Space as Language (towards metamorphology):
Introduction:
This hypermedia document is another step in my (perhaps foolish) attempt to unify, test and develop the
various (artistic?) activities that have kept me
busy/frustrated/angry/fascinated over a number of years -and have eventually culminated in this project.
The document is therefore both a documentation of work done, a tool
for
clarifying and understanding that work within its conceptual framework
-and a medium for developing that work further.
I also hope that both this document and the work in general will act as
a model and a metphor for what one might call "
The
Creative Process".
A second, important and supporting (underlying?) theme is the
(potential) role of
Formal Systems
(in Art and Society). In the art-historical context of this
document, a concideration of any formal aspects of art
also involves concideration of
the
(potentual)
role of the Computer in Art and one should also concider
the implications of
formal systems for non-computational art.
For those who would like to see some structure in this conceptual maze,
here is a
conceptual framework.
Basic Conceptual Components:
As the title might suggest, this document breaks down into the following main
sub-areas:
As a result of developing slowly over the years and being influenced by
a wide range of people, ideas and experiences (see Credits below) this document (working
process) also has a
historical background but is basically the responsibility of a single
person -although
the importance of the dialogue with
Fatima Lasay should not be underestimated.
Credits:
I'd like to thank all those (both friend and foe) who have contributed
to the dialogue which underlies this work.
However, at the risk of overlooking somebody who should be included,
I'd like to give special mention to:
- Fatima Lasay for all the constructive arguments
we've had (and hopefully will continue to have).
- Shaun O'Neil, Marc Burkett and Richard Neef for
their technical assistance and friendship.
- All my Students and Colleagues in the AKI media art
department -especially Sigrid Langrehr and Electron -plus, of course,
my collegue and friend Jacqueline Hoogeveen who encouraged me to
develop the theoretical discussions via her OBP study-group. Probably
only mad dogs and Englishmen would attempt to develop and teach some
kind of formal theory of art in an anarchistic institution such as the
AKI.
- The inspiring group of people involved with the
Institute of Sonology in Utrecht -especially my mentor Werner Kaegi,
the administrative and technical support staff and the family Koenig
who helped me through several difficult times. My experiences in
Sonology undoubtably provided the most important formative and
inspirational basis for my current work.
- The head of sculpture at Loughborough College of
Art during my foundation year.
- Marek Lacinsky, my printmaking teacher at
Exeter College of Art.
- The Maths, Science and Art teachers at Hugh
Christie Secondary Modern School in Tonbridge -and all the teachers at
Ruislip Manor Secondary School -who also refused to give up on lost
causes.
- Paul Klee -for his inspirational (pedagogical)
book "The Thinking Eye" -which I was introduced to while still at
school and which remains an important underlying influence with regard
to the develpment and function of visual languages with regard to the
creative/cognitive/divinatory process.
- Plus, of course, my family -especially Dick,
Betty, David, Babat, Ernst and Ragan.
Trevor Batten
Manila, March 2006