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Ambiguous interactive book. DIdn't work in print.
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FOREWORD
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INTRODUCTION
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THESIS
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NOISULLI
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PRACTITIONERS
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MOVEMENT
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BIBLIOGRAPHY
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VISION
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FUTURES
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FUTURES
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STATICMOVEMENT
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The understanding of illusion and it’s every impossible quality has been the focus of scientists, writers and artists for centuries. It deceptively bridges the gaps between some of the most respective academic and creative fields. Encapsulating the minds and lives of many a man, and will continue to do so for years to come.
Illusions place in art and design has always given a fantasias view to the works created around it. Breeding misunderstanding and challenging the way our brains have been programmed to absorb visual information.
Developing through movements in art such as surrealism and more recently ‘Op-Art’, illusion
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has been present but critcised for it’s obscure beauty for years.
The research into illusion started by questioning the place it held within the art & design field. Can it add to or take away from visual communication? Do it’s artists abuse a knowledge and understanding that unreadable to some?
Similarly neuroscientists, psychologists and perceptual theorists have been back and forth
working out what mistakes lie in the brain and its relationship with our eyes that can create such ambiguous outcomes.
More importantly we are in an age where we have the knowledge and technology to answer these questions, but will the answers ever solve such a trick?
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Over the course of just one year; many documents, presentations, and a dissertation have helped me to understand and approach the subject with a critical and academic view of the surrounding ideas and practicioners that have also approached the subject.
This book documents the year with visual and written explorations from the initial research topics and findings and works its way into the future for Noisulli and this subject that has come in the form of a hypothetically proposed movement and what the future is for the work Noisulli will curate and complete around this subject.
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A sub aim for this book. Is also your interaction as a reader. How is the book to be viewed. Does it draw you into the subject? Does it enhance or disrupt your view on illusion? And can a book be more than a static object?
Making the book more than a flat object intends to evoke play within the viewer, challenging them to discover the hidden details and showing them first hand some of the visual deceptions that occur within our world.
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Also symbolising and encapsulating the birth of Noisulli as a movement, its working methodology and a manifesto that respects, and reuses 21st century knowledge, theories and findings that surround Noisulli’s interests and ideas.
The name, NOISULLI, comes directly from the ambiguity of what it is representing. Noisulli subtly mirrors ideas and understandings that come with, and are influenced by illusion.
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NBut, at the same time by being a complete reflection of the term it has created something new. Working toward a reinvention but also seen as a homage to the minds and hands that have made this subject so hard to place for many years.
More detail will be taken into the explaining of Noisulli. But first the history of our influence. The knowledge of the subject, and the initial interests that Noisulli gained over the years of 2009 - 2010.
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ESISIMAGE: Thesis Document, Ross Bennett (2010)
Through a critically set academic research thesis exploring the question “How can Illusions enhance or disrupt our view of art?”, The subject was explored in-depth focusing on illusions place within art and the way it can alter our perception on visual artwork.
Selected quotes, research points and artists discovered and documented through academic thesis. The context and subsequent application of Noisulli came from a research dissertation written and compiled by Ross Bennett during his 3rd year Design programme at Camberwell College of Art.
Ross Bennett _ BA Graphic Design
(Sue Doggett)
~
How can Illusions enhance or disrupt
our view of Art?
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“Our eyes only tell us part of what we need to be able to see. The other part is done by the brain, taking the input from the eyes and making guesses or inferences about what’s out there in the environment. Usually these inferences are very accurate, but sometimes they lead us astray in the form of visual illusions.”
The Dissertation brought up and examined a multitude of arguments that have surrounded this deceptive subject for many years. Through artist and scientific analysis of fact, theory and fiction, conclusions were made and relayed.
The story follows. From selected points of the research and understanding.
QUOTE: Scott Murray (2009)
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ESISQUOTE: R.L Gregory - Newscientist (2009)
In a quote from Gregory’s recent article for ‘New Scientist’, he finishes up his short but decisive piece by saying;
“As we have seen, there are a great variety of causes of these phenomena of seeing we call illusions. Many are imperfectly understood, and some have wildly different explanations. But illusions are invaluable because the clues they hold to how we see simply could not be found elsewhere.”
