The chaos theory was introduced to me by the 1998 film, Pi. The film is a study of madness and genius hand in hand; the main character obsesses over the belief that nature is expressed through numbers and that the mathematical structures found within nature, is the language of the universe. His ingenious mind evolves into madness because of his constant recognition of these patterns and he begins to see them everywhere. I feel like this represents how our minds are less advanced in comparison to the complexity of the language of the universe, because the film shows how a mind dealt with the number sequences in nature in such an uncontrollable way that overwhelmed the character.
The chaos theory itself is a theory that readdresses what the film Pi had exposed me to. It studies the behavior of the dynamical systems of that within the film Pi. These systems are highly sensitive to their initial conditions: any minor alteration can develop into largely determinedly chaotic outcomes, similar to the idea of the butterfly effect.
This deterministic nature of the dynamical system can be predicted until it appears to us that the system is random; our human eye and mind can only comprehend the chaos of the butterfly effect to a certain extent, depending on how much of the uncertainty we can tolerate but also how accurately we can actually measure ourselves. I think this ideology goes to show our insignificance to the universe because although our minds are evidently more developed than most other organisms as we know it, the language of the universe as showcased in Pi.
I am going to study this theory in more depth and learn some of the research and studies undergone because I know that fuller understanding on the chaos theory will be extremely beneficial for my dissertation!
The Fibonacci sequence is a representation of natures’s mathematical structure. The number system of the sequence is found within natural forms everywhere, meaning that it is applicable to the growth of every living thing, depicting an organisms proportions:
I was purchasing deceased butterflies on eBay because I would like to retain my idea of ruining, distorting or altering natural objects that derived from researching Mat Collishaw’s artwork and butterflies have always been a common theme since I began creative processes. From this I came across some work of Damien Hirst of which I haven’t seen before for whatever reason. I think these pieces are amazing and are very relevant although I do not agree with the extent to which Hirst has gone in using so many butterflies – did he kill them? (The butterflies I have purchased were kept healthily and then preserved after a natural death).
However, I find the way Hirst has developed pieces which are distressing yet aesthetically pleasing and actually quite uplifting really effective in displaying a level of cynicism of nature which is really relevant to my subject work. The fact that the butterflies are no longer alive is saddening yet the aesthetic that Hirst has produced, which is ironically a very personal arrangement, and imagery because I have tendency to draw mandala type shapes, is contradicting the emotion from the butterflies which kind of presents a sense of ignorance because as you would look at the full pieces whilst discarding what they are made of, the emotion toward them would change. This reminds me again the ideas that Chris Jordan from the Midway Projects works from for his artwork in that in order to remember that the deaths of all those butterflies, the innate, immediate emotion should be accepted before the larger, sadistically beautiful image is considered and removes the initial emotion from the memory.
Kadar Brock is an American artist situated in New York, who produces these artworks that caught my attention because of the unusual tendency within his work to erode or burn through the canvas material. Because of the interest in memory that Brock has, I think he has used this technique to suggest memories that disappear, memories that aren’t strong enough to be part of a long-term memory, and therefore not part of the particular consciousness. I would love to use this technique as my own and appropriate it relating back to my early project work about the apathy of humans allowing memories that are actually important to be neglected. I think if I were to take on this technique it would be effective to remove sections in this way and exhibit them on the floor underneath a canvas to show that the worldly issues that they would be representing are still there even though they aren’t part of the canvas/part of societies hierarchy of problems.
I also really love his mixture of media: spray, oil, acrylic and flashe paint, which he works together to create a series of experimentation of abstraction of geometric shapes with a colour palette I really like. Brock has strong interests in magic and memory which is really interesting, potentially a means for his colour use of what I see as fantasy-like shades. I’d really like to try working with spray paint because I’ve recently seen quite a lot of work involving this media that has been really appealing to me aesthetically. I really wish I’d come across Brock a little sooner so I could incorporate it into my subject module directly and be able to experiment with these new ideas whilst I still had a studio space! I could potentially overcome this problem by doing something more site specific such as with billboards and creating a sculpture with the cut outs to attract attention. This would evidently be more appropriate with my concepts being so society-based.
Yesterday I met with my new tutor for my dissertation prep. I explained that I was hoping to continue in the direction of consciousness for my dissertation work and be able to discuss it’s relationship with the world. I want to consider consumerisms and learnt behaviours to potentially understand the effect the world has on our consciousness and vice versa, meaning I will be researching human consciousness a lot and hopefully conducting my own studies as part of this. I decided that the 6,000 word dissertation with coinciding artwork would probably be best for me and definitely more beneficial for me being a fine art student – turning my research into the visual. Andy was pretty enthusiastic about the ideas I introduced and he sent me away with a few new key words/theories and some books to get hold of!
These are the notes I took from a lecture about how to develop my research into visual artwork.