Rhoda Kellogg: 20 Basic Scribbles

"All drawings consist of one or more Basic Scribbles used in various combinations. There are about 18-20 different kinds of basic markings which I have called The Basic Scribbles. All scribblings, drawings, patterns, shapes, designs, pictorials, and even language consist of markings which can be broken down into their scribble components". (Rhoda Kellogg; the 20 Basic Scribbles)

Salvador Dali metaphysical live action painting

Dali absorbed every new development around him into his metaphysical universe. here he can be seen doing a live action painting performance inside a transparent dome wearing a hat of connected pentagons,(around 1966/67) something that seems to position buckminster fullers dome as the membrane of transition in the hermetic as-above-as-below subject. performing the wet dream of every male action painter as the free unrestricted unhindered expression of the liberal self ("I don't do drugs, I am drugs"). (or a visionary expression of the future subject inside virtual reality)

Michael Leyton: tension = memory storage

for me Michael Leytons ´the structure of paintings´ is one of the most intriguing and elaborate  books on painting, drawing and meaning:

 

 

 

shape - memory storage

artworks are maximal memory stores

• memory is stored only in asymmetries
• memory is erased by symmetries

• an asymmetry in the present is understood as having originated from a past symmetry
•  a symmetry in the present is understood as having always existed

• tension occurs from a present asymmetry to its past symmetry 
• tension=memory storage

 

 

electricity=affect short circuit=grawlixes

These illustrations from William John Johnston’s Lightning Flashes and Electric Dashes from 1877 are the earlies examples of grawlixes to date on this page. 

(found at see dailycartoonist)

This article https://blogs.kcl.ac.uk/english/2019/09/11/american-telegraphic-literature/ of Harriet Thompson @harriettho, connects these grawlixes with electricity and electricity with spirituality, as well explores the relation between gender and these new emerging technologies. I think both affirm my own observations that grawlixes resemble the 1900s idea of the spiritual in art and can also be seen as manifestations of patriarchic routines that are cut-off by some unexpected event. https://archive.org/details/ProgrammingWithGrawlixesPart3

metaphorical mapping:

electricity=affect

short circuit=grawlixes

 

 #grawlixes #grawlix #emanata #cussing  #marcvanelburg

stanley brouwn – 3 steps on 1 m – Potlood op papier, 1976

stanley brouwn – 3 steps on 1 m – Potlood op papier, 1976

Sedje Hémon : method of integration

 

Sedje Hémon was known for being a pioneer of interdisciplinary practices. Her “Method of Integration” developed between 1957-1965 was a theory that aimed to integrate all art forms. One of her discoveries was finding a way to “extract” sound from images. This method consisted of placing a pitch grid onto the painting and extracting data that was then used to compose a musical score. Harmonie was one of the first scores she made using this systematic approach. It was performed in The Hague in 1964. It is symbolic that the piece would come back with a new performance by Ensemble Modelo62 in the framework of an interdisciplinary program involving a composer and artist from diverse backgrounds. https://www.modelo62.com/sedje-hemon

http://sedjehemon.org/harmonie/

 

 

 

With the exhibition ´abstracting parables´ of Sonsbeek 20→24 in het Stedelijk in Amsterdam Sedje Hemon´s work is put in the context of labor and translation. In this case maybe the translation of a linocut with a gestural drawing of two closed lines into sound. The use of the grid gives the impression of an automatic mechanical analogue translation of line to sound but the work of translation- that is- the interpretation of the data, the choice of the body that will be the medium and the way it is (re)programmed to connect the data to its sound producing organs and the context in which it is presented is what i think makes it meaningful 

 https://www.sonsbeek20-24.org/en/artists/sedje-hemon/ 

https://www.stedelijk.nl/nl/evenementen/sonsbeek-talks-thinking-relationships

oramics

Daphne Oram
1925-2003 A pioneering electronic composer, inventor of the Oramics Machine 

 "The Oramics Machine enabled Oram to synthesise and sequence sound by painting lines and other marks on glass and film strip. Oram invented it as a new means of musical expression, one that enabled her to finely control and vary sounds in ways that went beyond the capabilities of audio tape. https://www.daphneoram.org/oramicsmachine/

 

 

 

 

 

 

https://monoskop.org/images/0/07/Oram_Daphne_An_Individual_Note_of_Music_Sound_and_Electronics.pdf

 

 

 

Carolee Schneeman; up to and including her limits (1973/77)

 

 

 

The drawing accumulations which occur during my suspension on the rope are called automatic writing or trance markings. For non-specified durations I turn myself into a randomized drawing machine. The situation seems personal—being nude, my voice on the tapes, my image in the film—but while the figure on the ropes is actual it becomes less “real” than the woman of the film. There is no idea of “performance” whatsoever; while working on the rope I may not know if there are any spectators or none. The movements and gestures which produce the strokes are controlled by the torsion of my body wound in the rope. My only thought is to be an extension of the rope itself. Until discomfort or loss of concentration occurs I let my entire body function as a pencil.

 

https://archive.thekitchen.org/wp-content/uploads/2015/03/Catalog_Schneemann_Up-To-and-Including-Her-Limits.pdf

 

 

 

 

Grawlixes and the movies: chilly willy *!@?*W!!@

 

Tex Avery;  Chilly Willy: the legend of rockabye point (1955)

 grawlixes as silenced or censored curse

https://tellab.home.xs4all.nl/grawlixes/programming.html

 

grawlixes @grawlixes #grawlix #grawlixes @grawlix grawlix emanata @emanata #emanata  maldiciendo, c @symbolswearing #symbolswearing obscenicons @obscenicons #obscenicons @symbolswearing #symbolswearing  @# $% &*@!!?! @#$@@%%^& **!! ?! (..) %#@#$!! & #$@!!!

Eye-Movements and the Aesthetics of Visual Form' G.M.Stratton (1902)

the eye moves far less accurately over an outline than has usually been supposed;
it takes a course which is but a rough approximation of the form which we perceive it.
The eye darts from point to point, interrupting its rapid motion by instants of rest. 

And the path by which the eye passes from one to another of these resting places does not seem to depend very nicely upon the exact form of the line observed. 

The eye may take a short cut that is nearly or quite a straight line while »following« the Segment of a circle, 'as in some portions of Fig. 3. 

Or it may take a graceful swing which is, however, entirely unlike the curve which is the object of perception; as in the final sweep in Fig. 9, where the objective Une and the eye's path bend in the very opposite directions. So that we cannot say that the eye invariably takes the most direct route to its destination — that it moves in straight lines, or on an unchanging axis^), Nor even when taking a curved course does there seem to be any Single and invariable curve that it follows.

(..)For as the higher aesthetic effects depend, as Wundt has said, upon the awakening of intellectual, ethical and religious ideas ; so it is, in a measure, even on the plane of mere abstract line.
A graceful contour, too, arouses intellectual ideas; and if its enjoy- ment does not arise directly from our ethical and religious nature, it at least comes from something akin to this — arises from our sympathy with well-ordered action and from our love of participation in such action — qualities in us that are at the foundation of morality and worship itself.

https://echo.mpiwg-berlin.mpg.de/ECHOdocuView?url=/permanent/vlp/lit4487/index.meta&start=1&viewMode=auto&pn=1