“Visual images consisting of repetitive patterns can elicit striking illusory motion percepts”. For years scientists have been debating whether this type of illusion originates in the Eye or the Brain, now they’ve concluded that; “We show that microsaccades, a type of miniature eye movement produced during visual řxation, can drive illusory motion in Enigma.”
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Where as the BBC broadcasting team reported it as because it was disrupting their work. The idea, and view of an illusion has it’s place as both an ‘Enigma’ and will continue it’s reign of intrigue in the subject with scientists arguing over it, Artists manipulating it, and everyone else just getting annoyed with it. The disturbance an
The ‘trickling motion’ that describes Leviant’s motion illusion was previously discovered by a BBC broadcasting team who complained about illusionary shadows running up and down blank strips between parallel lines. It was Leviant who then enhanced this into his piece ‘Enigma’ In 1981. By Leviant recreating this idea into art he obviously see’s it as an enhancing feature to the view of art.
IMAGE: Isia Leviant, Enigma (DATE)
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subject matter has been played with for centuries being touched upon and toyed with by artists such as ; Dali, Mattisse, Vassarely, and Riley. These artists and many more have had us question the connection we have between eye and brain, sight and understanding. Their work transformed canvas’ into screens, they demanded that we visually process their work again and again for
illusion can have is completely subjective to the context in which you view it.
After this initial process of finding the scientific theory to help explain but also back up the idea of illusion I moved on to construct my debate within a subject that I found to be interesting. ‘Illusion within art’
With a whole host of illusion (or before scientific explanation, surrealist) artists the
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longer stints of time, going away but always coming back to it with a fresh and constant misunderstanding, they allowed the viewers of these times to question what could be made with a set of art tools and gave birth to a whole era of experimentation not only within art but within society.
Music, drugs and sociality took a dramatic change being freely welcomed amongst groups of people the art took the back seat by it was subtly echoed within the whole system.
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Illusion is more and more finding it’s way to being accepted into contemporary art. Having earlier being hidden or misunderstood with such artists as Dali and Rene Mattise acclaiming far more recognition as our perceptions on art grew into the 21st century. No longer belonging to the underground scene of studio squatting artists
but now given the freedom and acceptance within the most prestigious galleries around the world. With the public’s growing interest in the indecipherable, the art scene turns to work that tackles the brain and it’s ability to process information and images.
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Taking Inspiration and influence from a diverse set of artists, and many more, Noisulli worked on a proposed approach for what it wanted to do within this field.
In almost every movement or established art period there has been an artist, writer, or academic that has approached the subject of illuision. The theories and visuals that it has produced have been debated and questioned for years.
Noisulli was born in uncomprehendable obscurity, built and influenced by the surreal, the impossible and the undecipherable.
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Alot has happened before Noisulli was developed. In regards to graphic language, visual experimentation and research documents all over the place. To start with the artist names were substitued for numbers to take the emphasis away from who they were and focus on what they do.
An approach was then recorded that came from their individual works and from what I could see, a visual mehtodology. Constructing the Noisulli method of working. A preferable way of working for delivering design and publication through autonomous thinking.
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SIMAGES: respective to individual artists
The works, findings and creations of these 9 people have created and influenced generations of writers, scientists and yet more artists.
#1_R.L Gregory
#3_Christofer Chin
#7_Victor Vasarely
#9_Beau Lotto
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SIMAGES: respective to individual artists
#2_Bridget Riley
#4_Scott Kim
#5_Charles Avery
#6_Noma Bar
#8_David Reinfurt
Collectively they have worked on the subject for hundreds of years and each has seen/lived through or been involved in some of the greatest movements to hit our art world.
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SIMAGE: Ame’s Window experiment - R.L.Gregory (DATE)
Professor of Neuropsycholoy. Founding editor of the journal Perception.
The academic approach and understanding of everything regarding visual perception, the way it works and the way we can be tricked through it, puts him at the beginning of this movement.
