Benjamin Pothier

PhD candidate at the Planetary Collegium, CAiiA Hub, School of Art & Media, University of Plymouth

info:www.i-node.org

Law C Alsobrook III

PhD candidate at the Planetary Collegium, CAiiA Hub, School of Art & Media, University of Plymouth

Assistant Professor, Virginia Commonwealth University,Qatar

Auxiliary Reality Cabinet of Curiosity (2015)

Our world and the relations we construct within it is an increasingly mediated experience. Attendant to this mediation, we will soon embark upon voyages of discovery that take us to realms previously unimaginable. The ARC2 (Auxiliary

Reality Cabinet of Curiosity) attempts to illustrate these alternate narrative paradigms that reflect a new engagement with nature, a nature defined and supplemented by innovative technologies and novel means of production. Like the

wunderkammer begun by curious collectors of the Renaissance, to the natural treasuries amassed by early natural scientists of the 16th and 17th centuries, ARC2 is a Noachian assemblage that seeks to interrogate the interstitial spaces

that exist between the realms of consciousness and dreams. These supernumerary dimensions exist, at a quantum level, as well as within the electronic construct of cyberspace, that consensual hallucinatory field that runs seemingly parallel to our own quotidian world.

The exotic flora and fauna that populate these domains is of our own design as well as one of invention. Indeed, the landscapes contained within these dimensions comprise the augmented and virtual terrains of the digital, to say nothing of the supernal and the nanoscopics of our physical world. The question

becomes: somewhere, within these confines, does human consciousness emerge as the narrative agent for understanding and comprehension, or does narrative emerge as an attempt by human consciousness to understand and comprehend?

ARC2 partakes of the dialectic and the dialogic, especially in regards to time and the varieties and vagaries of time present in spaces seemingly familiar, yet not. These augmented and virtual realms suggest alternate timelines, and by virtue

of this, they delineate new realities that encompass narrative realms, and thus alternate forms of consciousness. ARC2 endeavors to explore, catalogue and examine the potentiality of these new spacetimes as vicarial continuums for being

and existence.

info: www.i-node.org

Yana Chebotova

Head of the Department of Design

H.S. Skovoroda Kharkiv National Pedagogical University.

The purpose. The direction for the subsequent work on creation the design-conception of the project (the project of the clothes collection) is work on transferring of the main figurative structures of the subject “project” on the main basic silhouettes in clothes designing.

The main part of the material. The analysis of the abstract composition of the subject “project” created at the previous stage is the following stage of work with figurative structures which have to be the basis of the future clothes collection design. At this stage there is a definition of the basic graphic symbols which create originality of this composition.

The subsequent stage of the work comprises connection with the earlier defined symbols

(with typical constructive silhouettes) which are well-known in clothes designing and called

“the basic dress codes”. Their graphic characteristics are following: the rectangle, the

x-shaped silhouette (“sand-glass”), the oval and the trapeze. Some authors give more of

them, however these are the main. The many small sketches within basic design schemes

are result of this task performance. They have to be well grouped and balanced from the art

point of view.

The described work stages, from the psychology point of view, reproduce the analysis and

synthesis of visual information: when the analysis of graphic composition “project” has been carried-out, the synthesis of certain elements on the basis of the clothes constructive

silhouettes was performed. The result is the newest, harmonious composition at higher level of the graphic competence with orientation to clothes design. In such a way the subsequent intelligent steps in the clothes collection design on the basis of the image “project” are performed.

The presented example shows how the figurative composition of the subject “project” turns

into the graphic schemes (images) which reflect the conceptual idea of the future clothes

collection sketches.

The work with the images is carried-out according to the scheme:

– From the concrete to the abstract and further again to the concrete and so on

– It is possible to present it as the analysis – the synthesis – the analysis – the synthesis

info: www.i-node.org

Julia Heurling
Artist/Designer

A horizon is not flat

In the summer of 2014 I spent one month on Kefalonia participating in the “Mapping Kefalonia” workshop. The result was the project “A horizon is not flat”. It can be seen as an investigation in how to invite a viewer to read or visit a place through photography, and the limits and extensions of visual perception and representation of specific photographic works. After the stay I have continued working on the concept and the visual outcome. The poster is a result of this work.

