Perception is supposed to be affected in ASD (autistic spectrum disorder) - People with ASD are likely to focus on details, poss not noticeable to others and can miss the 'big picture' eg will hear buzzing of fluorescent lights and this will override listening to someone talking. there are a series of posters issued to try and illustrate this and show eg a picture of something drammatic but the person with asd may only see a tiny speck of dust on the poster and miss the rest.
also, cannot put info together to make a whole picture eg can see all the individual pieces of the jigsaw but not see the complete picture. facial expression and body language can 'blow their mind' because here are so many signals all coming in at a rapid rate alongside speech and they cannot interpret them or put them together to make a whole picture of communication. Some will look away to block out these visual signals that can be so confusing. Tone of voice can also just create huge confusion.
also may see,hear,touch,taste things differently and more intensly. therefore can be scared of new sensations eg people with asd only eat mac donalds burgers because they are the only ones that are totally uniform. will have rituals such as flicking or twirling to cut out the millions of sensations around them.
I could go on and on. Ring me and we could talk about it. Sounds a really exciting project.
I have simple psychology books here i think with visual perceptual info in (typically developed people) People who do not see squares, people who wear goggles to make them see things differently and when they get used to them have trouble when they are taken off etc.
1. With reference to historical and contemporary examples, discuss the value of rules, systems, constraints in the creative process. Do these rules create the conditions for improvisation, serendipity, playful intuition? Try to refer to a range of cultural references. Be free to make links between ideas and methodologies across disciplines (illustration, graphic design, 3D design, art, film, writing, performance, …).
QUOTES AND STUFF:::::
EMIL RUDER - TYPOGRAPHIE. ~~~~~~~~~~~~~~~~~~~~~~~~~
"IF A SIMPLE PIECE OF TEXT IS WELL COMPOSED, IT WILL OF ITS OWN ACCORD GIVE THE WORK A RHYTHMIC APPEAL'.
"THE WIDTH AND HEIGHT OF THE PAPER ARE PART OF THE OVERALL RHYTHMIC PATTERN AND THE TYPOGRAPHER CAN POSITION WORD, LINE AND TYPE MASS SO AS TO BE IN OR OUT OF RHYTHM WITH THE FORMAT".
TRISTAN TZARA - DA DA IST (HOW TO MAKE A POEM - QOUTED IN THE ART OF LOOKING SIDEWAYS BY ALAN FLETCHER) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"...(TO MAKE YOUR POEM) CUT OUT THE ARTICLE. THEN CUT OUT EACH OF THE WORDS THAT MAKE UP THAT ARTICLE AND PUT THEM IN A BAG. SHAKE IT GENTLY. THEN TAKE OUT THE SCRAPS..."
"AND HERE YOU ARE A WRITER, INFINITELY ORIGIONAL AND ENDOWED WITH A SENSIBILITY THAT IS CHARMING THOUGH BEYOND THE UNDERSTANDING OF THE VULGAR".
