Assessment 3- Artwork Project Statement

Title: Reiteration and simulation of conversation

screen-shot-2016-10-27-at-1-03-52-am     screen-shot-2016-10-27-at-1-11-06-am

My work is a visual representation, produced through in-game video recordings of The Sims 3, of the repetitive nature and structure of conversations. The concept is inspired by a linguistic theory that perceives conversations as being inherently pre-patterned. Through looping the videos over and over again, the general concept of repetition Is also represented.

The decision to frame the captured videos, into CCTV-like footage, was made as a way to examine our inherently voyeuristic nature and our curiosity in knowing what is going on in the lives of others, from an outsider perspective


The aesthetic of the piece was heavily influenced by Stanza’s body of work, with his art installation ‘God is Watching Over Us Outside in the Panoptican’ being a strong reference point for my work. This particular work consisted of a live CCTV camera from inside a building, which was then projected on the outside of said building.


The challenge of using a video-game as my canvas, was for me, incredibly appealing as it was something that I felt has never really been done before.


Max Clement, 4723545

MEDA 102- Colours of Autumn (Digital Coding)

For my first dynamic sketch, using Processing 3,  I was very much inspired by the simplicity of iteration in Vera Molnar’s Des(Ordres) . The loop of squares within squares in Molnar’s work, was something I was keen to replicate in my work. In the sketch I titled “Colours of Autumn”, the autumn-like colours within the circle  are constantly changing (if a little bit slowly). Much like Molnar’s work, my piece is all about the  use of both randomness and repetition. The randomness in the piece is represented through the change of colours, while the repetition is represented through the loop of circles. Its also through these characteristics that my piece really reflects the idea of iteration and variation. It was a good introduction,for me, to processing and I look forward to increasing my skills in coding.




static image of dynamic sketch


void setup(){
  size(400, 400); //Sets the size of the canvas
  loop(); //Establishes the loop function
  background(#EAEAB6); //Sets the background to beige
  smooth(5);// Adds smooth edges to circles

//creates grid parameters
int cols = 6;//sets 6 colomns of circles
int diam = 100; //sets the diameter of circles
int rows = 6; //sets 6 rows of circles

void draw(){
  stroke(0.5); //creates thin outline for larger circle 
 float f1 = 3;
  for(int i = 50; i < 1000; i++) //sets the number of iterations
  fill((int)random(200), (int)random(200), 20, 20);//sets the colour to 
  for(int y =0; y < cols; y++) { //Creates the grid 
  for (int x = 0; x < rows; x++){
  ellipse((x+1)*(width/(cols+1)), (y+1)*(height/(rows+1)), diam, diam);
  //Draws the circles and places them into a grid
  {float f2 = 0.5; // Declares value of f2
  for(int i = 0; i < 10; i++){ //dictates speed of colour change in circle
  fill((int)random(200), (int)random(200), 20, 20);
  for(int y1 =0; y1 < cols; y1++) { //sets up the  2nd grid of circles 
  for (int x1 = 0; x1 < rows; x1++){ //within the original grid of circles
 ellipse((x1+1)*(width/(cols+1)), (y1+1)*(height/(rows+1)), diam/4, diam/4);}
// draws smaller circles within the larger circles


MEDA102- Beginning to Code

Since the last tutorial, where we were finally introduced to the programming world through the “Processing” software, I have been hard at work through the week to try and understand specific functions and practice making simple artworks of my own.

I’m not gonna lie, I struggled immensely initially in trying to make sense of the coding language. Many hours were spent in trying to figure out how to rectify the many errors that popped up and what the hell they even meant! However, through the use of the website, as well as the book “Processing: A Programming Handbook for Visual Designers and Artists” by Casey Reas and Ben Fry, I have started to comprehend a little of the various functions and language used for coding.

Although not exactly successful, I attempted with this piece to replicate the spacing of circles, much like Bridget Riley’s Encircling Discs with Black. However, as I continued to struggle with the spacing aspect of the piece, I decided to simply to my own thing and just try different elements and see what happens.

One of the important variables used for this piece was the X & Y, as they were key in me being able to incorporate more than 1 circle in the piece. I also learned that having X = width/2 is essential in the positioning of the circle and although I haven’t quite perfected my skill in doing this I believe I have taken a significant step towards mastering it.


Screen Shot 2016-08-31 at 3.49.10 PM

Loop Practice
Normally it’s meant to move, but could only convert to .jpg file

In conclusion, my first experience with Processing was immensely challenging but also hugely rewarding, as it has provided me with greater knowledge which will be immensely useful in the future

MEDA102 Assessment 1- Sol LeWitt

In order to thoroughly understand conceptual art, it is essential to be familiar with its history. Conceptual art came into being in the early 60’s, as an artistic movement which opposed formalist art, which was advocated heavily by art critic Clement Greenberg. Sol LeWitt, whose Wall Drawing #118 will be analysed further on, initially set the terms in the 1967 issue of Artform where he stated “In conceptual art the idea or concept is the most important aspect of the work” (LeWitt 1967, pg.79). Essentially, conceptual art is not so much focused on what is represented, but rather the system used to design the art. Conceptual art was heavily criticized due to the fact that it was so focused on the concept that the artwork’s individual meaning could not be interpreted. Conceptual art is often perceived as complex, logical and rather cold. For Sol LeWitt, however, he believes that “Conceptual art is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined.” (LeWitt 1967, pg.79). LeWitt believes that because the public were so accustomed to art that would draw an emotional response, that Conceptual art was too different and hence deterred people from appreciating that the art was not the work itself but rather the system used to form it (LeWitt 1967, pg.79).


