The Space Between the Pixels - Mick Jongeling - 16056636 - Practice 2: Design Intention - MA Graphic Design & Art Direction - 2016/2017 - Manchester School of Art - Manchester Metropolitan University
Index.
Paper. H1. ..................... Introduction & Context ........................................................................................................:::
p. 3.
H2. ..................... Research Questions ............................................................................................................:::
p. 3.
H3. ..................... Development ...................................................................................................................:::
p. 4.
H4. ..................... Conclusion ....................................................................................................................:::
p. 14.
H5. ..................... Intention for Practice 3 ......................................................................................................:::
p. 14.
H6. ..................... Bibliography References ....................................................................................................................:::
p. 16.
Imagery .......................................................................................................................:::
p. 19.
Appendix. Appendix I. ..................... ‘The Black Square’ by Kazimir Malevich Appendix I. ..................... Film in the Digital World Appendix III. ..................... Interview with Dr. Atif Waraich Appendix IV. ..................... ‘Input / Output’ by Terri Timely Appendix V. ..................... ‘Glut: Images, Information and Excess’ Appendix VI. ..................... ‘Sci-Art’ Option Unit Appendix VII. ..................... Stranger Things: ‘The Upside Down’ Appendix VIII. ..................... Notes from volunteering at ‘The Portico Library & Gallery’ in Manchester.
H1. Introduction and Context.
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H2. Research Questions.
H1. Introduction and Context. H2. Research Questions. In Practice 1, I began researching the cultural impact of the digital archive. My aim was to formulate a valid statement against mass archives that are curated by professionals and amateurs.
What is the visual impact of digital image handling techniques used for the Digital Archive?
While experimenting with visualinterpretations that convey this statement,I grew more interested in the visual modifications that digital image handling carries out on an artwork. In ‘A Prehistory of the Cloud’, Tung-Hiu Hu explains the evolution of the Internet as an apparatus and how a file travels through its network. This book enabled me to set a new goal for my project as I started wondering: “What characterises the journey of a digital file?”
> > > > > >
What is the journey of the digital file? What are the stages of image handling? How does hardware read an image? How does software read an image? What medium suits my project best? What are the aesthetics of image handling?
This question became the basis of my research for Practice 2, and instigated my thinking about my own terminology, the visual language and the subject of my project. Personal Aims within the MA. > Use theoretical and philosophical references in my research. > Use experimental publishing to show my research and/or final work. > Validate the metaphor of the “Ocean” for the Internet > Increase my communication skills graphically.
> Observe and reflect on unplanned outcomes of experiments. > Create visual imagery to reflect my thinking. > Use a scrapbook to visualize my thoughts. > Be listed on “The Graduates 2017” by ‘It’s Nice that’. > Keep updating and referring my research document to peers, tutors and interviewees: ‘https://thespacebetweenthepixels.tumblr.com’
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H3. Developent.
H3. Development.
I started the second phase of my research to continue reading from Boris Groys’ ‘In the Flow’, which has proved to be valuable to my thinking in the first practice. Groys analysed the beliefs of Kazimir Malevich and his ‘Black Square’. I started creating my own interpretation of the ‘Black Square’ and Malevich’s movement: Suprematism. [Appendix I: ‘The Black Square’ by Kazimir Malevich.]
[Figure 1.] Kazimir Malevich’s ‘White on White’ (1918) broke free of all former rules that dictated Art.
[Figure 2.] Suprematism applies a prearranged array of colors.
[Figure 3.] Suprematism applies a limited arrange of geometric shapes.
[Figure 4.] Kazimir Malevich’s ‘The Black Square’ (1913)
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H3. Developent.
From the research I did in Practice 1, I’ve got a new understanding of the Internet as a intangible object, not an organism but an passive apparatus. It made me think about the previous techniques I set out to experiment with. Was ‘Datamoshing’ an actual occurrence that happens within digital image handling, or one that is exclusive to analogue reproduction?
If the digital world is so much different to the analogue dimension, how would a film look in a digital world? [Appendix II: Film in the Digital World.]