He has without a doubt influenced many a creative on this subject.
Alot was learnt from this famous scientist, his writings on the subject have gone on for decades and are still going to this present day.
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S-----
But to capture a methodology for Noisulli this idea of full thinking was noted a paraphrased into a short but decisive point.
*To understand a visual illusion one must first gain the knowledge of the object and understand the rules of vision. Once this is overcome human perception can be played with through optical knowledge.
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S#2
Celebrated for her distinctive, optically vibrant paintings. She explored optical phenomena and juxtaposed colour either by using a chromatic technique of identifiable hues of by selecting achromatic colours ( black, white or grey )”. – Introduction taken from ‘Bridget Riley & Op Art’.
Her incredible knowledge of colour and the optical awareness she shows within her work sits beautifully on top of my question, balancing enhancement or disruption when it comes to ones view of her art. Growing up in London, studying at Goldsmiths and later the RCA, Riley has been exposed to the birth and growth of commercial art in Europe. Going on to develop her own style, and
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Ssubsequently a movement, she has played a vital role in the conjoining of art and science as one synchronized idea.
Through her art, Riley has always said she’s searching for those perfect colour combinations, something that she seems able to get in both a
subtle and visually obtrusive way. Her art isn’t purposefully looking to optically distort the visual experience for the viewer but find a colour chart that both enhances each colour and sits naturally together.
Bridget Riley, Blaze 1 (1967)
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S“presenting unmediated looking. Of course what we as viewers bring to what we see is undeniably complex, an overflowing baggage of past experience and present mood but her clarity of thought and its economic translation onto canvas surely demand a similar rinsing of our eyes and minds”.
It was during the start of the 1960s, and Riley’s self proclaimed dive into ‘Op art’, that her work started to become noticed, and by 1962 she had her first solo show. Both the public and critics perceived her work very differently. Many an un-trained art viewer said her work gave them the sensation of ‘sea-sickness and sky diving’, whilst art critics and the educated reviewers of
IMAGE - Bridget Riley (DATE)
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Sthe time said the work defined the era - a period where people started to challenge the notion of mind-body duality leading to experimenting with hallucinogenic drugs, and the concerns and likenesses the future of science and art.
-----------, Portrait (1967)
*Explore your subject and it’s constraints to their ultimate limits. With this understanding of your tools and their performance you can have complete control of your medium.
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S#3
Californian contemporary artist has a great understanding of composition and colour balance. Along with tremendous control of his tools that add the same mathematical precision that Riley is so well known for.
Andania am am que dolupta verae invelec toreruptat oditaturecta cupturiorrum harions
Ro qui sinctature sit, sapere latem quo oditat lab id quatiaecae non nime lautatum et ad excerch iliciur asperia sere sunt dunt rerum nobitemqui ne sitem inctiis ut qui invel invelectatur acit alit, que por ma dolorem faccum que dolendipsae excearumet quiae veritat volorpo rporata cum, nimi, que pratae ium fugiae est volorer ionsequi ditinci utemolo rehendit fuga. Sequi qui dolor sequi acias doluptat fuga. Nem harcitate natum
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Sfuga. Ut eost, nus, ut ex ex eume vid mos net, que oditatati tem id exerrum consed moluptatus.Endandem. Ut ad explis volecae sam, nem arum quaes magnate mpellum eatis minullupta vero eni dolor sim quuntiatur?
Erspero rercidu sanihillore pore, quisquibus eos magnis doluptaquam quis eos arume doluptur sunt volorro to eic te et, expliqui con remodi blabore voluptatem volore, qui consequam voloria
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S#4
The Escher of the Alphabet Scott Kim lives and works in California where he has a strong following behind his visual ambigrams using type. Designer of visual puzzles and games for the web, computer games, magazines and toys. His puzzles are in the spirit of Tetris and M.C Escher - Visually stimulating, thought provoking, broadly appealing, and highly original. An inversion is
a word or name written so it reads in more than one way. Douglas Hofstadter coined ambigrams the generic word for inversions. S.Kim was a particular interest and influence toward Noisulli due to his recognised status that bridges the science and design gap. Respected by Scientists and artists alike his work is
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Sapproached with a particularly high degree of knowledge. Which is probably due to his Phd In Computers and Design. He has contributed to many fields within the subject for many years now. Follow some quotes;Scott Kim has perfect a personal art form – one with grace, elegance, subtlety, and surprises.
