in the world than any other kind of animal - their physical makeup is intricately complex - their life span is short This creates a kind of tension because as we come to know the world we must differentiate objects from each other and classify them in groups which relate, as we process info faster and begin to recognize connections on the more complex levels of definition those boundaries of classification are disrupted and we glimpse into a perspective of reality in which definition and reality itself are malleable and the maintaining of form and the structure of consciousness demands the constant use of substantial energies and is one of the most powerful forces in determining the core and direction of human creativity Understanding If we begin to shift our focus from the primary level of defining an object and onto an underlying level we begin to restructure the form and meaning of our perception of the world and initiate a new primary perspective . PIC. OF CHAIR, BUILDING, STREET, FACE/PERSON, PAGES FROM VOGUE, TREE etc. LIST LEVELS OF MEANING STARTING WITH INITIAL CREATE LINKS ON ONE LEVEL (lines) CREATE LINES AS PRIMARY LEVEL AND THEN DEFINE (or list) from that point START W/ 3 BUILD A PERSPECTIVE BY ADDING TO IT FROM RE-leveled OBJECTS (images) add pictures and create a unique story of the environment as structured by these lines and by focusing on them a new visual language emerges which maintains the linear structure and edits out the other levels of meaning as secondary FOLD focuses on an object as linear structure pushing out other details and functioning as a symbol of a certain way of thinking what does this do when applied to human activity and thought as a primary means of understanding how do we treat each other how do we see ourselves if this becomes the structure we struggle with How is this related to the way we see the creative act this process of re-leveling the perspective of reality why is it important to the W.perspective What odes it say about how the W. perspective approaches human existance/reality What are other options/levels WHY IS THIS SPECIFIC LINEAR AESTHETIC RELEVANT ON A CULTURAL LEVEL AT THIS MOMENT OR IN THE CURRENT ENVIRONMENT OF PERSPECTIVES IN TERMS OF ALLOWING A W. PERSPECTIVE TO ADAPT AND DEVELOPE--------> computer , travel, technology the capability to solve antiquated social and political problems while We are living in an extremely new world in terms of technological development. We have the capacity to solve antiquated problems which have plagued humanity throughout history , however the application of these developments is tenuous and unpredictable. As age old questions are answered new problems emerge, because the answers may not be the ones predicted or desired. We are entering a new world, but it is a real world and as we chart these new currents and bypass old ones we use art and its creative force to present suggestions and alternatives to the various possibilities within the reality we perceive as we enter unknown territory, as it has always been, the future
To individuals whose focus on the field of contemporary art is advanced and sophisticated it is difficult to understand that what they perceive is an extremely narrow, yet significant, component of a much larger social conception of art and the field of creative expression. This kind of focus is necessary, however it creates difficulties in understanding the impact of developments as they relate to the larger context. Theories and formal developments must be nurtured and enthusiastically supported in order for significant change to be effected and sustained in terms of a larger understanding of the expressive force of creative art.
Our culture, society and civilization is becoming progressively more abstract. the determining factors of wealth and power will be based on abstractions there will be no paper money- what determines success and power will be based on theoretical premises and abstract concepts. This detachment from a power structure rooted in physical reality is not new, however its form is decidedly unique. therefore an abstract conception of reality will become more and more prevalent systematized structures arise to tackle possibilities rather than problems. these may prove3 to be relevant as they consolidate varioous theories,
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