Lev Manovich named ‘Editing’ one of the key technologies of the 20th century to create fake realities. [Manovich, 2001, pp. 148.] Could ‘datamoshing’ be the digital version of editing on a single screen, showcasing the systems inability and policital correctness to direct important moments within the film?
[Figure 5-19.] Screenshots from unofficial video for ‘Thermal Capacity’ by Answer Code Request that explores the ‘Datamoshing’ technique.
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H3. Developent.
[Figure 20.-23.] Screenshots from Slitscan test with gradient displacement map.
[Figure 24-27.] Screenshots from Slitscan test with glitched displacement map.
[Figure 28-31.] Screenshots from Slitscan test with recursed displacement map.
[Appendix III: Interview with Dr. Atif Waraich.]
I filmed myself in a green screen suit, and inserted footage within the silhouette to transform. Experimenting with the Slit-Scan technique and exploring its possibilites let me create my own technique to visualize data transfer, where the data gets transferred along the ‘X’- and ‘Y’axis of a window, pulled towards different outlets.
H3. Developent.
[Figure 32-35.] Screenshots from Slitscan test with blended displacement map.
[Figure 36-39.] Screenshots from Slitscan test with geometric displacement map.
[Figure 40-43.] Screenshots from Slitscan test with glitched photographic displacement map.
[Figure 44-47.] Screenshots from Slitscan test with glitched photographic displacement map that resulted in an unexpected outcome.
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8
H3. Developent.
Looking how to define the ‘Z’-axis, I noticed that I tend to work with multiple windows and resize them according to my workflow. I observed my tutor doing the same during the ‘Thursday Lectures’, where resizing and manipulating the window are essential to display the information. Lev Manovich believes that “the next generation of cinema - broadband or microcinema - will add multiple windows to its language”. [Manovich, 2001, pp. 324.] My tutor’s narrative follows this same principle, manipulating multiple windows to construct a story, directing our attention by contrasting windows against each other. [Figure 48-51.] Screenshots from recording during Thursday’s ‘Housekeeping Lectures’ at ‘Manchester School of Art, MMU’.
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H3. Developent.
[Figure 54.] Screenshot from the homepage of ‘http://www.yyyyyyy.info/’.
[Figure 52.] The total narrative of ‘Input/Output’ by Terri Timely that consists of multiple sequences.
Playing around with the notion of the infinity of our screens, I decided to think about an eventual way of publishing my research. A experimental publishing site I think explains the Internet to me is called: ‘http://www.yyyyyyy.info/’. Why should I limit myself again to only one source, (or a single ‘window’)? A pop-up window has become a commodity to ask the user something or display an alternative message.
I thought back to ‘Input/Output’, a video by Terri Timely, that I used to explain my understanding of Art Direction and my desired future practice at the beginning of Practice 1. Do these multiple sequences on screen tell another narrative, one that is about our relationship with a frame? [Appendix IV: ‘Input/Output’ by Terri Timely.] With this question in mind, I came across another video that challenges our relationship with digital windows and the way one can portray a narrative on a single screen: ‘Lido Sim’ by Milo Targett.
haspop-up becomewindow a commodity What Aifpop-up I can window use this to ask the user something in addition to my research, by or display an alternative message. automatically opening images, A pop-up window has become a photos or videos? A pop-up window become a something What if I commodity can use this pop-up tohas ask the window user commodity to ask the user something in addition my research, by or to display an alternative message. or displayopening an alternative automatically images, message. photos or What videos? if I can use this pop-up What window if I can this pop-up in use addition to my research, window in addition to opening my research, by automatically images, by automatically opening images, photos or videos? photos or videos?
[Figure 53.] ‘Lido Sim’ by Milo Targett explores the relationship between an animator’s creation and it’s power.
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H3. Developent.
[Figure 56.] Recursed ‘Plate 628 Horse Galloping Saddled Clothed Male Rider’ [Figure 55.] Original ‘Plate 628 Horse Galloping Saddled Clothed Male Rider’ by Eadweard Muybridge
Mick Jongeling, MA Graphic Design & Art Direction, Gif Recursion number 01. , Eadweard Mubridge - Horse Daisy Galloping
The work of Eadweard Muybridge is a collection of frames while recording walking cycles. By recursing the reduce/enlarge size with the scanner, a grain was added to the frames that could not be imitated by digital modification. For what fase should I use this technique?