He draws on a deep understanding of letter forms and visual perception, and the resulting designs are highly original and gratifying. Many people will be delighted by what they see; some – I hope a good number – will go on to explore their own corners of the enchanting artistic space that Scott has revealed, for Inversions is an inspiring work.
Scott Kim, Inversion Type. (DATE)
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SScott Kim’s Inversions…is one of the most astonishing and delightful books ever printed.
His book is … interspersed with provocative observations on the nature of symmetry, its philosophical aspects and its embodiment in art and music as well as in wordplay … Over the years Kim has developed the magical ability to take
just about any word or short phrase and letter it in a such a way that it exhibits some kind of striking geometrical symmetry.
In 1994 Random House published Kim’s Puzzle Workout, a collection of 42 brilliant puzzles reprinted from his puzzle column in New Media
IMAGE: Scott Kim. QUOTE: Douglas Hofstadter, Pulitzer Prize Winning Author of Gödel.
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SMagazine. It is the only book of puzzles known to me in which every single puzzle is totally original with the author.
*Interaction, be it through a tactile game or visual puzzle. Work needs to encapsulate the viewer and draw them in with every sense.
QUOTES: Martin Gardner, Scientific American IMAGE: ---------, Inversion Front Cover. (1994)
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SCA’s work was based around a fictitious narrative that he had been writing for many years named ‘the islanders’
“I cannot tell you how the island really is – I have no idea – I can state only the facts as I perceive them. you must be satisfied with this or you must travel there yourself sometime, and see
these beings in their natural environment, for the place is utterly subjective.”
Avery has a beautiful approach and attitude to his work. Throwing the question back to the viewer, “what is real?” and opening up a whole topic of perceived reality are brought up taught and educated to know what is real what is surreal
#5
QUOTE. ‘The Islanders’ Charles Avery (2008)
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Sand what is completely impossible. But without facts and evidence to disprove one mans theories, idea’s or stories, what right does anyone have to comment on the reality of someone else’s work.
*Reality. You are the maker of your concepts, dream away from reality and settle on fantasy. After all what is the nature of truth and how is it measured.
IMAGE A trio smoking. (2008)
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S#6
Spacial awareness. Perception playing illustrator. Negative space visualist. There’s always more once start searching and stop starring blankly. Inviting perceptual challengers to look again, with a prize for the ones that do.
The complexity of spacial usage when he approaches his work is complimented beautifully by the simplicity in which he visualises his idea’s.
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*Sometimes what isn’t there is more interesting than what is. Use the space you have, in a way that somebody else hasn’t.
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S#7
The godfather of Optical Art Hungarian Born VV’s work has influenced decades of work that follows in his optical trickery.
VV has been experimenting with perspective and visual textures since the 1920s. But didn’t settle down into his deceptive geometric optical
art until 1947. Some decade before popularly believed Op Art starter Riley was being noticed.
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*Static Movement. Why can’t static image have movement. Who declared this. Kinetic visual experimentation has the ability to turn the flat surface into a world of unending possibilities.
IMAGE Victor Vassarley, Zebra (DATE)
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S#8
Lottolab studio creates installations, musical performances and educational programmes, and performs carefully controlled experiments on the perception and behaviour of humans, bumblebees and evolved artificial life systems in laboratory and public realms.
Our hope is to engender a more empathic view of nature and human nature by creating spaces of understanding that are indifferent to the contrived boundaries between disciplines. (And people within those disciplines).
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>Do you think that artists, designers, architects of the 21st century should use such illusionary methods to create visual distortions to viewers and public within their own environments?
