Staying over at a friend’s house in London and just finished an one hour recording.
I have observed that it gets complicated when I interact with people and at the same time I record things around me, including the conversations I make with those people. I also try to control my brain (what to reply back/what to think), thing I shouldn’t do. I am also thinking that if I am really trying to record my unconscious alongside with all my experiences and the place around me, shouldn’t I do it in greek, which is my ‘brain language’? Do I think in english or greek? Or brain doesn’t have a language?
Has this experiment failed? (Considering that I can’t record everything-including all the conversations and everything that happens at a certain time). Or is it about just the things I notice and only? There are things that my brain digests which I can’t notice and write them in my notebook. Or is this experiment successful because I have noticed things that I wouldn’t notice before-something that I proposed (making the invisible visible)?
It seems that this project needs a long experimentation! It’s becoming way too conceptual!
Things to consider:
- record freer
- record in greek? (just try once, but I shouldn’t as I can’t get marked for something that is not in english
Other than that, I came across with an artist today, Shannon Rankin, which made a wonderful map art installation:
From what I understand, she cropped circular shapes around the pinpoints of places she has been/or places some people told her about/ or random places anyway and made a bigger circle of a ‘place’. On her website there’s a better (of course) description her work:
Shannon Rankin’s intricately patterned installations explores the relationship between physical place and intangible experience.
Intangible experience! That’s a nice definition and is also relevant to the things I look at.
I found this really intriguing to look at. I have also discovered her blog
Her statement on her website:
I create installations, collages and sculptures that use the language of maps to explore the connections among geological and biological processes, patterns in nature, geometry and anatomy. Using a variety of distinct styles I intricately cut, score, wrinkle, layer, fold, paint and pin maps to produce revised versions that often become more like the terrains they represent. These new geographies explore notions of place, perception and experience, suggesting the potential for a broader landscape and inviting viewers to examine their relationships with each other and the world we share.