In the last two weeks I’ve jumped from concentrating on how I was going to make work into actually making it. Following the path I outlined in the last blog below, there’s a big jump around e) to g). It’s so nice to take time to investigate objects but things jump to a whole new level when you want to animate them.
figuring out through constant mistakes about how centrifugal forces work by tying a ropes in various lengths and weights to various motors attached to a beam in the garage.
not taking Physics at school.
slashed a guy in Mitre Ten with my new LED light ribbon when he said to me, as I walked into the timber area, ‘Sorry ma’m the craft aisle’s back inside’.
in love with:
builder’s line - the string saturated in fine blue chalk.
bemoan the fact that:
PIR sensors have a 4 second delay.
have hours of joy:
patching code in the interactive software Isadora. It’s when I feel a real sense of flow, in the zone of problem solving, piecing things together, making.
6 wonderful people took part in the workshop on Saturday. We basically went through a condensed version of the process below. I realised that it’s very very hard to explore an object and not be mostly influenced by it’s visual aesthetic, and almost wish I could conduct exercise A) in blindfold, in the hope that we could really try to understand these objects in a very new way. A few interesting moments came up, especially when we were experimenting with how to lead the audience into and through a work. How do we know when a piece is finished, when there’s no blackout and clapping? How do we lead people in when there’s no usher and seat numbers? We realise we are very dependant on certain protocols to feel safe. We realise that even in very subtle changes in a set-up or introduction can result in a wide variety of emotions in the audiences approach.
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