Definitely. And they have been ... (including by me)
>Obviously their are no rules in art - but do you think by using the idea’s of optical illusion within art could be seen as a intrusion of peoples minds?
No. It’s important to intrude in this way to wake people up. Of course illusions have been used in art for many years for this reason,
though usually to say something that is actually wrong.
>Should illusion stay within it’s research field and just be used by scientists when exploring our methods of perception?
Definitely not! And it never will, since the optical nightmares were discovered
they’ve been and loved by
many different people.
>Questions Black by Ross Bennett. Answers Blue Beau Lotto.
EMAIL Q&A with Beau Lotto (2009)
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Even at the Masters level science education is usually a process of rediscovering the wheel. Which means science education is usually devoid of real science. And yet there is nothing special about science, much less those who do it.
For several years now we have been blurring the boundary between the lab, studio and public spaces by performing real research on bumblebees in the public, which has stimulated tremendous
interest in children and adults in understand the brain.
In the project Blackawton Bees (in collaboration with Head Teach Dave Strudwick and tech Tina Wadwellyn) we again have performed truly novel experiments on bumblebees at a primary school in Devon. Except this time we have completely
All text copyright and property of Lottolab.org
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SIMAGES - Blackawton Bees Proposal. LottoLab.org
removed all boundaries: The experiments were not devised by the ‘scientist’, but by twenty five 8-year-old children. The children devised the questions; they reasoned an answer; they designed the experiments; and they did all the data analysis. They are now writing up their findings, which they will submit for publication.
Some questions asked by the children about bees:What if... we had a colour in the tube that connects the hive to the arena, and then they have to go to that colour on the flower wall?
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STEXT: All text courtesy of LottoLab
What if... we could find out how much effort the bees will go through in order to get a reward? For instance, they have to move something heavy out of the way to get a reward.
What if... we could find out if they prefer warm or cold nectar?
What if... we could find out if they could follow a route of colour?
What if... we could discover if bees can learn to go to certain colours depending on how sweet they are? What if... we could find out if some bees could learn faster than others?
What if... we could find out how many colours they could remember?
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S IMAGE Courtousey of LottoLab.org
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NIFESTO
A manifesto was the best way for Noisulli to approach what would eventually be a movement. Working closely within the subject of interest and constantly researching into new idea’s and theories our background knowledge has grown into a wealth of artists designers, theorists and scientists.
The subject is ever changing much like the practice of art new information and tools are used within science much like new approaches and concepts for an artists. But more than just a straight bridge between art and science Noisulli focus’ its subject experiments in the direction of illusion,
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deception, visual impairments,(not due to physical neural condition) but by the forces of static image and the form and line juxtaposition that is played with to confuse our most fragile organ.
As a methodology of working a point in context was made on each artist. These points transgressed
the style, way of working and approach that these people had taken to their practice.
The nine points taken from the artists were paraphrased forming the structure of the Noisulli manifesto.
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↘We must experiment, by merging different disciplines and combining their knowledge our work will become full of context and rationale. ↖Determine our relationship with the human mind and the behavioral effects you have on it. Why do something that sits comfortably in the brain when you have the ability to challenge it and leave an impression.
↘Apply historical context, do not rely on contemporaries. History brings tradition; where modern techniques can hinder the process. ↖To understand visual illusion, one must first obtain knowledge of the object and understand the rules of vision. Once this is overcome, perception on optics can be manipulated
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↘Explore our subject and its constraints to their ultimate limits. With this understanding of our tools and their performance we will have complete control of our medium and subsequently message. ↖Interact, be it through a tactile game or a visual puzzle. Work must encapsulate the viewer and entirely occupy their senses.
↘Reality, what is the nature of truth and how is it measured? Realise the potential of our available space. Use the space we have in a way someone else hasn’t. ↖Static movement there is no reason why static image can’t have movement. Kinetic visual experimentation turns the flat surface into a world of unending possibilities.
TEXT Noisulli Manifesto (2010)
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The manifesto points were paraphrased in order for it to work as a document, script, brief or fit into any format necessary.
