Music Notes: Each of the lines and dots represent part of a whole note which is in turn part of a whole song. The music is merely a connection of notes which are lines on a page that you read in order to represent the sounds of a song. The same is relevant in terms of education, when thinking about my project idea. Each item you learn comes together to build into a whole idea that makes up what you have learned in school and in life. They are merely lines on each scale of music that are all make the song that is life. The beauty of your knowledge of each note of all you know is the translated in the mind into one fluid, dynamic work. The work that embodies you and the souls experience.
Mardis Gras Beads: A reoccurring question that pops up when pondering over my project is "Is creativity limited through the structure and framing of educational space?". When considering the representation of Mardis Gras beads you see a loop, ring, or whatever you want to call it. One way we can consider each necklace is as a form of educational space, or a structure of a certain educational space (i.e. the structure of a educational system of a specific country). Each bead then could embody a specific studied subject within the realm of educational space, then connected to the other beads as other forms of education. With this structure, the frame of educational space shows symmetry as all the subjects are connected through the necklace. Is creativity one of these beads? Should it be within each bead itself? Is creativity its own separate necklace?
If another necklace is twisted within another and are locked, it could show the representation of the symmetry and interaction of two separate educational systems, say of two different countries. This could then be connected to another necklace of educational system and again and again showing the connection of multiple educational systems.
Returning again to the questions of creativity and its absence from educational systems, as I was twisting around a necklace it snapped and was one simple strand of beads no longer united together from beginning to end. This appeared to me as the breaking of educational system, or educaitonal space. The only question and thought that came to mind in response to this was then: If educational systems broke down, would there be a return of creativity that was once absent? Something to think about....
Representations in Supevision!!!!!
The following pages give reference to images that can be found in the book Supervision. Depending on how the appearance of each image is perceived, and/or the meaning of each image given, they are able to be metaphors representing entire different thoughts and ideas. The six explained show their relation to the idea of "Framing of Educational Space".
Page 76, "Wires sans Resistance": From the appearance of the image, it could be perceived that the large circle is the image of educational space system as created by society. The many little circles could then be seen as the alternative views of education and how they would like to charge, improve, or alter education but are not able to impose the structure that is fixed in society.
Page 87, "Reading the Code": This image can represent the system of education built up of its many subjects each connected, each related, and each affecting the overall system of education; much like the human genome actually represented within the picture.
Page 113, "Weld Art": This image is able to show how when looked at closely, the different subjects studied that comprise of education are aligned next to each other building up education as it is known. Each very different, but interaction of each beam represented shows how education evolves to what it is known as.
Page 157, "Freezing a Bullet": This image is able of representing what would happen if educational space or systems were broken or de-constructed. Would creativity then be more apparent? Is the bullet actually representing creativity? Could the destruction of education be creativity? It suggests many questions relevant to that of educational space...
Page 164, "Fluidity": "To the eye, a clear fluid like water looks homogeneous. Even when it flows and has an irregular surface, it still looks as though there is no real internal structure, but such a structure exists nonetheless." This could be considered true within the appearance (surface) of educational space.
Page 199, "Point of No Return": This image of a black hole to me grasped me as an image of education. Education grasps all aspects of life, one could say, even creativity in the representation of art schools or what not. Education involves all forms and when ideas are shared, education happens. Educational space involves all and all can be applied to educational space. Much like how nothing can escape a black hole, nor can it educational space.
Tuesday, March 25, 2008
Saturday, March 15, 2008
Response to A System of Temporary Framing, Shifting Frames
A visual representation to Proforker's blog post "A System of Temporary Framing, Shifting Frames" can be seen in Deepak Mangla's blog. We created this spiral representation to show shifting perceptions and interpretations of ideas or concepts by the confusion when looking at a spiral from different angles. Depending on the point of entry to the surface, perceptions are skewed and shifted and interpretation of the spiral temporarily has new meaning. View this representation at http://d340.blogspot.com/2008/03/la-spirale.html .
* When considering “La Spirale”, we assumed it meant spiral. More specifically, Deepak envisioned a spiral that comes to a tip for the end (sort of like a coned spiral on either end). Therefore it had its limit and structure through the style of spiral. When then taking into thought the idea of our question 2 about the last lines of the poem “Moreover, they are not deformed by style,/ That fire that eats what it illuminates.” If we had read those lines first, would you view the poem differently? How would you frame it? And, how would it integrate with the examples differently? So, in other words, how would a different point of entry affect your framing of the poem in its entire dynamic form?
* When considering “La Spirale”, we assumed it meant spiral. More specifically, Deepak envisioned a spiral that comes to a tip for the end (sort of like a coned spiral on either end). Therefore it had its limit and structure through the style of spiral. When then taking into thought the idea of our question 2 about the last lines of the poem “Moreover, they are not deformed by style,/ That fire that eats what it illuminates.” If we had read those lines first, would you view the poem differently? How would you frame it? And, how would it integrate with the examples differently? So, in other words, how would a different point of entry affect your framing of the poem in its entire dynamic form?
