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Practice Based Research	MaMMID
5th November 2003	Darren Stevens
Supervisors: Steve Thompson & David Smith

 

Proposed project title

 

Spectator image composition

 

ABSTRACT

This will basically consist of the whole paper reduced to a summary.

 

Aims of the project

 

(It is not the system itself  that creates the artwork that concerns me at the moment, but the ability to show all or some of the images and how)

 

This research project intends to question certain areas of artistic subjectivity in regards to image selection and composition of artworks which are analogous to the Minimalist and Serial Artworks of the 1960s.

 

Within this research study there is an intention to question and conclude the nature of the artist own subjectivity in view to the ability for the removal or restriction of subjectivity for image selection or composition.

 

A precedent to the nature of subjective removal can be seen in earlier Minimalist Serial Art and through most notably Sol Lewitt contentions that ‘To work with a plan that is preset is one way of avoiding subjectivity.’[1] and ‘This eliminates the arbitrary, the capricious, and the subjective as much as possible.’[2] This study follows the earlier contentions within preset systems but centres upon decisions taken by the artist within the presentation stage in view to the controlling influence of image selection, or a ‘point of reference’.

 

Reductionism – remove myself subjectively

 

The ‘point of reference’  will be taken to be the interactions or participation of the spectator or user, in this sense it is the user who is now set the task of image composition through either conscious or sub-conscious participation. It will be seen that the user now continues the aim of the artist, to remove any superfluity from the artwork, in this sense the artist himself.

 

Questions related to the nature of interactive art against participation within art are now raised as well as the nature of authorship and audience. This study also questions the continuation of the Reductionism evident in Minimalist art as well as Modernist theories[3] towards attaining the essence of a concept.

 

“…in the process of self-definition, an art form would tend toward the elimination of all elements that were not in keeping with its essential nature”[4]

 

The research study is a progression from previous research through modernist and minimalist reductionism towards a greater level of control or elaboration of elements inherent within the artwork. In this regard, elements from previous research that have been deemed to be superfluous  (through attaining greater control of all elements) are restricted or removed entirely.

 

These areas of present concern may solve or restrict key elements or aspects of previous artworks but it is foreseen that new areas of concern will appear taking the work in unforeseen directions. It is within the encouraged restrictions placed on relevant aspects of the artwork that it is hoped a narrowing of the subject of observation will be achieved and hence closer to the essence of self sub-consciousness.

 

 

 

Brief overview of the proposed project

 

reduction – systems - interaction

 

Reductionism

This research project is in itself a continuous self-reflective study on the subjectivity of the artist, in view to composition and selection of image, and what is inherent or essential in an artwork.

“Minimalism’s apparent simplicity is the result of rigorous focusing, the elimination of distraction.”[5] (Tate, 1989, pp. 7)

 

This study follows a theory in accord with the American Minimalist Art movement and most notably Serial Art of Sol Lewitt (b 1928), of the 1960s in view to the inclusion of the concept of Reductionism, where by the artist either reduced or removed conceptual or visual elements, for instance the arbitrary or aesthetics from the artwork, to allow the artist to fully explore their ideas[6]. In this sense Minimalism necessity is in the control of all or as many variables as possible that are essential to the art work, reducing the actual art object to a level of less self-importance[7], therefore revealing the heart, or base meaning of the art without distraction. Hence in accordance with this theory, this research study removes physical and theoretical elements that are deemed to be, in regards to the ability to base an element in theory, arbitrary or superfluous to the artwork, resulting in images of enhanced visual simplicity.

 

The reductive element within minimalism is most noticeable in the form of the art object in itself. Objects in this sense are composed of manufactured mass produced units, allowing for each element to be identical and henceforth of equal value within the art work[8]. In view to Sol Lewitt, the reduction to the cube format allowed him to explore systematic and repetitive variations, which eventually lead to ‘Serial Art’[9].

 

The  existence of reductive theory can be seen within aspects of both my previous work and current work, that is within the elements so far deemed to require reduction or restriction. The final result can be seen to be the culmination of the removal of non essential elements and the elaboration of essential elements implying the essence of the subjective idea.

 

In attempting to discovering the essence of the solution, it is now felt that the artist, in certain regards has become extraneous to the pursuit in view to the selection of which outcome to present, and so a level of reduction is imposed on the artist thereby removing the artist from this decision, hence the elaboration of a point of reference or decision maker.

