Tuesday, 25 October 2016

Playing with ideas towards articulating an interpretation of Speculative Realism through Drawing

Having spent the last couple of days submerged in ideas of drawing and the vehicle that I have chosen of The Peregrine, I have used the field work and research gathered over the weekend to create a further segment of animation...

I'm still unsure of where this is going though, in itself, the short 5 second clip seems to work at an abstracted level, but I think I need to drill down further of how this can manifest further towards the ideas of Graham Harman and Bruno Latour's Object Oriented Ontology.

I feel the need to work on the fractured and segmented visualisation, in the animation I have purposefully left the clip "jumpy", and even put in a couple of frames of a colour chart to tighten the sensation of immediacy.  

I am not sure how well this works though.  Looking for other S.R. artist - practitioners, I found that there was a useful exhibition at the Tate some years ago (2014), which seems to place the movement founded by Harman quite well. A link to the exhibition records can be found here;

What I find interesting about the ideas that this exhibition raised at the time, is the argument postulated by Plato to Socrates (and/or vice-versa), some 3000 years ago (nearly), is still going on today.  Namely that is, "What is Art"?...  (Or should I put an exclamation mark here, i.e. "What is Art!").  

Is art confined to Xenophon's passage that he recorded Socrates thoughts and discussions with Plato, which states Socrates position of beauty and aesthetic values of everyday life...
"I promise you, that if you ask me for a good thing that is good for nothing, I know no such thing, nor have I anything to do with it... In a word, all things that are of any use in the world are esteemed beautiful and good, with regard to the subject for which they are proper." (Third book of the 'Memorable Thoughts of Socrates' (pp106-107)). 
Or is it the version of Plato's observations and thoughts of Socrates, where he records a very different version of beauty, based within the complexity of reality, - that is, the 'devine creations', and how our own interpretation and perception of the world is separated.

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