By taking photos of the landscape in series I want to accentuate the human experience of place, focusing on ground perspective and three dimensional experience. The series aim to describe continuity, context and viewer perspective of visual appearance. When combined into patterns, the images address questions as: What do repeat do to the visual content in a photography? Will it be redundant or are other qualities than motive given attention?

Photography is often regarded as a tool of proof, or a medium of truth. A photograph proves, and reproduces the photographers visual experience. It is a sample of experienced reality. I see and use photographs as a tool for visual thinking. Photographs give opportunity to explore reality in separate constituent parts. When working with pattern, interrelations, continuity and rhythm within a composition are equally important as content of an image. The project can be seen as a subjective and slightly fictional take on a documentary medium as photography.

Similar to the idea of abstraction, pattern can be a tool to clarify, simplify and exaggerate certain visual characteristics. “A horizon is not flat” aims to communicate and highlight characteristics as shape, colour and spatial changeability of Kefalonian views and appearances. In the naturalist school sense, pattern also illustrates the idea of “reproducing nature by carrying it to its maximum power and intensity”.
“Next Nature” suggests the idea of reality as a flow of variables and I think “Ahorizon is not flat” is closely linked to this idea.
Visual experience is different to every individual, and to every moment of life. I think the differences, however small, are more interesting than what unites our visual experiences. I aim to use photography to emphasize reality as continuous, pluralistic and diverse rather than actual. Suggesting ambiguity and doubt rather than certainty is key to describing reality.

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The Homo Conscious (2015)

Carson Grubaugh’s “Hermeneutics” sets the ground for
Earth’s new human specie: “The Homo Conscious”.
Through the interpolation of bit depth spaces with a representation of a live human mind, “The Homo Conscious” is an interpretation of space and time, bits and atoms, actual and virtual, in the search for consciousness: Cybersemiotic Experience.
“The Homo Conscious” is the visual interpretation of the
“Homo Conscious Manifesto”:
1. The Homo Conscious exists beyond space and time,
2. Exchanges past and future,
3· Ceases the linearity of the now.
4· Is the micro essence of the most elementary particle,
5· As well as the macro whole of all there is.
6. Exists in a state of mutant entanglement.
1· Emerges from chaos.
8. Reflects complex adaptive open systems,
9· Information, Perception and Process syncretism.
10. Dynamic unembodied body of meaning: Cybersemiotic Experience!

info:www.i-node.org

Jane Grant
Associate Professor (Reader) in Digital Arts at Plymouth University, UK.

The Queen’s Bed (2015)

The Indian King, Vyasa was in the forest hunting. Exhausted, he fell asleep and dreaming of his wife,produced a ‘joyful explosion of sperm’1. This nocturnal emission was taken by a giant eagle who dropped
the fluid, dispersing it into a river or the sky (depending on who you listen to) creating the beginning of life in the universe.
Panspermia, a Greek word meaning ‘seeds everywhere’, is a hypothesis that believes that the spores of life are ubiquitous, not the sole properties of planets or stars, and that in the vast spaces between these intensities of mass, the Universe has the potential for life. These latent nanoscopic fragments have existed from the very beginning of time and can transmute depending upon where they propagate. One panspermist hypothesis states that microorganisms can travel through space within comets and meteors
when bacteria are ejected when the meteor burns in the Earth’s outer atmosphere. Microorgansims filter down toward the Earth’s crust spawning life. And we may like to think of the Earth waiting, like a gigantic egg in space, the humid atmosphere, a series of layers for the seeds to negotiate in order to
pierce the physical shell.

The Queen’s Bed
The bed is a soft, receptive and moist natural system, taken from an area in the North West of England where scientists have recently found alien bacteria 16 miles above the surface of the Earth in the atmosphere. Her bed is currently being monitored for the existence of alien life. The Queen spends her
time waiting for the giant eagle, who may once have flown over but so many years ago that she cannot remember exactly when. Whilst waiting, she dreams of codes and sequences, molecules and proteins, a synthesis, and all the boundless possibilities for the creation of life.
info:www.i-node.org