 

In view to this research study the point of reference is neither artificial nor separate from the spectator, but involves both through a means of real time image capture and spectator participation (who shall now be termed ‘users’). In this sense it is the user who decides on the image composition, or in a better view spatial relation, through either conscious or non-conscious participation. The user is now set the task on deciding the image to be viewed, therefore completing the aim of the artist, to remove any superfluity, in this sense them self.

 

Pre-set Plans

‘There was always the idea of getting back to square one. For me, it just became a method to elaborate on. When I finally got to the simplest kind of thing – the cube or the solid cube… I naturally had to make elaborations…Everybody naturally reduces to what they think is the most pertinent thing and takes that and elaborates on that’[10] (Garrels, G., 2000, pp. 116)

 

Minimal or Reductive art is reduced to its bare minimal, but through reductionism comes the necessity to elaborate on or introduce elements that systematically order and unify[11] the composition or create a high degree of control, for this Reductive Artists used simple mathematics (number systems) or grids.

 

Here mathematics should not be thought of as the inclusion of complex mathematical theorems (mathematics per se) but viewed as simple number systems. For the level of mathematics incorporated by artists is based on either simple arithmetic or number systems[12]. In this sense it is more of a means to an end in order to clarify the unity of the composition, rather than to solve or portray complex mathematically concepts. Hanne Darboven stated following her work with mathematics and permutations that ‘…everything is based on numbers…Numbers in permutations, in progressive, symmetrical, and mathematical sequences…I find this fascinating, being pretty ignorant of mathematics’.[13] (Garrels, G., 2000, pp. 63). In this sense it is more of a means to an end in order to clarify the unity of the composition, rather than to solve or portray complex mathematically concepts, for even a simple set of rules can produce a high level of complexity.

‘…what was important was that viewers intuitively realized that something other than personal choice was operative’[14]. (Colpitt, F. J. 1997, pp. 64)

 

Perhaps the greatest reason for the inclusion of mathematics, was in the reduction of the artists own subjectivity[15], for once the mathematical plan is set, the work is created irrespective of the artist aesthetic and conceptual choice[16] while at the same time remaining grounded in the reality of external factors or existing facets of representation.[17] So in view to Lewitt’s permutation sequences, the necessity for personal[18] and compositional[19] decision making is removed.

 

‘Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.’[20] (Lewitt. S, 1967, pp. 835)

 

In view to the inclusion of the grid within the artwork, the artist was now able to unify the picture plane through the creation of a system of identical and contiguous modules[21] and allows for order to be established out of the apparent chaos[22]. Hence allowing the standardised placement of units within a unifying whole and their relationship to one another within the artwork to be emphasised.

 

This research also follows a secondary theme of Serial Art in the elaboration of pre-set plans or systems, the inclusion of such allows an artwork to imply a level, in regards to composition, of objectivity* within the artwork. This will be evident in the planning and development of the resultant artwork as well as  within the final image which will imply the inclusion of a restricted plan or system hence illustrating both what can and cannot not fit the system.

 

Pre-set plans (for which mathematics is included) in this case has lead to an expansion of output from an idea or artwork, in that multiple solutions or possibilities are now available following from a pre-made system. This has hence lead to ideas analogous to Minimalism and in particular Serial Art, in that multiple  images are now given as both solutions and the final artwork. The final artwork can now be either a representation of a complete collection of outputs in one image as with Lewitt[23], or one of many objects related to the same system as with Donald Judd[24].

 

‘Some plans would require millions of variations, and some a limited number, but both are finite. Other plans imply infinity. In each case however, the artist would select the basic form and rules that would govern the solution of the problem.’[25]

 

Whether all permutations are illustrated within one artwork (Sol Lewitt) or through a series of artworks (Donald Judd), the necessity to create or finish the complete plan illustrates the artists wishes that the works are not whole until they exhaust all known possible alternatives[26].

 

In this regard it is the singular outcome created by the user that this research project is investigating.

 

Reductionism is employed in this case in the subjective requirement to attain the essence of the artwork and its solutions, hence a singular output symbolising all outcomes as required is sought which now runs contrary or progressively from Sol Lewitt or Donald Judd. BUT NOT THROUGH ACONTINUOUS SEQUENCE RUNNING AUTOMATICALLY

 

THIS IS ANALOGOUS TO JOHN SIMON

 

In contrast to the infinite representation, on a grand scale, is John Simon, with his artwork entitled ‘Every Icon’ 1997.

