Making Assemblages : Relational Phenomena/Patterning/Camouflage

            Art and Aesthetic Patterns
An Ecology of Mind
We are so accustomed to thinking of aesthetic phenomena as a discursive or representational construct, that we often forget that without arousal of perception, no aesthetic experience is possible.
Going beyond what it may represent into the important psychic information it contains
Bateson  credits art with playing the role of confronting the quantitative limit built into consciousnesses

Art assists mind in recognizing that the potentiality of heightened consciousnesses exist and that it resides in you and in me

Fittingness/Ecological Approaches to Aesthetic Perception
Colour, Light, Time: Quintessentially relational phenomena in which location, background, density will provide different perceptual relations
Steven Holl

Symmetry appeals because symmetrical patterning provides for the observing mind a maximum of insight with a minimum of intellectual effort, quintessentially relational phenomena ( colour, light, time) and location, provide a background density that will provide for different perceptual relations 

Relatedness, connected to the place and function of things within a field
The rational organization of society has its own aesthetic attraction

Redundancy is a synonym for patterning
A pattern is a method for coping with the redundancies of messages emanating from the environment
Patterning of message material always helps the receiver to differentiate between signal and noise
Bateson 1973

Elaborations (Dynamic aesthetic totalities) of such everyday patternings in Art, Music, Ballet, Poetry

Camouflage takes away the ability to block out the irrelevant things in the environment, thus camouflage (which is designed to subvert communication) achieves its aims by breaking up the patterns and regularities in the signal, or by introducing similar patterns into the noise.
But what unambiguous codes gain in noise reduction, they lose in richness and expressiveness



   

Taken on: November 19, 2020

Tags:

Making

Steven Holl

assemblages

drawing

ceramic

template

design

architecture

colour

light

time

Bateson

art and ecology

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Camera: Nikon D3300, f/5.6, 1/13 sec, 52mm (=78mm), ISO 200 (more info) (hide info)

Camera:	Nikon D3300
Aperture:	f/5.6
Exposure Time:	0.077 sec (1/13)
Focal Length:	52mm (35mm equivalent: 78mm)
ISO:	200
Exposure Bias:	0 EV
Flash:	No Flash
Exposure Program:	Manual
Exposure Mode:	Manual
Metering Mode:	Multi-segment
White Balance:	Auto
Color Space:	sRGB
Software:	Ver.1.00
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