Reverting back to it’s initial pointed form to then be broken up and used for future Noisulli events. (more can be read in futures p--)
Due to the careful building of the manifesto. It moulded perfectly into any new form Noisulli chose to shape it into.
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IMAGE: Early Noisulli Doodles and ideas.
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In order to show that Noisulli was a manifesto for the creative, experiments were then made into the graphic style that would to be portrayed along with their idea’s. The pages following will develop through a style and end up at a manifesto poster that acts as starting point for everything Noisulli from now on.
The broken font acts a metaphor for illusion and it’s incomplete vision. These styles of fonts were to be taken as Noisulli headers introducing everything with a subtle hint of illegibility. Taken and distorted the type was fitted in with the manifesto by exploring the nature of abstraction with only the use of tools that were at hand. Results as follows.
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Berthold Akzidenz Grotesk Extra Bold Concdensed italic. Missing outlines.
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Image Copyright of Noisulli (2010)
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3 Noisulli Manifesto Poseter (2010)
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IMAGE: The first manifesto poster produced by Noisulli (2010)
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66 N
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“Once the rules of practice are understood. The approach can be applied to anything.”
A quote taken in early 2010 from Noisulli sums up what they were trying to say with their manifesto. It gives more than just a straight reflection of design, but a practice, or practise. This collection of academic research could and would be applied to contemporary writing, art,
design and then fall back into academia. Without the constraints of an outcome artists can act like writers, designers like scientists, with everyone taking on the role of experimenter. An position with room for almost any idea to run free from the brain and to be tried and tested through a set of loose briefs.
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In order to sustain Noisulli as a movement, but also allow it to grow through exploration a set of future events, experiments, talks and projects have already been thought of.
Initially Noisulli will experiment immediately through the first piece of literature that it produced. The manifesto was written with a few things in mind. The idea of explaining a
movement, to evoke questions and challenges through the subject but almost as importantly it has briefs already set out within it’s form. This next section will document the future of Noisulli through predetermined rules and outlined briefs, the way they could work within society, and the way they might be recieved by said society. Movements and manifesto’s come from a collective of like minded individuals that want
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to break the mould that is becoming overly formed in whichever practice they might be involved in.Noisulli is slightly different in this sense. Not from a hatred or destain as to what the creative world is producing. But from a love and interest of theories, writings, facts, and fictions around the subject of illusion. It doesn’t intend to create with any other motive other than out of passion and a want to gain and to share
knowledge into this misunderstood subject. Once this exploration has ended the movement will stop the physical act of exploring and publish, the findings, events, writings, and creations that happened over the duration of Noisulli.
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The first proposed events for Noisulli’s future have been directly lifted, each from a different point of the manifesto. This helps to keep them nice and open allowing the artist to research and explore in whichever way they want, knowing that it is tied together through Noisulli’s initial research. Justifying the initial process but making sure the focus is on creating new material. From historical research and theory.
1/ Static Movement. There is no is reason why static image can’t have movement. Kinetic visual experimentation turns the flat surface into a world of unending possibilities.
The first proposal following this book takes on the most debated and recognisable trait from an illusion. The idea that an image can have movement whilst remaining a piece of static
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Tprinted matter. The research surrounding this is now very indepth and is believed to be related, as with most visual illusions, between the relationship of our eyes and mind. As a brief it opens up the artist to subject of illusion in a particularly playful way. Allowing them to instantly have connotations, images, and idea’s flowing through their head by the sheer ambiguity that is represented in the language of it.
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CONTENTS
CONTENTS ~ 78
Foreword ~ 6
Introduction ~ 8
Static Movement ~ 10
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Brief ~ 12
Event ~ 14
Documentation ~ 16
Futures ~ 18
Contact ~ 23
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NOISULLI PRESENTS
STATIC MOVEMENT
EVENT PROPOSAL # 1
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Artist
proposal doc.
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STATIC M
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TFOREWORD
The understanding of
illusion and it’s
every impossible
quality has been the
focus of scientists,
writers and artists
for centuries. It
deceptively bridges
the gaps between
some of the most
respective academic
and creative fields.
