This is now Thursday the 19th of March, I am not sure what more I have to add today because my previous one was just yesterday, and my thoughts haven’t moved on a great deal since then. I am walking up this hill wondering if this ought to become a podcast, not a podcast, this is a podcast, I mean a mediascape, as I walk up the hill, but them why is the question. I was contemplating yesterday a lot of questions around the frame and the picture, looking through the frame. Lots of these thoughts going back to last term’s work, the voyeurism, looking through windows in the early morning. What we do as a viewer of a work of art, be it a picture or a film, is look through a window, in the theatre with the proscenium arch, is dividing two spaces, the space of the audience and the space of the production, and it’s the time element, whether it is done in real time or if you are in the time space or whether you are in your own space. And the same with mediascape, it is playing about with that time element. As you walk around you are in your time space but you are also simultaneously in the artificial time space of whatever production you are listening to. And mediascape, you can think of it very definitely as a production. Going to see Tom Bennett at Spike Island and the mediascape that he has produced around the docks in Bristol that I am going to go and help out with at Easter, and what he has done there is very definitely a production along the lines of a film production. He was talking about it costing around £100,000 and being properly sponsored and just like a film it is a time commitment not like, well I suppose in a gallery, going back to looking around works of art, those ideas, there is a time commitment to going around a gallery, but the time is in understanding the works so it is about the work that you have put in beforehand to understand it. I was talking to my year 7 yesterday about the Mona Lisa as the start of a cut and paste project and realising how much information I hold about that painting, just through interest in it, that all informs the way I look at it, the way - my understanding of it, this is going back to stuff from the year before, maybe the Brenda Laurel definitely the Manovich, where we bring our own understanding to a piece as a viewer, we see it from our own particular perspective, this links back in with the book that I am reading at the moment which is the viewer - the artist - sets you up in a particular perspective so that you can see a piece from a particular point of view. But you also inevitably bring to it your own particular point of view. He was talking about the Giotto revolution in perspective and the way in which Giotto created gospel scenes, biblical scenes, from a very particular view point, so that you had to be were he was as he painted to produce it and to give that visual illusion of depth. This goes into the symbology, the symbolism in the paintings.

Tags:FramesSilver ProjectVirtual RealitySilver ProjectTom BennettSilver ProjectPause and Effect