Muybridge published his frames with a Zoopraxiscope, a predecessor of the modern beamer and a device that was intended to create a looping picture film, one of the most dominant pictures on the Internet. According to Lev Manovich, “the Loop also gave birth to computing”. [Manovich, 2001, pp. 317.], making the loop an essential visual element in my project.
[Figure 57.] Glass disk of ‘Horse Galloping’, that was intented for use with the Zoopraxiscope by Eadweard Muybridge.
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H3. Developent.
In ‘The work of Art in the Age of Mechanical Reproduction’, Walter Benjamin comments that as the previous autocratic systems, or writers, grew in volume, the masses, or readers, were invited to collaborate. This caused a blur in the distinction between the writer and the reader and made every reader ready to become a writer. [Benjamin, 2008, pp. 22-23.] Where the writer,or artist, is occupied by his self-presentation, the reader, or masses, are trying to become self-conscious. But who is the audience of the work of Art, if the author and audience are all occupied with the self? The answer is found in ‘In The Flow’, where Boris Groys states that: “Traditionally, the main occupation of human culture was the search of totality. This search was dictated by the desire of human subjects to overcome their own particularity, to get rid of the specific ‘points of view’ that were defined by their ‘life forms’ and to gain access to a general universal worldview that would be valid everywhere and at every time.” [Groys, 2016, pp. 9.]
Elaborating on this argument, Groys refers to our ‘society of spectacle’, where he claims that the artists and the masses have no time between these practices to not be the spectator. That spectator must be God himself. [Groys, 2016, pp. 130.] Friedrich Nietzsche claimed in his work ‘Thus Spoke Zarathustra’ that “God is dead” and with it, we lost the spectators of our soul. Groys continues with his claim by saying that our society has compensated for the loss of God, being the exposure one can obtain on the Internet. [Groys, 2016, pp. 130.] [Appendix V: ‘Glut: Images, Information and Excess’] As an argument against modern privacy issues he states: “Every system of surveillance is too selective; it overlooks most of the things that it is supposed to see. Beyond that, the images that accumulate in such a system are mostly not really seen, analyzed or interpreted.” [Groys, 2016, pp. 131.] He divides our condition into a paradox: “We are interested in retaining privacy, in reducing surveillance, in obscuring our bodies and desires, but at the time we aspire to radicalized exposure, exposure beyond the limits of social control.” [Groys, 2016, pp. 131.]
This argument touches the paradox about a Virus and a Viral I was contemplating in Practice 1, which came from ‘A Prehistory of the Cloud’ by Tung-Hiu Hu: “How did the ‘Social’ user, once a potential threat to privacy, become a celebrated and valued user is today’s sharing economy?” [Hu, 2016, pp. 60.] Invading multiple systems has become a must in our society, while we are surrounded by hundreds or thousands of users at the same time, we feel safe enough to connect with our accounts and upload our personal memories and share it with known and unknown users on the network. Walter Benjamin formulates where people have souls, Art has an “aura”. [Benjamin, 2008, pp. 9.] Benjamin uses Aura regarding the works singularity. With every reproduction, the artwork loses its aura. But the context of the work contributes to this. Has the Mona Lisa lost a part of its Aura by being removed from it’s original context? Did the viral or mechanical reproduction of the Mona Lisa become a virus to the aura of the Mona Lisa?
The iconification of the Mona Lisa has made the work transcend its own materiality, thus making Leonardo da Vinci immortal. It is one of the most circulated images ever created, but still has enough aura to make people visit the work of art in ‘The Louvre Museum’ in Paris, the house of context it was not intended for. The audience proves that it has actually witnessed the Mona Lisa’s singularity with a mechanical reproduction of their own, where the audience becomes an author of a new image, using the aura of the Mona Lisa for their self-presentation. Is the audience trying to use the Mona Lisa’s aura to become immortal themselves? Are humans obsessed by their own contemporary? [Figure 58.] Collection of the mechanical reproductions of the Mona Lisa in the form of a “Mona Lisa Selfie’.
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H3. Developent.
