Sketchbook

Since the origins of the prehistorical spiralling nebula, frequency has performed a function in the way we see. Timelines, currents, footprints, patterns. 

Dactocogniscient by Jonathan Polkest

Cognitive orientation from the forefinger, the trace gaze, the gesture and mark making actions.

The skill of Gauging, the use of experiential detailed predictory codification with a wider objective.

Pattern and consistency, the holding cycle of persistence in order to overcome the effects of unpredicted aberrations on duration.

Autocogniscient by Jonathan Polkest

At a basic level of machine code and at the far higher example of program languages, the digitization, which constitutes a fundamental of electronic computing, does involve binarity. But from this fact one cannot so naively extrapolate, as Baudrillard does, a complete thought-world or episteme . Baudrillard, may be correct: he may have perceived one key connection between the stimulus/response model and digitality. The fact of hypertext, however, demonstrates that digitality does not necessarily lock one into either a linear world or one of binary oppositions.

Pastination: The Pasty Vortex, Gunther Von Hagen-Das

Cognitive science: the study of intelligent systems, artificial or otherwise.

 Over the last few decades, the study of cognition has developed towards an interdisciplinary science by combining approaches primarily from computer science, linguistics, and psychology. This field of study retains links to the neurosciences, philosophy, anthropology, education and to the physical and engineering sciences engaging in sophisticated system dynamics. Considerable diversity of method among researchers in cognitive science exists, however, many share the belief that intelligent activity can be described in a formal and systematic fashion. Many cognitive scientists assume a more specific hypothesis would be one of intelligent activity modeled by formal systems (programs) running on a computer or a brain. This hypothesis the "computational theory of the mind," is considered by many to be one of the most important intellectual concepts to have emerged. If my tone is translated as scepticism this is because I recognize and embrace the science equally I recognize the brand of inhumanity that such processes will be employed to justify. One of several consequences impacting upon the blurred distinction between pure science and impure polemic is the ever increasing banality of semantic elasticity.  

Capacity and variation of learning in most situations depend on prior knowledge and experience. Some Psychologists use the term "construction of knowledge" because each learner is to build meaning from their existing knowledge. For example, an explanation of this principle "How People Learn,"  A Story- Fish who learns about the dry world from a Story-Bird. The bird describes beings who can walk upright and breathe air, the fish imagines fish-looking people walking on their tails, with both gills surrounded with water and lungs filled with air. The comprehension process closely mirrors the moment when children are taught that the world is a round planet; they replace their pancake-shaped view of the earth with a ball that has been cut in half, so that we can walk on the flat cut surface without falling off. It could be argued that, the most accurate prediction of what is learned from a lesson, course, or program of study is based on what the learner thinks and knows at the start of the lesson, course, or program of study.

"Left brain thinking" is claimed to be verbal and analytical. "Right brain thinking" is claimed to be non-verbal and intuitive, with a preference for stimulation from pictures rather than words. I have a problem with this statement and its assumptions or claims because I would like to know how these claims were decided and I would like to know what is mean't aesthetically by stating that a drawing is "flowing" or "flows", I understand the concept of a pleasing composition being created with ease or satisfaction but I question the process of identifying a flowing drawing from the left or the right side of the brain. I also take issue with the idea of the "brain" rather than the "mind". It is claimed that by consciously using the right side of our brain, we are more creative. More creative than ...what?  These claims are developed further in the book by Betty Edwards Drawing on the Right Side of the Brain. Building a theory about the characteristics of drawing.
 The book claims that through exercises which build up skills, you learn to access the right brain and apply the fundamental skills of drawing and observation. Written in easy-to-understand terms Drawing on the Right Side of the Brain by Betty Edwards explains how this can be used with a set of basic skills to learn to draw. Again I take issue with the idea of learning to draw, maybe learning how to "read" a drawing, drawing is so indissolubly connected to the mind of its author regardless of skill or transferred practise and regardless (in my opinion) of the orientation of the faculties, although I am very interested in Orientation and I think its a very interesting set of study criteria. Like several theories encapsulating a seemingly solved problem, where is the problem? Does the theory offer a solution ? Both questions negate each other but the book is used primarily as a teaching tool rather than a philosophical argument or a shift in current thinking .
This is one of best known books on the concept of left / right brain activity and art. First published in 1979, it's been in print for more than 30 years and translated into 17 languages. In 2012 the fourth edition was issued, a fully revised edition updated with current research on brain plasticity, new reproductions of the master drawings, a new introduction and new section on the link between early childhood scribbling and later language acquisition, as well as new tools for problem solving in everyday life with the visual-thinking skills acquired through drawing.

drawing a community

tremadhevas-yn-penceat

kestle barton camera obscura

Poussin, Pythagoras and Montage

John Logie Baird

Looking at the sky whilst standing on one leg with the right arm held aloft, the left arm held out perpendicular like an aircraft wing, I feel like Bes, dizzy but interesting,  all risk and no unconditional foundation, lying down at rest, damp grass and earthen scent, one must succumb to it, don't resist. And then all my cares fly back across the twilit parklands, one at a time - they seem less significant but the evidence is there a growing glistening flock of large corvids. Those flocks will rouse me deep in the night, they'll make a bland dream sad, they will reappear as single sea swallows in the bright sun of the south pacific.

BBC Crystal Palace transmitter mast

Tools you cannot trust.

Stitch This

There are several ways of "seeing" a constructed line in a drawing as well and many ways of controlling a line. The notion of copying is complex in this respect, if one is to "trace" around an existing configuration a version will emerge, it will also be unique and as unique is not in any way a quantitive term any argument about the actual object being a copy will be flawed. As to the image being a copy, this too is problematic because the idea of an image is too general. Drawing objects through observation is drenched in a legacy of adversarial challenging the keenest naturalistic reproduction of the subject matter and yet contemporary ideas about identity in individual perception recognizes the wide spectrum of our individual gaze and yet, and yet...we linger in the realm of the photograph. I've never been able to accept the idea of abstraction being an impro for the eyes to tell the soul, I see all figurative and none figurative as the same thing = Abstract.

Flying over the Isles of Scilly. Scale is a bit like Time, scale is often used to confirm proportion although to feel the power of Scale alone one needs to isolate the essential meaning of it in a drawing. The first impact that scale exacts upon the primary drawing, or the sketch is the rather diffused notion of "human scale", the extremes of scale are occasionally confronted by the human, say, at the dockside when a giant ocean liner is moored on a high tide, some inland cities have shipping canals where large tankers are creeping smoothly upstream. They aren't being blown along by the breeze and you can identify the difference because you can identify the might behind the momentum, although smoothly topping four knots these vessels would simply smash through tons of concrete before stopping, you know this because you sense this, you can identify the characteristics of scale. Was this learned by you? We will never know because in order to gain the knowledge of experience you had to lose the innocence of that state of unknowingness that cannot be verified but that can easily be imagined.

Relation in Movement 1977 Marina Abramovic - Paris Place du Concord. I made a model of the little Citroén H Van based on a drawing I made of the site where the original event took place. The paving looks the same but I could find none of the ritual rubber engrained in the concrete after the circling intervention. I worked out the axle width from Citroens manuals and I graved the tyre marks with charcoal (on the original 1:75 scale model). My visit to the site also informed me of the various textures and proportions for the final piece which is titled 1977.

The Martin Baker Ejector Seat-

Drawing helps to realise what is often masked by perspective, as well as being an extra bit of non alphanumeric memorized data (which requires decoding no matter how simplistic or innate). This is not a Draftsman's Drawing or a measured drawing like those we produce of Theatre Ground Plans (for example), wherein a measured drawing is compiled in one plane, (2D) representing three dimensions and transposing several layers, a theatre performance space is usually fitted onto an A1 paper sheet 594mm x 841mm at a scale of 1:25 and at that scale the resulting image yields an easy logic once the visual protocols are fully realized one can identify pieces of architectural detail overhanging another, Or the outer edge of a ledge or staging, other parts of a Draft will be encoded information representing the position of (for example) electrical outlets and other service detail. The important factor in a Measured Drawing or a Draft is the accuracy of the dimensions and the distances between edges and planes. The unlabelled information embedded in a measured drawing can only effectively be retrieved using a decoder - not that I do not consider normal eyesight as a decoder, but here I'm talking about the system of scaled drawings or measured drafted drawings. The simple drawing of a groundplan yields every required measurement of a building or object through the scale ruler, the idea that a two dimensional scale drawing can fully represent a three dimensional full scale object seems initially absurd until familiarity with the scale rule and the tape measure.

Thursday, 27 October 2011

Amphitheatrum Sapietiae Aeternae

The Invocation of a Poussianist inheritance between the spatial doctrines of several species and lifeforms archived in the form of a two dimensional touring sketchbook Wordeggs .

The first stage of the great work better known as the Alchemists Laboratory prior to disembarking from the old priory at St.Hilary to begin casting a foment abroad.

 

In defiance of the powers of corruption our almanack begins with a whisper of gestation a distant barely audible heartbeat, concealed from the marauding interceptions of the power seekers.

 

The Cockoot and the Death Hawks larvae pregnant with Poussinsm

 

First you're born and then you burn, but didn't you burn so very brightly...?

 

The Owls egg, rounded by secret knowledge and nocturnal wisdom, the Sea Hogh's egg hunted by the Suleskerries though it changes from umber to grey still it is their prey.

Twin Fowls "Cornwhylen", in Lusitania the clutch is blue from the seaweed diet beyond this invisible border they produce the familiar yellowish colour.

Divination via the unhatched eggs of ground nesting fowls who sat in vain.

Oll ahanan a vynn krysi an pyth a lever ev bys pan y'n dispreffi.

Delirv

The Gorse Witch Gwraghethyn

Dewhelans

The silence of the watchman, a huge ox has stepped onto my tongue.

Invective during Interregnum 

PARODOS: bid me step onto the purple tapestry into the Oikos.

HUBRIS: the libation (could be a painting...yet.

 

The Dark Monarch inveigles.An empty grave.

Prima Materia

 Two locks of hair were placed upon the stone, footprints led them away, the ghost departs like the old man of the sea, A wretched piteous dove, in quest of food, dashed amid the winnowing fans, the blood that Mother Earth consumes clots hard, it won't seep through, it breeds revenge and frenzy goes through the guilty. Man cannot hope to build a progressive civilization if he is steeped in a perpetual bloodbath. A way out must be found, a new more civilized law.;PHILOS-APHILOS

La sorcière Gorse va mourir d'un désir avide de gloire imméritée.