(Tristan Tzara, Franz Jung, George Grosz etc Dadaist Manifesto, Berlin 1918)
CONCRETE POETRY ~~~~~~~~~~~~~~~~
GUILLAIRE APOLLINAIRE - 'IL PLEUT' http://en.wikipedia.org/wiki/Concrete_poetry
ALAN FLETCHER - THE ART OF LOOKING SIDEWAYS ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"MOST SEEMINGLY SPONTANEOUS IDEAS ARE PROBABLY THE UN ANTICIPATED RESULT OF PREVIOUS OWRK OR THOUGHT"
SERGEI EISENSTEIN - IVAN THE TERRIBLE 1944 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ROBERT MORRIS - ANTI FORM 1968 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Robert Morris, “Anti-Form,” Artforum, vol. 6 (April 1968), pp. 33-35; reprinted in Continuous Project, Altered Daily: The Writings of Robert Morris (Cambridge: MIT Press, 1993). www.steidville.com
+ EVA HESSE
DIANE ACKERMAN - DEEP PLAY 1999 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
INTERVIEW - JANUARY MAGAZINE LINDA RICHARDS WWW.JANUARYMAGAZINE.COM
I FIND IT HARD TO THINK WHY THESE IMAGES ARE SO POWERFUL BUT I THINK IT IS MAYBE BECAUSE THEY ARE COMPLETLEY FRESH IN TERMS OF THE WAY THEY APPROACH THE HUMAN BODY. THEY ARE TOTALLY ORGANIC AND SO FAR REMOVED FROM THE IMAGES WE ARE PRESENTED WITH TODAY THAT ARE SUPPOSED TO BE 'LIFE-LIKE'...SOME HOW THESE SEEM TO REPRESENT THE SUBJECT MATTER FAR BETTER. I LOVE THE FLATNESS OF THEM AS WELL. AND THE SIMPLICITY OF THE LINES AND SHAPES. 2D FROM 3D? HOW? WHY?
THE 1ST PROJECT OF THE 1ST TERM OF THE 2ND YEAR WAS CALLED ''FICTION'' AND THE PREMISE IS THAT YOU HAVE TO CHOOSE A BOOK FROM A BOOK LIST AND MAKE 9 SE QUENTIAL DRAWINGS TO ILLUSTRATE THE BOOK...... ..... ...I CHOSE THE BOOK ''SPIECES OF SPACES AND OTHER PIECES, BY GEORGES PEREC'' WICH DESPITE NOT PARTICULALRLY ENJOYING I CAN SEE IT'S IMPORTANCE IN TERMS OF THE WAY IT CAN MAKE YOU VIEW SPACE(S). IN PARTICULAR I HAVE BECOME GEEKISHLY OBSESSED WITH CORNERS, STAIR CASES, AND THE LINES WHERE WALLS MEET OTHER WALLS OR FLOORS OR DOORS OR ETC.
THE IDEA OF THE WORK HAVING TO MAKE A SERIES OR SEQUENCE IS THE MOST CHALLENGING ASPECT OF THE PROJECT BECAUSE ALTHOUGH I TEND TO THINK IN A NARRATIVE SENSE, THE BOOK HAS LITTLE TO NO NARRITVE STRUCTURE TO IT.
I THINK THE WAY TO GET AROUND THIS ISSUE IS TO HAVE THE SERIES HELD TOGETHER BY A STRONG SENSE OF CONTINUATION BETWEEN MATERIALS OR IDEAS RATHER THAN TRYING TO TELL A STORY. I DID WANT TO DO THIS BY MAKING A SERIES OF OBJECTS BUT DUE TO ILLNESS I HAVE NOT HAD THE TIME I WOULD HAVE LIKED. . . . .
PEOPLE IS HAVE BEEN LOOKING AT FOR THIS PROJECT ARE:::
1. UMBERTO ECO - SIX WALKS IN A FICTIONAL WOODS *CAN YOU BE COMPLETLEY NEUTRAL WHEN READING A BOOK?*
2. SERGEI EISENSTEIN - IVAN THE TERRIBLE (1944)
3. LUC TUYMANS *SERIES OF JUXTAPOSED IMAGES CAN MOVE READER FORWARD*
4. CY TWOMBLY *BEAUTIFUL AND EXPRESSIVE YET UNDERSTATED AND FUNTIONAL*
5. BARBARA HEPWORTH
6. CLEVE WEST (GARDEN DESIGNER) * USE OF STRONG HEAVY SCULPTURE IN THE GARDEN - CONTEXT/PURPOSE/WEIGHT*
7. TOM STUART SMITH (GARDEN DESIGNER) *CHELSEA GARDEN 2007*
8. ANDY STURGEON (GARDEN DESIGNER) *SUNKEN CUBES - NEGATIVE BLACK ON BLACK//DEPTH//PERCEPTION//WEIGHT IN COLOUR*