I was finalizing my Sci-Art Option Unit project, where I was researching the impact of light pollution on our lives. Skyglow is an increasing problem to our astronomers, blocking their view on our galaxy, failing to see beyond our own lives on earth. As a prototype, I created the earth as an artificial star, a philosophical object to think about our existence within the universe, as light pollution continues to isolate us from the rest of the universe. [Appendix VI: ‘Sci-Art’ Option Unit]
In Practice 1, I made the distinction between our world and the digital world: Our world exists out of formations of molecules,the digital world out of fragmentations of pixels. A philosophical theory about existence beyond our own universe is that of a parallel universe. Is the Internet a parallel universe to ours and if so, how should it be visualized? [Appendix VII: Stranger Things ‘The Upside Down’]
[Figure 59.] ‘Astra Planeta’, a protoype created in the Sci-Art Option Unit.
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H3. Developent
Being introduced to the work of a former student at the School of Art featuring photographs of people’s faces looking at their digital devices made me question: “Did the subjects lose their aura, their soul, in the light of the screen?” Is there a similar effect on art objects?
I revisited important quotes from my research within Practice 1 and analysed them in with my new thought process. Boris Groys often employed the terms “Liquidization” and “Rheology” metaphorically. The title of the book, ‘In the Flow’, refers to the material flow of decay and how the Internet reverses and alters this flow. The visual metaphor of the Ocean was one that resonated with my belief of the Internet, where data will dissolve, float or sink in the depths and spikes of the waves. I began wondering about this metaphor of the Internet, if I was biased towards the metaphor and how important the use of a metaphor was within my project. [Appendix VII: Interview with Dr. Atif Waraich] In that metaphor, the Internet is like an organism, data are particles in a network of formations, where they can transform, modify, transport freely without being disturbed. But the Internet is not an organism, but a passive apparatus that shows the data it holds.
Arguably, a camera, a device that uses light to create an image, produces a mechanical reproduction of the work and according to Walter Benjamin, diminishes its aura in the process. [Groys, 2016, pp. 7.] But light demands attention and appreciation. A cinema or theatre uses light to direct the attention of the audience to the narrative, a museum or gallery uses light to enhance the importance of an artwork and places of worship use light to surround their religious icons. And the eye, human’s tool to picture the world around them, uses light to create an image that visualize the world. Light can enhance or subtract Aura. I would claim that information is light and the Internet is a collection of information, therefore a collection of light.
When looking for objects that make light visible, I found a similarity with the previous metaphor of the Ocean: “Reflection.” An object that uses light to produce an alternate real-time representation of life is a mirror. A mirror, just as the Internet, consists of different units than water and just as the Internet, invites the audience to think of their own ego. The Internet can only display what it contains: One can see it, but not submerge in it. One cannot enter a mirror, reshape or touch below its surface, only change it’s orientation to see a reproduction of a material object. The mirror is merely a gateway, or a portal to another dimension, just like the Internet.
H4. Conclusion.
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H5. Intention for Practice 3.
H4. Conclusion. Conclusion In our Digital Age, it is impossible to live without a digital identity, a clone that may portray a version of ourselves that we want people to believe. It raises the question if the creator has control over their illusion and it’s actions. Surveillance by the government and social control lead to mass reproduction of files, transferring one’s representation through wires around the world, only to be projected on a screen, awaiting the gaze of the audience, followed by the reversal of this process, deleting its path along the way.
[Appendix VIII: Notes from volunteering at ‘The Portico Library & Gallery’ in Manchhester.]
H5. Intention for Practice 3. Intention for Practice 3. Now that I “own” the metaphor that explains the Internet, I can work towards my own statement about our digital lives, and from that, formulate the message I want my work to communicate. Further experimentation and reviewing resulted has resulted in a transdisciplinary attitude towards the fields of design, media, science, programming, philosophy and engineering. The feedback I get from the Division of Digital Media & Entertainment Technology helps me understand the systems behind my experiments and possible debates within that discipline. I thought of the possibility of making a lexicon that visualizes Digital Natives jargon to the Digital Illiterate, but after reviews with peers and tutors have decided that a lexicon is to utilitarian for my ambition within this MA. The mechanism of a computer virus is one I like to explore further for experimental publishing of my research and/or work. The apparatus of the Internet helps me approach my research systematic, while reverse engineering, glitching and producing work frees my thought process. I have started to apply and refine my experiments to certain stages of image handling and will work towards a short film that visualizes the digital journey of aura, that of an individual person that is uploaded to the Internet.
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H7. Bibliography: References
Book.
Blog.
Artwork.
Benjamin, W. (2008) The Work of Art in the Age of Mechanical Reproduction. 1st ed. London, United Kingdom: Penguin Books.
Jongeling, M. (2017) 'The Option Called Sci-Art'. The Option Called Sci-Art. [Blog] [Accessed on 13 March 2017] http://theoptioncalledsciart.tumblr.com/.
Biola, B. (1977) Reflecting Pool. [Colour Video].
Groys, B. (2016) In the Flow. 1st ed. New York City, United States of America: Verso Books. Hu, T. (2015) A Prehistory of the Cloud. 1st ed. Cambridge, United States of America: The MIT Press. Manovich, L. (2002) The Language of New Media. 1st ed. Cambridge, United States of America: The MIT Press. McLuhan, M. (1964) Understanding Media: The Extensions of Man. 1st ed. London, United Kingdom: Routledge and Kegan Paul. Mercado, G. (2011) The Filmmaker’s Eye. 1st ed. Burlington, United States of America: Taylor & Francis Group
Jongeling, M. (2017) ‘The Space Between The Pixels’. The Space Between The Pixels. [Blog] [Accessed on 13 March 2017] http://thespacebetweenthepixels.tumblr.com/. Film. Ghost in the Shell. (1995) [film] Tokyo, Japan: Mamoru Oshii. Stranger Things. (2016) [series] Netflix: The Duffer Brothers. Interview. Waraich, A. and McCullagh, J. (2017) Interview with Dr. Atif Waraich. E-Book or PDF. Kazimir Malevich: Suprematism. (2003) 1st ed. [ebook] New York: The Solomon R. Guggenheim Foundation. [Accessed on 1 March 2017] https://archive.org/stream/ kazimir00male#page/118/mode/2up.
Bridle, J. (2013) Every CCTV camera between my house and Dalston Junction. [Photographs]. Ito, T. (1982) Ghost. [Colour Video]. Malevich, K. (1915) The Black Square [Oil on Linnen] Thomson & Craighead. (n.d.) Broken Webcams. [Photographs]. Thomson & Craighead. (n.d.) Six years of Monday. [Colour Video].
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H7. Bibliography: References
Online Image or Video. Adidas Originals, (2017) adidas Originals: ‘Original is Never Finished. [video] [Accessed on 26 January 2017] https://www.youtube.com/watch?v=cv53BKMYsy0.
LittleBrownMushroom, (2016) Curator Fei Dawei being interviewed on multiple streaming apps. [image] [Accessed on 11 January 2017] https://www.instagram.com/p/BPAah_0g9bO/.
Animade, (2015) Lido Sim. [video] [Accessed on 15 December 2016] https://vimeo.com/118579505.
Louisiana Channel, Louisiana Museum of Modern Art, (2013) Bill Viola was interviewed by Christian Lund, Louisiana Museum of Modern Art, in London, 2011. [video] [Accessed on 13 March 2017] https://www.youtube.com/watch?v=uenrts2YHdI.
AnimeEveryday, (2014) Ghost In The Shell - Film Analysis - Motoko's Dilemma. [video] [Accessed on 27 January 2017] https://www.youtube.com/watch?v=l9v8FzQ2btg. FilmmakerIQ.com, (2013) How To Create Bizarre Slit Scan Video using After Effects. [video] [Accessed on 2 November 2016]. https://vimeo.com/71702374. Georgiiou, (2014) Adobe After Effects - Best Glitch Tutorial. [video] [Accessed on 23 February 2017] https://www.youtube.com/watch?v=EYkqC9uI8Nc.
Nerdwriter, (2016) Ghost In The Shell: Identity in Space. [video] [Accessed on 24 February 2017] https://www.youtube.com/watch?v=gXTnl1FVFBw Nerdwriter, (2016) Las Meninas: Is This The Best Painting In History?. [video] [Accessed on 18 February 2017] https://www.youtube.com/watch?v=WKRKrpz09Fk. O’Reilly, D. (2007) RGB XYZ. [video] [Accessed on 31 October 2016] https://vimeo.com/62087014.
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H7. Bibliography: References
Website. Ball, S. (2010) Reflecting Pools. Public-water.blogspot.co.uk. [Online] [Accessed on 13 March 2017] http://public-water.blogspot.co.uk/2010/09/ reflecting-pools.html. Biringer, T. (2011) Dualism vs Duality - Dogen on the One and the Many. Dogenandtheshobogenzo.blogspot.co.uk. [Online] [Accessed on 18 February 2017] http://dogenandtheshobogenzo.blogspot.co.uk/2011/03/ dualism-vs-duality-dogen-on-one-and.html. Cumming, L. (2014) Malevich review - an intensely moving retrospective. www.theguardian.com. [Online] [Accessed on 13 March 2017] https://www.theguardian.com/artanddesign/2014/jul/20/ malevich-tate-modern-review-intensely-moving-retrospective. Fred Cohen 'Trends In Computer Virus Research' (VX heaven). (n.d.) Vxheaven.org. [Online] [Accessed on 13 March 2017] http://vxheaven.org/lib/afc06.html. Glitch_art. (n.d.) Reddit. [Online] [Accessed on 12 October 2016] https://www.redditcom/r/glitch_art/top/. Holtham, S. and Moran, F. (2014) Five ways to look at Malevich’s Black Square. Tate.org.uk. [Online] [Accessed on 16 February 2017] http://www.tate.org.uk/context-comment/articles/ five-ways-look-Malevich-Black-Square.
HTML Color Names. (n.d.) W3schools.com. [Online] [Accessed on 13 March 2017] https://www.w3schools.com/colors/colors_names.asp. List of color palettes. (n.d.) En.wikipedia.org. [Online] [Accessed on 13 March 2017] https://en.wikipedia.org/wiki/List_of_color_palettes. Pachuta Farris, J. (2016) Kazimir Malevich and “The Last Futurist Exhibition (0, 10)” The University of Chicago Library News. News.lib.uchicago.edu. [Online] [Accessed on 13 March 2017] http://news.lib.uchicago.edu/blog/2016/06/24/ kazimir-malevich-and-the-last-futurist-exhibition-0-10/. The Role Of Water In Islamic Architecture. (n.d.) www.theculturetrip.com. [Online] [Accessed on 17 February 2017] https://theculturetrip.com/middle-east/articles/ water-in-islamic-architecture/. The World Wide Web project. (n.d.) Line-mode.cern.ch. [Online] [Accessed on 11 January 2017] http://line-mode.cern.ch/www/hypertext/WWW/ TheProject.html. Lido Sim: A Place of Escapism - The Plus Paper. (n.d.) The Plus Paper. [Online] [Accessed on 13 March 2017] http://www.thepluspaper.com/2015/02/06/ lido-sim-a-place-of-escapism/.
Tobias, S. (2016) A Stranger Things Glossary: Every Major Film Reference in the Show, From A-Z. www.vulture.com. [Online] [Accessed on 13 March 2017] http://www.vulture.com/2016/07/ stranger-things-film-reference-glossary.html. Tucker, P. (n.d.) Datamoshing. Datamoshing.com. [Online] [Accessed on 27 February 2017] http://datamoshing.com/. UbuWeb Film & Video. (n.d.) Ubu.com. [Online] [Accessed on 8 January 2017] http://www.ubu.com/film/. Video compression picture types. (n.d.) En.wikipedia.org. [Online] [Accessed on 13 March 2017] https://en.wikipedia.org/wiki/ Video_compression_picture_types. yyyyyyy.info. (n.d.) Yyyyyyy.info. [Online] [Accessed on 13 March 2017] http://www.yyyyyyy.info/.
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H6. Bibliography: Imagery
Page 4.
Page 7.
Page 10.
[Figure 1.] Malevich, K. (1918) Suprematist Composition: White on White. [Oil On Canvas].
[Figure 32-35.] Jongeling, Mick. Slit-Scan experiment #4 (2017). [Colour video]
[Figure 2.] Malevich, K. (1915) Suprematist Painting: Black Trapezium and Red Square. [Oil On Canvas].
[Figure 36-39.] Jongeling, Mick. Slit-Scan experiment #5 (2017). [Colour video]
[Figure 55.] Muybridge, E. (1887) Plate 628 - Horse Galloping Saddled Clothed Male Rider. [image] [Accessed on 13 March 2017] http://www.art-prints-on-demand.com/a/muybridge-eadweard/gallopinghorseplate628fro.html.
[Figure 3.] Malevich, K. (1915) Supremus nr. 50. [Oil On Canvas].
[Figure 40-43.] Jongeling, Mick. Slit-Scan experiment #6 (2017). [Colour video]
[Figure 4.] Malevich, K. (1913) The Black Square. [Oil On Canvas].
[Figure 44-47.] Jongeling, Mick. Slit-Scan experiment #7 (2017). [Colour video]
Page 5. [Figure 5-19.] Jongeling, M. (2017) Unofficial Music Video For ‘Thermal Capacity’ By Answer Code Request. [video] [Accessed on 13 March 2017] https://vimeo.com/208011455.
Page 8. [Figure 48-51.] Jongeling, Mick. Recording of Thursday’s “Housekeeping Lectures” (2017). [Colour video] Page 9.
Page 6. [Figure 20-23.] Jongeling, Mick. Slit-Scan experiment #1 (2017). [Colour video] [Figure 24-27.] Jongeling, Mick. Slit-Scan experiment #2 (2017). [Colour video] [Figure 28-31.] Jongeling, Mick. Slit-Scan experiment #3 (2017). [Colour video]
[Figure 52.] Park Pictures, (2015) Input Output. [image] [Accessed on 13 March 2017] http://parkpictures.com/terri-timely. [Figure 53.] Lido Sim: A Place of Escapism - The Plus Paper. (n.d.) The Plus Paper. [Online] [Accessed on 13 March 2017] http://www.thepluspaper.com/2015/02/06/ lido-sim-a-place-of-escapism/. [Figure 54.] yyyyyyy.info. (n.d.) Yyyyyyy.info. [Online] [Accessed on 13 March 2017] http://www.yyyyyyy.info/.
[Figure 56.] Jongeling, Mick. (2017) Recursed Plate 628 Horse Galloping Saddled Clothed Male Rider [Image] [Accessed on 13 March 2017] http://68.media.tumblr.com/9245ccf2beb8c4e6dbd929aa1f21efc1/ tumblr_ol0taqbKsO1vhukyeo2_500.gif [Figure 57.] Muybridge, E. (1887) Glass Disk Of “Horse Galloping”. [image] [Accessed on 13 March 2017] https://s-media-cache-ak0.pinimg.com/564x/08/f1/82/ 08f182d972aa4ca2dbe2ef86c9ccd2fb.jpg Page 11. [Figure 58.] Mona Lisa Selfie- Google Search. (n.d.) Google.co.uk. [Online] [Accessed on 13 March 2017] https://www.google.co.uk/search?hl=en-GB&tbm=isch&q=facial+expression&oq=&gs_l=#q=People+Mona+Lisa+Selfie&hl=en-GB&tbm=isch&tbs=rimg:CS5DXloR0MhMIjibF24Zj5MvmM7T6qtssOjnsRnOpy8RyVZVJdhdk8FaJ6-P6UGyc6BZemAPKPcKipvHeBvLHPluuCoSCZsXbhmPky-YEbMcgoCWEg9wKhIJztPqq2yw6OcROXa9sx-y7pMqEgmxGc6nLxHJVhHFUKRK-7ZEkioSCVUl2F2TwVonEerC8JQjjvhlKhIJr4_1pQbJzoFkRMbns7a-XKRQqEgl6YA8o9wqKmxHICiytgg2CnCoSCcd4G8sc-W64EWYFxOqeKfwV&*. Page 12. [Figure 59.] Jongeling, Mick. Astra Planeta. (2017) [Paper Mache and Acrylic Paint].