 

‘Every Icon’ automatically generates every possible permutation of black and white squares on a 32*32 grid[27]. In this case the artwork is a representation of all possible outcomes from a pre-set closed plan, though the time scale of the piece will range over hundreds of trillion years before all possible images will have been generated. Whether an image at any one time is of any value to us at our present time is doubtful though this does offer the concept of images that move into and out of our consciousness both past, present and future which are recognisable and cultural value laden. But the fact remains that every possible outcome can be generated (though it probably never will due to it’s time length) from this establishment of rigorously defined parameters. What the above artwork demonstrates is that even through a simple set of predefined rules a high level of complexity can ensue.

 

 

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“Minimalism’s apparent simplicity is the result of rigorous focusing, the elimination of distraction.”[28] (Tate, 1989, pp. 7)

 

Minimalism necessity to reduce results from the requirement to remove all inessential detail[29] relieving the heart, or base meaning, of the art without the distraction.

 

In this regard minimalism either reduces or removes conceptual or visual elements, for instance the arbitrary or aesthetics, for the artist to fully explore their ideas[30].

Minimalism necessity then is in the control of all or as many variables as possible that are inherent in an art work, reducing the actual art object to a level of less self-importance[31].

 

The reductive element within minimalism is most noticeable in the form of the art object in itself. Objects in this sense are composed of manufactured mass produced units, allowing for each element to be identical and henceforth of equal value within the art work[32]. In view to Sol Lewitt (b 1928), the reduction to the cube format allowed him to explore systematic and repetitive variations, which eventually lead to ‘Serial Art’[33].

With the use of reductionism within minimalism to allow for a high level of control of an artworks variables[34], art in this sense is reduced to its bare minimal, but through this comes the necessity to introduce elements that allows for a relational unifying aspect between individual units and a high degree of control to be created. Namely mathematics and the use of grids.

In this sense a system, mathematics and the grid, were incorporated to order and unify[35] the  composition within the art work (for instance Sol Lewitt). Here mathematics not only created relationships of ‘crystal clarity’[36] but also added to the aesthetics of the object. Mathematics within Minimalism should not be thought of as the inclusion of complex mathematical theorems (mathematics per se) but viewed more as purely numbers used within a system. For the level of mathematics used by most artists is based on either simple arithmetic or number systems[37] In this sense it is more of a means to an end in order to clarify the unity of the composition, rather than to solve or portray complex mathematically concepts,

 

Perhaps the greatest reason for the inclusion of mathematics, was in the reduction of the artists own subjectivity[38], for once the mathematical plan is set, the work is created irrespective of the artist aesthetic and conceptual choice[39] while at the same time remaining grounded in the reality of external factors or existing facets of representation.[40] So in view to Lewitt’s permutation sequences, the necessity for personal[41] and compositional[42] decision making is removed.

 

‘There was always the idea of getting back to square one. For me, it just became a method to elaborate on. When I finally got to the simplest kind of thing – the cube or the solid cube… I naturally had to make elaborations…Everybody naturally reduces to what they think is the most pertinent thing and takes that and elaborates on that’[43] (Garrels, G., 2000, pp. 116)

 

Finite and infinite, closed and open systems. The image by Sol Lewitt and the example of rotating a square by 10 degrees, both above, illustrates a closed or finite systems whereby no decisions have to be made once the system has been decided upon[44] and all permutations can be represented, this is best illustrated by Adrian Piper ‘…finite systems…that serve to contain an idea within certain formal limits and to exhaust the possibilities of the idea set by those limits’[45] (Garrels, G., 2000, pp. 65). In contrast to this is open or infinite systems where decisions have to be made on start and stop and when to change direction[46],

 

Permutations of a given plan can be presented in two differing methods, either through the representation of all possible outcomes within a single artwork, as with Lewitt[47], or in contrast to this each outcome being an artwork in itself, as with Donald Judd[48].

 

Whether all permutations are illustrated within one artwork (Sol Lewitt) or through a series of artworks (Donald Judd), the necessity to create or finish the complete plan illustrates the artists wishes that the works are not whole until they exhaust all known possible alternatives[49].

 

‘…what was important was that viewers intuitively realized that something other than personal choice was operative’[50]. (Colpitt, F. J. 1997, pp. 64)

 

‘Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.’[51] (Lewitt. S, 1967, pp. 835)

 

With the construction of the composition through basic units, the emphasis was placed on the mechanically produced as opposed to the handmade, and the standardised repeatable as opposed to the uniquely singular[52].

