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FOREWORD

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INTRODUCTION

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DThe understanding of illusion and its 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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Dhas been present but critcised for its 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 its 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 Noisullis 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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But, 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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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 whats 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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In a quote from Gregorys 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 theyve concluded that; We show that microsaccades, a type of miniature eye movement produced during visual xation, 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 its place as both an Enigma and will continue its 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 Leviants 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 sees 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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IMAGE: Ren Magritte, Horse (1965)

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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ISIllusion is more and more finding its 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 publics growing interest in the indecipherable, the art scene turns to work that tackles the brain and its ability to process information and images.

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LLITaking 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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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_C

hristofer Chin

#7_Victor Vasarely

#9_Beau Lotto

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IMAGES: 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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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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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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#2Celebrated 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 shes searching for those perfect colour combinations, something that she seems able to get in both a

subtle and visually obtrusive way. Her art isnt 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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Spresenting 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 Rileys 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

IMAG

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Brid

get

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ATE)

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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 its 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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#3Californian 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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#4The 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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approached 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 Kims Inversionsis 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 Kims Puzzle Workout, a collection of 42 brilliant puzzles reprinted from his puzzle column in New Media

IMAGE:

Scott Kim. Q

UOTE:

Doug

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Puli

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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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SCAs 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

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Sand what is completely impossible. But without facts and evidence to disprove one mans theories, ideas or stories, what right does anyone have to comment on the reality of someone elses 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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#6Spacial awareness. Perception playing illustrator. Negative space visualist. Theres 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 ideas.

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*Sometimes what isnt there is more interesting than what is. Use the space you have, in a way that somebody else hasnt.

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#7The godfather of Optical Art Hungarian Born VVs 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 didnt 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 cant 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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#8Lottolab 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 ideas of optical illusion within art could be seen as a intrusion of peoples minds?

No. Its 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 its 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

theyve 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 te

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IMAGES - 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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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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OA 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 ideas 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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OWe 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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TOExplore 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 hasnt. Static movement there is no reason why static image cant have movement. Kinetic visual experimentation turns the flat surface into a world of unending possibilities.

TEXT Noisulli Manifesto (2010)

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OThe manifesto points were paraphrased in order for it to work as a document, script, brief or fit into any format necessary.

Reverting back to its 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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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 ideas. 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 its 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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The first manifesto poster produced by Noisulli (2010)

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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 its 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 manifestos 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 doesnt 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 Noisullis 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 Noisullis 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 cant 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 ideas 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

-Brief ~ 12

Event ~ 14

Documentation ~ 16

Futures ~ 18

Contact ~ 23

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FOREWORD

The understanding of

illusion and its

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

its 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

its artists abuse

a knowledge and

understanding that

unreadable to some?

Similarly

neuroscientists,

psychologists and

FOREWORD ~ 80

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FOREWORD ~ 81

percep

tual t

heoris

ts

have b

een ba

ck and

forth

workin

g out

what m

istake

s lie

in the

brain

and

its re

lation

ship

with o

ur eye

s that

can cr

eate s

uch

ambigu

ous ou

tcomes

.

More i

mporta

ntly

we are

in an

age

where

we hav

e the

knowle

dge an

d

techno

logy t

o

answer

these

questi

ons, b

ut

will t

he ans

wers

ever s

olve s

uch

a tric

k?

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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. STATIC MOVEMENT ~ 82

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STATIC MOVEMENT ~ 83

Static Movement.

There is no is reason

why static image

cant 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 cant

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.

BRIEF ~ 84

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BRIEF ~ 85

Brief:

Explor

e the

previo

us sta

tement

/

text.

Presen

ting

your findings for

exhibi

tion f

ormat.

Findin

gs to

be

presented as finished

article. Can take on

any me

dium,

format

,

sound,

size

or

perfor

mance.

Time-scale:

Once t

he art

ists

have b

een co

llated

a scal

e of t

ime ca

n

be det

ermine

d by t

he

type o

f work

that

will b

e prop

osed.

(No lo

nger t

han

six months).

Costs:

Each a

rtists

,

costs

induce

d from

the pr

oducti

on of

work a

re his

/hers

respon

sibili

ty.

Paymen

t will

come

from t

he dem

and of

the bo

ok.

(Read

more a

bout

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 its

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 men

tioned

as

a way

of pay

ment

a book

will

be

produc

ed tha

t will

featur

e ever

ything

from t

he eve

nt,

artist profiles,

writin

gs on

and

around

the w

ork

and th

e prod

uction

issues

and s

uccess

es

that c

ome al

ong th

e

way. A

ll the

talks

will b

e pres

ented

in doc

ument

form,

with a

udienc

e

partic

ipatio

n

highly

invol

ved

and hi

ghligh

ted.

The bo

oks wi

ll run

follow

ing a

print

on dem

and se

rvice.

Printi

ng jus

t 100

at a t

ime by

risogr

aph to

save

on cos

ts and

waste

.

All

desig

n and

curati

on to

be

comple

ted by

Noisul

li.

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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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CONTACT

For any matters

concerning this

proposal, to relay

your interest, or

to find out anything

else please contact

Noisulli through

the following.

NOISULLI@MAIL.COM

+44 (0) 7947918813

CONTACT ~ 90

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FUT

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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 havent necessarily grown hand in hand.

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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.

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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.

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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 hasnt.

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Noisullis 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 Noisullis research on illusion and perception can be concluded and its 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 Noisullis 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 arent 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 its interactivity through unconvential design techniques. Exploring the connotations that are

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IMAGE: Boarder Locking and the Caf 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 Caf Wall Illusion (R.L.GREGORY) Published 2010.

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94 BIBLIOG

RA

PH

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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