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This series is derived form paintings. The "Parts" created from sections of the paintings are organized in groups and called by the program. The program I am using is a simple Java script display window. It was created with the intent of showing a rotating group of pictures on a web page. I have re-written the program to a multi-grouped modular complex including variables within the sub groups. The design is similar to a digital colony.


#1 (starting from disunity) this program is a progression of the called picture parts starting from random disunity. This disunity is in size, focal points, subject, and organization of grouping. The stager in display is a real time wave form created by memory delay in loading. It is not in the code. However it is played with, and later influences the code. While this program is simple it represents a significant metaphorical model outlining my long standing concerns with field forms, wave forms, chaos, code, and experiential translations to the individual persona.

#2 (starting from disunity) The changes in this program are in replacing out of field focus pictures with pictures referring to landscape parts. The decrease of abstract pattern replaced with representational pictures shifts the focus of the field.

#3 (starting from disunity) The field form is quickly re-established by groupings of the landscape pictures which brings the feel of the form into a new field definition.

#4 (relative from uniformity) The shift to mostly regular frame picture focus. The idea with the landscape group is very different than other field frame web works. My play here is a slice &n dice on the imitation of nature. My experience as a landscape painter is closer to these shifting frames than the picture of a painting. When I do the landscape painting I am freezing a single frame in time and taking it out of the environment and presenting it as a thing. A painting. My actual experience is the flowing montage of visual experience. The single frame depicted in a painting is the symbolic re-presentation of the idea of the "Landscape." Our shared literature of symbols within our culture makes the "Landscape" icon understood. All of the frames in this program are Landscape picture parts. Those which might seem abstract are details or re-oriented parts and on only a few cases a composite symmetrical image. I will explore the concepts of symmetry and super-symmetry in later programs.

#5 (relative from uniformity) includes aFX_sil_3_rt1, 2, 3 (New Pictures Introduced) Both in life an in art one of the greatest benefits of learned disciplined seeing, is the ability to understand the many parts as well as the experienced whole. This is important because the parts include the history of being as it is experienced within the moment. The momentary effect of being here now, includes all the details building the moment. Disorienting views of "The Landscape" re-presents the many parts which build the Whole.

#6 In program 5 & 6 I introduced 5 frames of Kachina cosmic works to see how they might co-exist with the pictorial landscapes. They seem to sit on a proximity with cloud parts of the landscapes. Metaphorically apparent randomness, and the suggestion of structural unity continue to disrupt us with diversity. As with some of the code parts of these words have been re-spliced into the structure imitating the cross media weave.

#7 More variations and code building.

#8 Here pattern is the domanant reference. Realitive uniformity shifts the focus to picture parts as groups forming the field.

#9 Increased size of the field form adds to the pattern unit building.

#10 The size of the program at this point is larger than my tool of perception. The browsers I am using must be scrolled to view parts of the picture. Object and environment comes into pattern structures which suggest extentions beyond out range of focus.

#11 This is a substatially larger code mass driving the program. Though it looks very similar to program 10, there are many more pattern variables.

#12 Code mass is again substantially larger and approaching a saturation threshold. The threshold is a limit of our ability to retain a faithful image of the experience produced by the program. One of my concerns is the definition of the "Human Scale." The proportions where we can succeed in handling information. Beyond the saturation point we tend of laps into a haze of experience. The haze is a disorientation which can become a norm under prolonged sensory overload.