To explore this question in relation to Deepak’s vision of the tapered spiral, we decided to form a visual representation and record first an orbit of the tapered spiral. Then we would compare that to a spiral that came to its smallest cycle in the middle, and its orbit. It is interesting in comparison when you view both orbits and whenever the spiral is viewed from a top view or bottom view they seem quite similar; similar enough to consider that they were the same figure, when in all actuality they are completely different. When reading the poem, the point of entry of the poem will affect how one views the rest of the poem and the individual lines that are comprehended. In its style and structure it builds up to an overall understanding of the meaning of the poem with previous notions of understanding by individual lines have been misunderstood. à So, it again raises this question of if the point of entry effects your framing of a POAM or poem as well. When in practice this visual representation evidently justifies that a difference in point of entry will account for a difference in framing. When further exploring the spirals, the thought of framing affecting the point of entry also came into mind. If given a specific frame, are you then following the intentions of the maker of that product? Moreover, is that frame the view from only that direction or does changing your angle of viewing direction within the frame (such as shown with the spirals) affect the points of entry you have for exploration of thought provoked by the product of an act of making? It seems as if there is a reciprocal question and answer set forth when analyzing this idea. There definitely is a relationship between the interaction of framing and point of entry within a POAM. Did the maker intend for an exact frame, or is the entirety of the images in a frame open for perception?
Also noteworthy is the ideas of lack of interaction within the poem, “Style”, and its representation in the coned spiral video created and how in both views of spirals they are never fully connected in the middle. The portrayal of this lack of interaction is obvious, whereas we intended for this representation, was that also the intention of Nemerov? In fact, we call them POAMS (Products Of Acts of Making), are all products made with specific intentions?
Where could we apply these ideas and this model in other areas of life?
Thursday, March 13, 2008
Response to Symmetry Hunting
In the LFT, symmetry seems to have a different meaning than itstraditional definition, of "1.the correspondence in size, form, and arrangement of parts on opposite sides of a plane, line, or point; regularity of form or arrangement in terms of like, reciprocal, or corresponding parts." (taken from dictionary.com) It means more of a plane of similarity between two or more entities. Similarity plays a large part in the connection of all things in the universe under the LFT. "Symmetry" in this sense creates a further significance of objects and ideas and their relevance to the ultimate meanings of rationale and purpose of these concepts.
In Proforker's blog post, "Symmetry Hunting", we are presented with the two paintings from Van Gogh, "Starry Night" and "Sunflowers". In the book Supervision we are presented with two pictures that resemble the paintings. Although not perfectly symmetrical in conventional terms, they do indeed show similarity of form and appearance. This along shows symmetry under the LFT.
Also, we are presented with Samuel Beckett's play "Come and Go". It's representation of allness is portrayed with the three ladies saying similar messages to each other as one will leave the group at times. It is known to be a representation of infinity, which can be seen by the consistent cyclical manner of the dialogue and leaving and returning of each woman. Symmetry is seen in the play by the clothes and alignment of the women portrayed.
When asked to find a form of symmetry between a print poam from each Tokyo Butter and Poems for the Millennium, I was wondering, if there is symmetry always between all objects I chose to arbitrarily choose a poem from each book. When doing so I ended up with "Accidental Culture" in Tokyo Butter and "Letter to Her Brother" by Amelia Roselli in Poems for the Millennium. In both poems you seem symmetry between the two by their relevance to an Arab culture, and also with the representation of death nearby. Perhaps it was made easy by chance to find poems that have such similarity but the fact that symmetry exists everywhere was seen at this moment.
In Proforker's blog post, "Symmetry Hunting", we are presented with the two paintings from Van Gogh, "Starry Night" and "Sunflowers". In the book Supervision we are presented with two pictures that resemble the paintings. Although not perfectly symmetrical in conventional terms, they do indeed show similarity of form and appearance. This along shows symmetry under the LFT.
Also, we are presented with Samuel Beckett's play "Come and Go". It's representation of allness is portrayed with the three ladies saying similar messages to each other as one will leave the group at times. It is known to be a representation of infinity, which can be seen by the consistent cyclical manner of the dialogue and leaving and returning of each woman. Symmetry is seen in the play by the clothes and alignment of the women portrayed.
When asked to find a form of symmetry between a print poam from each Tokyo Butter and Poems for the Millennium, I was wondering, if there is symmetry always between all objects I chose to arbitrarily choose a poem from each book. When doing so I ended up with "Accidental Culture" in Tokyo Butter and "Letter to Her Brother" by Amelia Roselli in Poems for the Millennium. In both poems you seem symmetry between the two by their relevance to an Arab culture, and also with the representation of death nearby. Perhaps it was made easy by chance to find poems that have such similarity but the fact that symmetry exists everywhere was seen at this moment.
Sunday, March 2, 2008
Surface Delight: Explored through Poem
"The Die" by: Dmitri Malcolm and Dapo Abioye
The dichotomy of death
The roll of the Die
The mapping of life
The morbid song
My reverse birth
My faceless being
My unbeaten heart
My soul an illusion
My mind a prison
All and nothing
My surface unsurfaced
The earthlessness of spirit
The beauty of dust
My disdain for love
The life of death
My faceless bring
Being faceless my meaning
Of texture of death
Lucidity of breath
Infinite girth
The limits are limitless
I start where I begin
I begin where I end
Oh shell of mankind
You contain me so well
Prison of my surface
The limit of a person.
The dichotomy of death
The roll of the Die
The mapping of life
The morbid song
My reverse birth
My faceless being
My unbeaten heart
My soul an illusion
My mind a prison
All and nothing
My surface unsurfaced
The earthlessness of spirit
The beauty of dust
My disdain for love
The life of death
My faceless bring
Being faceless my meaning
Of texture of death
Lucidity of breath
Infinite girth
The limits are limitless
I start where I begin
I begin where I end
Oh shell of mankind
You contain me so well
Prison of my surface
The limit of a person.
Subscribe to:
Posts (Atom)