The necessity for each unit to be of a basic reproducible form allows for the unit to be in itself deliberately uninteresting to the aesthetic composition and to become more an intrinsic part of the work as a whole[53].

In this regard of basic unit form, the variable pertaining to unifying form has been controlled allowing for series and modularity of the artwork through permutations to be increased.

 

Hanne Darboven stated following her work with mathematics and permutations that ‘…everything is based on numbers…Numbers in permutations, in progressive, symmetrical, and mathematical sequences…I find this fascinating, being pretty ignorant of mathematics’.[54] (Garrels, G., 2000, pp. 63)

 

In this sense it is more of a means to an end in order to clarify the unity of the composition, rather than to solve or portray complex mathematically concepts, for even a simple set of rules can produce a high level of complexity

 

With the adoption of mathematics, minimalist artist were now able to extend their artwork in to the two areas of Serial Art or Modular Art. Both systems follow the idea of reductionism and of standardisation of units, with the addition of repetition of units through mathematical systems, though modular art (an example would be Sol Lewitt’s ‘Variations of incomplete open cubes’) relied primarily on the grid[55] for composition and serial art on alteration or rotation within a pre-set system[56]. Indeed Lewitt’s introduction of seriality into his work, led to his production of works in which ‘visual complexity is derived  from rational simplicity’.[57] (Garrels, G., 2000, pp. 63)

 

In view to the inclusion of the grid within the artwork, the artist was now able to unify the picture plane through the creation of a system of identical and contiguous modules[58] and allows for order to be established out of the apparent chaos[59]. Hence allowing the standardised placement of units within a unifying whole and their relationship to one another within the artwork to be emphasised.

 

‘Some plans would require millions of variations, and some a limited number, but both are finite. Other plans imply infinity. In each case however, the artist would select the basic form and rules that would govern the solution of the problem.’[60]

 

From this it can be seen that there are two routes that the artist can take in view to mathematical permutations. Finite and infinite, closed and open systems. The image by Sol Lewitt and the example of rotating a square by 10 degrees, both above, illustrates a closed or finite systems whereby no decisions have to be made once the system has been decided upon[61] and all permutations can be represented, this is best illustrated by Adrian Piper ‘…finite systems…that serve to contain an idea within certain formal limits and to exhaust the possibilities of the idea set by those limits’[62] (Garrels, G., 2000, pp. 65). In contrast to this is open or infinite systems where decisions have to be made on start and stop and when to change direction[63], an example of this is ‘Untitled’ painted aluminium relief 1965.

 

In contrast to the infinite representation, on a grand scale, is John Simon, with his artwork entitled ‘Every Icon’ 1997.

 

‘Every Icon’ automatically generates every possible permutation of black and white squares on a 32*32 grid[64]. In this case the artwork is a representation of all possible outcomes from a pre-set closed plan, though the time scale of the piece will range over hundreds of trillion years before all possible images will have been generated. Whether an image at any one time is of any value to us at our present time is doubtful though this does offer the concept of images that move into and out of our consciousness both past, present and future which are recognisable and cultural value laden. But the fact remains that every possible outcome can be generated (though it probably never will due to it’s time length) from this establishment of rigorously defined parameters. What the above artwork demonstrates is that even through a simple set of predefined rules a high level of complexity can ensue.

 

What is the necessity to illustrate all possible permutations from a pre-set plan?

 

Whether all permutations are illustrated within one artwork (Sol Lewitt) or through a series of artworks (Donald Judd), the necessity to create or finish the complete plan illustrates the artists wishes that the works are not whole until they exhaust all known possible alternatives[65]. This is best illustrated through Lewitt’s ‘Variations on three different kinds of cubes’ which was initially thought to be finished or ‘whole’ in 1967 only to be found that certain permutations had be left out several years later. Upon this Lewitt completed the work in 1974.

 

In contrast to the presentation of all permutations, Lewitt has on occasion exhibited incomplete works derived from sequential plans, notably ‘Two open modular cubes/half-off’ 1972. In this Lewitt does not attempt to show all known permutations of a series but to illustrate ‘the most poignant (simple, basic, intelligible)’[66] (LEWIS, B. et al, 1989, pp. 19). In this case, Lewitt seeks to ‘…suggest, implies or points to the central idea of the whole series’[67] (Colpitt, F. J. 1997, pp. 64). which is the mathematic system underlying the work. Hence from this it is the seriality in itself which is both the generating force behind the piece[68] and the conceptual basis for the work itself. Instead of fully representing the full series, the work implies the concept of seriality. The object clarifies the idea.[69]

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Proposed methods

 

The previous research project allowed me the use and hence gain experimental knowledge of video tracking, (camera tracks an object via a computer processor), and a level of computer processing that allowed for a limited degree of user enhanced computer image composition.

