Anita frost supporting material 2016 july

Supporting Material: Anita Frost 2015-Present

Isolating observations

Found materials, reconstruction, repurpose, Renaming and the Ready-made

Wind Calculators

Could be functional‌ looking at Heath Robinson.

Words

Shortest poem ever written: LY

The difference between: Abject and Abjectly Absent and Absently love and lovely

“everything stated or expressed by man is a note in the margin of a completely erased text. From what’s in the note we can extract the gist of what must have been in the text” – Pessoa (Fernando Pesso, as cited in Goodreads)

John Maeda has been quite helpful in thinking about the devlopment of my practice, something he said that really stood out to me was “When a small, unassuming object exceeds our expectations, we are not only surprised but pleased. Our usual reaction is something like, “that little thing did all that?”Simplicity is about the unexpected pleasure derived from what is likely to be insignificant and would otherwise go unnoticed. The smaller the object, the more forgiving we can be when it misbehaves” (Maeda, p2)

Naming potential functions/ the power of ‘er’

misnomers

Observations that had a big impact on my thinking

Signs and signifiers/

Manifesting// have always loved the diagram- think this where I started to research more into it

The Gravity of Particular Objects

Second Seminar Was concerned with The ready-made and found Materials at this time.

Potentiality was a big focus- particularly How a hinge aided in that – page 60 // research into the ready-made and attitudes Placed towards it.

Animation was very successful/ particularly in relation to statement

Thinking ‘what if’, ‘how’ or by solving A problem, answering an odd question, or phrasing An observation carefully.

Building on the diagrammatic, constructions, Improvisations, instructional. With The Gravity of Particular Objects, it was said that its like being taught something, Without really knowing what you're being taught. This was Great as I have been interested in the unintentional acquire Of knowledge (see emancipated spectator). And how the diagram Has an indexical function where it points ‘There!’ without Really doing so.

Stored potentiality

Photographic inquiries

Plaster of Paris sculpture thing

These and other images I took while out n about helped thinking about what is being presented to me, and what I am interpreting them as.//the diagrammatic//geometries. Light, movement, purpose, function, cause and effect

If lines were people

July Seminar 2015

Minneapolis sculpture garden

Laresa Kosloff, Deep & Shallow, 2004, video still.

Enjoy the humour and oddness…

The personification of a shape…

Kind of ridiculous…

I think that when I started To introduce text, particularly with Still images, this is when it really clicked for Me that I don’t need movement or weighted Objects to speak about the nature of things.

The diagrammatic instructs such things to The viewer How text can drastically alter the rather basic and meaningless gesture

Learning to animate in processing2.2.1

Experimenting in other digital platforms

September Seminar Works in progress

>how shapes are made

<_ Install of How shapes are made -because of the content of the animation and the set up, it made some of the viewers think about the animation in relation to the space, accentuating inside and outside spaces. A kind of lesson in looking at pre existing geometries, structures etcâ&#x20AC;Ś

-with devices such as a laptop my presence is communicated, whereas with the projections and monitors there is a stronger tie to the presentation, instead of being about me learning, is focused on the translation of information and potential reception of it.

The instructional space interests me hereâ&#x20AC;Ś how it is seen what is instructing The program to generate something that would otherwise be unseenâ&#x20AC;Ś making Intangible and unseen things, visible.. Or trying to communicate their existence.

Changing the way in which the work is interpreted

Revisiting photographs.

Realising their importance is in how I describe them, thinking how they could opperate outside of their original context. It is very much part of the thinking And ideas processâ&#x20AC;Ś based on observation then exploited or extrapolated

A fold in space, not Only the literal folding Of paper in space, But the space in Which language Operates, and how.

A fold in understanding A fold in translation A fold in reception and understanding.

A fold in space

The digital is allowing me To place the work out into the world Without exhibition.

Link to vine at end of pdf

Experimental making

unmasking how language is marshalled into the service of power, from political rhetoric and demagogy to psychological persuasion.

The study, notational, thoughts, sketches, deconstruction, abstractions, all these things are ways of pulling apart what can be seen to the bare essentials. In short I suppose one could say I enjoy simplicity and mimesis.

Until an undisclosed locationâ&#x20AC;Ś

Part of a Series: Notes on the innate and contingent Giving complex thoughts, simple forms

The rather lovely thing that happens with code, is Using // to break code and make comments instead, Which meant that I could add dialogue and commentary Similar to my other animations, but it be a part of the Making of thingsâ&#x20AC;Ś

Animations generated by code. Presented without code.

While the animations produced are lovely and speak of objectness without object, space, form, gravity… I wasn’t Sure where that is where I wanted the value necessarily in terms of what the viewer leaves with… what I thought Showing the code and animations together did was to speak of the usually invisible, not only being the code, but Our own thoughts upon how to make things and what is happening, and that ultimately, id want the viewer to be thinking About what I proposed, which was being undermined by the animation….

Defining something through its properties, not necessarily its visual physical/aesthetic existence

The objects of geometry are to be understood by abstracting from bodies every quality except that of being penetrable, divisible,and figured extents. Among these objects are lines and surfaces, that lack depth.

Gray, J. (2014). “Epistemology of Geometry”, the Stanford encyclopaedia of philosophy. Edward N. Zalta (ed.),

…diagrammatic not diagram… representing something without giving it a Physical presence

What is lost is the Tie to the cinematic And duration…

how to make the text Active… build duration.

The code is the Making of something…

Something which is No longer present…

Credits, like at the end Of the films….

Code scrolling up, The making of the thing That is next to itâ&#x20AC;Ś.

The animation added Nothing to the work Apart from a visual distraction That may be somewhat charmingâ&#x20AC;Ś But undermining the concept of the Work...or helping me to realise the Real intention of the work

Moving forwardâ&#x20AC;Ś.

Just found this guy, working In the digital space and similar Languageâ&#x20AC;Ś I need to venture Into the digital more