Considered by many as the figurehead for conceptual art, LeWitt briefly studied art at Syracuse University before being called up for the Korean War in 1951 (Kimmelman, 2007). Once he returned, he soon worked for a year as a graphic designer. It wasn’t until he encountered the early works of Jasper Johns and Frank Stella that he realized that Minimalism was the way for him to pursue his passion. However unlike minimalist artists, LeWitt was not interested in Industrial materials, but rather became fascinated with systems and ideas. This then kick-started his revolutionary body of work, where the idea and system was the art, not the product itself.



LeWitt’s Wall Drawing #118, produced in 1971, was part of his famous “Wall Drawings” series and consists of only 8 short lines, which instruct the exhibitionist on how to present the artwork. The lines are as follows:


“On a wall surface, any


continuous stretch of wall,


using a hard pencil, place


fifty points at random.


The points should be evenly


distributed over the area


of the wall. All of the


points should be connected by straight lines. “



Of course, for LeWitt, the visual aspect of the artwork is insignificant. For LeWitt, it was all about the system.  Translation and transmission is a process that is an essential to all of LeWitt’s work, including Wall Drawing #118. In fact, the process of translation and transmission is fundamentally the piece of art in all his artwork, including the aforementioned one.  For Wall #118, tasks of instructions are presented in an almost poetic form, consisting of 10 lines of 3 or 4 words. According to Russeth, the Wall Drawing originated when Sol Lewitt was supposed to give a lecture at the School of the Museum of Fine Arts in Boston, but instead decided to offer students the chance to become involved in his new piece (Russeth,2012). Much like the rest of his work, Wall Drawing #118 is all about the repetition of geometrical shapes, in this case a series of straight lines connected to each other. One of the interesting things about LeWitt’s work in general, is how interpretations of each individual work differentiate from each other, whilst still maintaining the central concept in the instructions. Differences could be down to several factors, such as different wall sizes and of course personal interpretation of the instructions. For example, when distributing the 50 points at random for Wall Drawing #118, space would play a huge part in how the points are spaced out and also what shapes are created. LeWitt often likened his works to musical scores, as his instructions often lead to different to variations and incarnations. Conceptual art and the work of Sol LeWitt is not about aesthetic value. It’s about the system (instructions) itself functioning as the real artwork.


 Kimmelman, M 2007, ‘Sol LeWitt, Master of Conceptualism, Dies at 78’, New York Times, viewed 7th August 2016,

LeWitt, S 1967, “Paragraphs on conceptual art”. Artforum, vol.5, no.10, pp.79-83.

 Russeth, A 2012, ‘Here Are the Instructions for Sol LeWitt’s 1971 Wall Drawing for the School of the MFA Boston’, The Observer, viewed 10th August 2016,

MEDA102- Human Fax Machine

In our second tutorial for MEDA102, we learnt a bit more about the different forms of codes, such as the QR code. More specifically, however, we learnt more the history of the fax machine, and were required at the end of the class, to fax and receive specific images, without speaking. The challenge was to see whether our group could encode something using only a sound-making device.

The first task of the lesson was to research one of the forms of code provided on the MEDADADA site. Our group chose the QR code (Quick Response Code) which is particularly prevalent in the advertising industry. Additionally, the QR is also commonly used nowadays to scan electronic tickets, particularly for concerts. The QR code was created by DENSO WAVE (a division of DENSO CORPORATION) in 1994, and was originally adopted by the auto industry for use in their electronic Kanban. The conventional one dimensional barcodes used on virtually every consumer product are mechanically scanned. That is, they’re read by physically bouncing a narrow beam of light onto the code, which can be interpreted using the pattern of light reflected off the white gaps between the lines.



The prospect of undertaking the human fax machine task was initially very daunting and also quite amusing, as some of the other groups were all creating their own sound-based codes and also recreating famous tunes through their instruments.

The biggest problem for our group was trying to distinguish different sounds for each shape that needed to be drawn. For example, if we wanted to draw a curved line, we decided to represent through a high-pitched crescendo. However, as we started testing these various codes, it started to become very confusing and as time went by we were starting to run out of time.


When the time came to communicate an image, it was initially quite successful. However, as the images became more detailed, it took much longer for the other group to draw the image. Additionally, hearing the sounds of other human fax machines made it much more difficult for our group to distinguish our sound device from the rest, which then led to difficulties in communicating the image to the other group. This issue was also prevalent when our group attempted to draw the image communicated by the opposite group.


Undertaking this task made me realize how important language, as channel of communication, really is.

MEDA102- Visual Telegraph/mediation and communication

In the first class for MEDA102 last week, we were taught about code and the various forms that have been created over the years such as binary and morse. This then led to an exercise where, in pairs, we were tasked to create a visual code which would then be used to communicate a message to another group. Although my understanding of visual codes is still quite limited, this task was helpful in teaching me the complex process in sending and receiving messages.


In designing our visual code, my partner and I decided that we would use two primary colours (yellow & red) coloured on two sheets of paper to communicate the message given to us by our teacher. We then created different colour and physical combinations to create a clear alphabet. Additionally, we also decided to add a piece of paper with a big, black X to indicate the cancelling of a letter and also a blank piece of paper to indicate a space in the sentence. We then proceeded to our allocated area at the campus, where we would then attempt to communicate and receive messages to and from another group.


What Worked:

  • The use of the colours (red and yellow) were clear and distinct enough as the foundation for the visual code


  • The use of a blank piece of paper to indicate a space in the sentence worked well


What didn’t work:


  • Some of the physical positions used to distinguish different letters were too similar


  • Trying to communicate our message at the twilight time of day was quite problematic


  • The use of yellow and red for the confirmation and repeat code was confusing






The exercise was a terrific way of introducing me to the different forms of code and communication and I hope that I can further my understanding of coding throughout this subject.