Complex Structure and Organisation & Visual Language and Vocabulary.
pp. 60-61
This double opening really follows on from pp. 56/57 which explores the paradox of Constancy and Change.
The large blue circle at the top sets the scene. The circle is divided in half by the fold in the paper, which reflects the circle’s two different aspects : its symbolic/structural aspect on the left, and its visual aspect on the right. These two aspects are examined in more detail further down the pages.
Just below the large central circle, the overall theme is established, the paradox of constancy in change: the unchanging and the changing. The two themes are developed just underneath this heading: the symbolic and structural aspect on the left, the visual aspect on the right. The circle on the left begets the double circle. The two circles are the same but different: they are the same shape but now there are two them. And a line drawn through, connecting their centres unites and divides. It is a paradox.
On the right, there are two green squares (the same green), but the green appears to be different when placed in conjunction with the different colours of red and grey. The paradox of the changing and the changing appearing in the same image could be called the ‘Janus’ effect, after the Roman God that faced both ways. Its importance lies in the fact that here the apparent opposites of the Unchanging and Changing are held together, so that both essence and flexibility can be held simultaneously: the word or image can have its own essence at the same time as having the ability to negotiate with all the other elements on the page. This is clearly of extreme importance.
These two groups of drawings are explored in the dialogue further down the pages, starting with the long horizontal bar across.. On the left are the symbolic descriptions of the structural principles at work in the universe: fractals, Einstein’s equation of matter/energy: e = mc squared, the musical octave, The Golden curve, the wave/particle duality, reciprocity of a rectangle, the Yin/Yang symbol).
On the right - the visual page - are shown three different shapes: a small red dot, a grey line and an outlined brown square. Here three images are the same in all the little pictures - they are constant elements; yet the different ways they behave together, the different relationships and force-fields involved in each provides an extremely varied experience for the viewer.
Most of the elements here in this section are descriptions to do with what things are and how things behave.
This leads on to the larger section below it which attends to the language whereby the principles listed above are realised: hierarchical organisation of complex structures, fixed laws and flexible strategies on the left, and the element of the visual language on the right.
Hierarchial Organisation of Material: The Whole and the Part
p.60
When embarking on a complex calligraphic work, it is helpful (perhaps essential) to have an intention in mind, however hazy it might be at first. This purpose determines the shape of the overall concept and guides the cohesion of the all the smaller elements, which then can be directed to their appropriate places. It may take some time to sort out the different levels of importance, and how things relate to each other - but this is all part of the making process. If no purposeful intention is present, the smaller items tend to look tacked on, or emphasised for decorative purposes, and the integrity of the whole is lost.
The Whole and the Part.
A part can belong to a greater whole, and itself be the whole of a smaller part. For instance, an army captain can be a servant to his general, and at the same time in charge of his foot soldiers. So in the organising process, hierarchical decisions need to be made.
p.61
The Visual Vocabluary
Across the page on the right hand page of the double opening, the content addresses the visual aspect in the laying out of the elements of the Visual Vocabulary, for instance: Form, Shape, Colour, Scale, Texture etc. They are the ingredients used to make any form of visual art. Each discipline will have its own vocabulary.
PATTERNS OF DESIGN: THE PATHWAYS TO FOLLOW SIMILAR ROUTES
Sometime during the making of this book, I began to wonder if the process of making something - an object, a musical composition, a game - might follow quite similar pathways. It seemed as though there could be a vertical similarity between processes as well as horizontal pathways towards completion.The making process usually begins with an idea, and an idea has to be embodied in order for it to exist.The chart below suggests this process, tracing a route through from imagination to reality using the chosen instruments, their functions and possibilities in their particular arena and rules of the game.
THE MAKING PROCESS USUALLY BEGINS WITH AN INTENTION,WHICH IS CARRIED OUT IN THE FOLLOWING MANNER
This chart aims to trace a route from extreme simplicity to unlimited possibility. For instance, in a game of chess, played with very few pieces together with a knowledge of how they can behave, and within the boundaries of the game plan, the game can be played out in an infinite number of ways. There are many other ‘games’ besides chess, painting and music: a game of tennis, baking a cake..
THE MAKING PROCESS USUALLY BEGINS WITH AN INTENTION,WHICH IS CARRIED OUT IN THE FOLLOWING MANNER
SIMPLICITY TO COMPLEXITY : FIXED RULES AND FLEXIBLE STRATEGIES:COMPLEX SYSTEMS ARISE FROM SIMPLE SYSTEMS.
For instance, in the game of Chess: every chess piece has an identity and a defined way of operating. Within a prescribed area with fixed rules, the potential of each piece can be explored, and woven together with similar pieces to create strategies towards an endgame. