Shadows are usually counter-intuitive, and relegated to a mere background element. But when pushed to the foreground, they are the quintessential abstraction.
The album format in music is still useful in terms of providing a focus for the activity. Series work the same way in visual art.
If a creative process is creative and unique, it won't necessarily become Art. In music, until something is recorded and played it is inert, except when one knows the creative process that was involved. We like musical artists for the creative processes we are familiar with, encapsulated in scores, live performances or recordings. The processes preexist in memory, which are reactivated through performances. Sometimes all you like are the processes because the recordings or performances didn't have time to resolve completely. Masterpieces are masterpieces because that process was completed. (Draft)
The first few entries of Dynaxiom Fifth:
Approximate release date: January 28, 2018
1405. There are two basic ways to add cohesion to creativity: 1) create the work then serialize; 2) create similar pieces in an existing series. This also works in music where you can compose first, then add to a collection (album) or define the framework for the album and fill it in accordingly.
1404. Our bodies are only suffused in the world to the edges of the skin and the limitations of the body and of the sensory organs. That's where technology begins. But technology can only take us so far: Our bodies are also only suffused in the world to the edges of our technologies. That's where spirituality begins.
1403. It is inconceivable that anyone could witness a total eclipse for the first time and say, "That was just okay." (8/2017)
1402. Eclipses are a time for surrender to serendipity. But eclipses are empirical, and completely predictable. It is what happens in the context of them that is serendipitous. (8/2017)
1401. What’s more important than a signature style is a way of working in which one’s methodologies are interrelated, which then become the Signature.
A useful way of bridging the chasm between representation and abstraction is to use the art Universal "make the familiar strange". One of the best (and perhaps overused) example of this is Picasso's Bull Series (1946), and Lichtenstein's send-up done in 1973 (above). An example of the reverse of that process would be the borrowing of elements from science-fiction and letting them inspire the creative process. Either way, it makes the final product less strange and more familiar, and more interesting for generating new ideas, as it resolves misunderstandings of "strange". This has also been used in music since Varese (and perhaps much earlier), who introduced "strange" procedures with music composition.
"Making the familiar strange" will have its own variations in the future, as it is now an established Universal.
One of my art axioms is "Beauty isn't necessarily interesting--but neither is data. It is what level of interesting that you choose to examine. Even beauty now has metadata behind it."
The MD5 Hash, a 32-character code, is metadata that functions as the unique fingerprint of a digital file or part of a file, such as a string of text. A digital photograph has lots of metadata behind it, or "under the hood". (As time goes on people will become more familiar with this terminology, as it is used in blockchain technologies.)
If you look at the page source behind a web page you will see what most people would consider "gobbledygook", as the Supreme Court has called it. More and more that "gobbledygook" is extremely important to understand. A word is in some sense the hood of a car, but not many people feel the need to open it, or may be intimidated by its complexity.
Two artists that have used text as the primary element of their work are Mel Bochner and Ed Ruscha. In the 1970s, Bochner had done a number of text paintings using the thesaurus as a source, and did a few "portraits" of people defined by text, as "Coded Representation". Ruscha has probably done hundreds of text paintings, some with cryptic acronyms such as "OOF".
The MD5 Hash is my "thesaurus", that I use as an algorithm to generate the characters. This is a corollary in some sense to serial music, which I had done briefly as a composition student, and now I find myself doing it in visual art. The piece is generated from a row of pitches in which the composer must use in sequence throughout the piece. A serial approach is a good way to do something by following a set of constraints or rules, and not have to invent something in order to complete the work. This extends into writing music for albums, where I work towards filling an hour with music. The Hash Art series, is in some sense an “album” of three equal pieces, becoming a “triptych”, a term unique to visual art. A vinyl LP is a "diptych" in a way, with groups of sub-elements on two sides.
The same system can use other basic elements besides letters and numbers, and can include found objects, arranged and organized by categories or when and where they were found, and placed in predetermined areas on the canvas.
Exploring the limits of something is an interesting way to see what might be usable in a more controlled context. (Audio distortion is a good example). It’s usually the happy accidents that inspire innovative thinking. Once you see something occurring in a new medium, it presents a whole new way of seeing.
Hurricanes are essentially fractal in nature and the underlying idea is the same: there are simple rules that allow systems to scale up or down in a linear fashion, ultimately controlled by randomness in the top-level system, such as the climate system as a whole, and its own limits: the earth is only so big, and the atmosphere is scaled accordingly. But it can only get so warm, as opposed to getting too cold. Mars and Venus are the examples of systems that reached limits of their scale, then become largely inert atmospheres.
If you are not used to structured creativity, you can easily get lost in options, which can lead to a diminished of motivation. What you want to avoid as much as possible is getting lost in a thicket of technology. As much as it is a tool, don't get bogged down in it. Anything that has a hierarchical menu structure will have the capacity to stall your flow. Ideally you'll want to have the producer and engineer in the role of filter.
Harsh lighting shows all the blemishes. This is a bad thing for art that is photographed or scanned. High-resolution kills the soft retinal distortions of the human eye.
Photographed art, even with the best cameras and lighting, highlights things you wouldn't see standing next to a painting in a meticulously-lighted gallery space.
The best lighting is diffuse natural light with a lower light temperature, and preferably not back-lit, which is a completely different experience of images that have texture.
With photographed artworks you need a form of "age reduction" which takes the natural "bump map" aspects out of a digital image. We see the same texture with our eyes but it looks like normal texture, as opposed to the high-contrast pixelated shadow that can appear in a digital photo.
Screen images naturally look more craggy and have to be smoothed in some way. Nixon was a victim of this in the 1960 debate with Kennedy. Kennedy had the advantage of being younger and less prone to the "bump map" effect, i.e. the flaws in unnatural light to make blemishes more visible. If there were no screens in 1960, perhaps the outcome would have been different simply because of the softness of natural vision. Perhaps there would have been no Watergate--who knows.