Encapsulating the
minds and lives of
many a man, and will
continue to do so
for years to come.
Illusions place
in art and design
has always given a
fantasias view to
the works created
around it. Breeding
misunderstanding and
challenging the way
our brains have been
programmed to absorb
visual information.
Developing through
movements in art
such as surrealism
and more recently
‘Op-Art’, illusion
has been present
but critcised for
it’s obscure beauty
for years.
The research into
illusion started
by questioning
the place it held
within the Art &
Design field. Can
it add to or take
away from visual
communication? Do
it’s artists abuse
a knowledge and
understanding that
unreadable to some?
Similarly
neuroscientists,
psychologists and
FOREWORD ~ 80
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FOREWORD ~ 81
perceptual theorists
have been back and
forth working out
what mistakes lie
in the brain and
its relationship
with our eyes that
can create such
ambiguous outcomes.
More importantly
we are in an age
where we have the
knowledge and
technology to
answer these
questions, but
will the answers
ever solve such
a trick?
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STATIC MOVEMENT
Static movement
is the first
proposal that
noisulli offers.
Away from a
conventional brief
static movement
are topical to
the research that
has taken place
on illusion.
The statement,
start-point aims to
motivate research,
critical thinking
and fresh views
and outcomes, from
standardised or
previously used and
known techniques.
The variation
of skill sets
and methods of
the applicants
will exhibit the
diversity of
creativity across
a demographic much
like London.
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STATIC MOVEMENT ~ 83
‘Static Movement.
There is no is reason
why static image
can’t have movement.
Kinetic visual
experimentation turns
the flat surface into
a world of unending
possibilities’.
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BRIEF
‘Static Movement.
There is no is
reason why static
image can’t
have movement.
Kinetic visual
experimentation
turns the flat
surface into a
world of unending
possibilities’.
From this initial
point of critical
understanding.
The brief attached
is to explore this
statement. As openly
as your creative
field dictates.
The work is all tied
together via this
statement so It is
imperative that
it is looked into
with some rigour
and professionalism
but that is already
a big part of your
work and the reason
you have been
selected to join
this project.
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BRIEF ~ 85
Brief:
Explore the
previous statement/
text. Presenting
your findings for
exhibition format.
Findings to be
presented as finished
article. Can take on
any medium, format,
sound, size or
performance.
Time-scale:
Once the artists
have been collated
a scale of time can
be determined by the
type of work that
will be proposed.
(No longer than
six months).
Costs:
Each artists,
costs induced from
the production of
work are his/hers
responsibility.
Payment will come
from the demand of
the book.
(Read more about
book production)
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EVENT
This first event
curated by Noisulli
will be documented,
and published
alongside along
with a book.
The event will act
as a platform your
expose and explain
your creativity,
knowledge,
understanding but
also to display
and teach the
public through
art, design and
any creative process
that learning about
a subject and
showing passion can
provide the most
interesting and
original results.
The event will last
for a week. With
private showings,
talks, workshops,
presentations to be
held by anyone that
wishes to delve
into the subject
a little more.
Static movement
will solidify it’s
self as the first in
a series of events
and will continue
to question the
designers role in
academia and as
the academics
role in design.
Bridging the gap
and breaking the
boundaries between
our fields..
EVENT ~ 86
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BOOK
BOOK ~ 87
As mentioned as
a way of payment
a book will be
produced that will
feature everything
from the event,
artist profiles,
writings on and
around the work
and the production
issues and successes
that come along the
way. All the talks
will be presented
in document form,
with audience
participation
highly involved
and highlighted.
The books will run
following a print
on demand service.
Printing just 100
at a time by
risograph to save
on costs and waste.
All design and
curation to be
completed by
Noisulli®.
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DOCUMENTATION
The documentation of
the show will not
just be left down to
print and text.
A constant image of
the static movement
that goes on during
the course of the
week, that is set up
as an installation
and essentially
solidify the idea
behind this first
event will be
broadcast via the
internet and as a
promotional DVD.