The research project did inevitably discover problems or flaws in the method of camera, computer usage and my own level of programming, but in view to the positive results gained did allow for the removal of the artist in the final stage of image composition (or outcome presentation). Image composition results were fleeting to say the least, but did lead to the idea of user enhanced 2D image composition.

 

It is therefore in this sense that the current research project will follow, hence the use of computer, image capturing software and computer processing to a final image will be the method of practice based research and final presentation, while a self reflexive and contextual study will be the theoretical written study.

 

Use of image capturing software through a web cam.

Image manipulation software.

Final image processing and output software.

It is hoped that all can be achieved through Director MX, or a composition of software.

 

Possible outcomes of the project

 

It is hoped that the end product will be a computer based user interaction program (web cam, computer, image projection) where the artist creates a greater level of self redundancy within the image selection/compositional stage of the artwork, hence emphasising the use of systems in regards to both overall concept and user image compositing.

 

In view to the textural research outcome, the text will theorise on the self-reflexive methodology and contextualise both the minimalist or reductionist community and user interactive arts community.

 

It is also hoped that further elements will be found that could require reduction or greater constraints in order to remove nonessential elements within a work and as an end result the generated artwork will go some way to discovering the essential elements or concepts that are driving the creator.

 

Resources available / required for your project

 

Library (textural research)

Internet for secondary textural research

Internet for Lingo programming and Director software instructions

Director MX, wish to work in Os X

Web cam Director MX software (Xtras)

Web Cam

Computer projection equipment

Computer programming using Macromedia Director Lingo to enable web cam image processing (computer recognition of user physical movement), 2D image composition within set predefined limits and image presentation.

USB extension cables if necessary

 

Proposed bibliography and research materials

 

BATCHELOR, D. 1997. Minimalism – Movements in Modern Art. 1^st edn. London: Tate Gallery Publishing Ltd.

 

BATTCOCK, GREGORY (ed.). Idea Art: A Critque. New York: E. P. Dutton. 1973. Essays on conceptual art, body art, earthworks.

 

BATTCOCK, GREGORY (ed.). Minimal Art: A Critical Anthology. New York: E. P. Dutton. 1968.

 

BURNHAM, JACK. “Alice’s Head: Reflections on Conceptual Art,” Artforum, February, 1970.

 

COLPITT, F. J. 1997. Minimal Art The Critical Perspective. 3^rd edn. Seattle: University of Washington Press.

 

CORNOCK, S. and EDMONDS, E. 1973. The creative process where the artist is amplified or superseded by the computer. Leonardo. 6, pp.11-16.

 

FIFIELD, G., The search for interactivity continues, Art New England, 5 August September 2002.

 

FIFIELD, G., Virtual Public Art: The newest forum for public art: the internet, Art New England, 4 August September 2000.

 

GARRELS, G. ed. 2000. Sol Lewitt A Retrospective. 1^st edn. New Haven, London: Yale University Press.

 

HARRISON, C. and WOOD, P. ed. 1995. Art in Theory 1900-1990 An Anthology of Changing Ideas. 3^rd edn. Oxford: Blackwell Publishers.

 

JUDD, DON. “Black, White and Gray,” Arts Magazine, XXXVIII (March, 1964).

 

MEYER, J. 2001. Minimalism Art and Polemics in the Sixties. 1^st edn. New Haven, London: Yale University Press.

 

MURDOCK, ROBERT M. Modular Painting. Buffalo, N.Y.: Albright-Knox Art Gallery, 1970.

 

ROSE, B., American Art since 1900, New York London, Holt Rinehart and Winston, 1975.

 

TOWNS, S., The Systems Aesthetic, Exeter, Exeter College of Art and Design, 1979.

 

MEYER, URSULA. Conceptual Art. New York: E. P. Dutton, 1973.

 

WOLLHEIM, RICHARD. “Minimal Art,” Arts Magazine, XXXIX (January, 1965).

 

 

Harvard Bibliography

NAME, A. year. Title. 1^st edn. place of pub. publisher.