The image shows the
a still of the slit
scan camera that
will be in place
at the event. The
overall image will
act as a static
timeline showcasing
the visitors, their
movement, reactions
and frequency.
DOCUMENTATION ~ 88
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DOCUMENTATION ~ 89
STAT
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STATIC M
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CONTACT
For any matters
concerning this
proposal, to relay
your interest, or
to find out anything
else please contact
Noisulli through
the following.
+44 (0) 7947918813
CONTACT ~ 90
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2/ Determine your relationship with the human mind and the behavioural effects you have on it why do something that sits comfortably in the brain when you have the ability to cause it discomfort and leave an impression.
The second in the line of proposals takes side of the scientific research that sits behind the subject, and has been talked about for years, how
strong is the connection between our eyes and mind and what can be done within the creative field to evoke difficulty for the viewer allowing them to question the detail behind the wiring of our brain, the development of our mind, but also the development of our environment and how they haven’t necessarily grown hand in hand.
87
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3/ To understand a visual illusion, one must first obtain knowledge of the object and understand the rules of vision. Once this is overcome, perception on optics can be manipulated. Explore your subject and its constraints to their ultimate limits.
Number three in the line of proposals is the final research proposal. Asking the artists to
think look more into the rules, and constraints that need to be applied visually in order to create an illusion. Requiring the artists too then apply their recently discovered knowledge of the subject and put it into context within their desired medium.
88
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4/ Apply Historical context, do not rely on contemporaries. History brings tradition; where modern techniques can hinder the process.
Proposals four to six work more on getting the artists to think about what they are creating as pieces and not so much about the research beforehand. Getting the artists to explore the process in which they finish or even approach an
idea and how it can in turn add to the concept of an idea. By looking into our history we have the ability to enhance traditional technique with contemporary knowledge.
89
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5/ Reality; What is the nature of truth and how is it measured?
Proposal five is looking to become more abstract in the run up to the final manifesto point. Inspired by the unimpossible fiction of certain writers and artists that create vast and elaborate worlds that could quite happily fit into reality or fantasy.
6/ Realise the potential of your available space. Use the space you have in a way someone else hasn’t.
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Noisulli’s final proposal for a show taken from the initial manifesto simply asks for participants to take into account spacial perception. This brief openly allows for many adaptations, through sound, space, vision and touch. It is through this final proposal that Noisulli’s research on illusion and perception can be concluded and it’s final works will be
published alongside all aritsts and the works that have built up to this point.
Seperate proposals will be published for each of the events that will take place under the curation of Noisulli.
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Running parallel to Noisulli’s constant research and production is their tireless efforts in sharing knowledge around the subject of illusion. To hold this Idea as a viable platform Noisulli will publish annual books papers and models from the innovators and academics around the subject.
The publications aren’t looking to be pure Noisulli content but will allow Noisulli as a research and development platform, to explore the correlation between content and applied typography layout to act as curator for the content it chooses to publish. The publications a traditional education structure and testing it’s interactivity through unconvential design techniques. Exploring the connotations that are
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IMAGE: Boarder Locking and the Café Wall Illusion (R.L.GREGORY) Published 2010.
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set out within design. And whether or not a subject like illusion has a solid place in the Art & Design world. Now Noisulli is to explore whether these same principles that meet on a canvas or are talked about it through illusion papers can be transferred and applied with a Designers mentality.
The first published paper will be released mid 2010 along with Noisulli book. Boarder Locking and the Café Wall Illusion (R.L.GREGORY) Published 2010.
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BIBLIO
GR
APH
YBibliography and further reading can all be found through the online archive.
http://noisulli.wordpress.com
www.lottolab.org/www.scottkim.com/www.richardgregory.org/www.bridgetriley.com/www.dextersinister.org/www.vasarely.com/www.dutchuncle.co.uk/illustrators/du/noma-bar
www.list.co.uk/article/14587-charles-avery/www.toferchin.com/www.stgs.wordpress.com/http://www.michaelbach.de/ot/ang_cafewall/index.html
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ISULLI
Copyright Noisulli© 2010
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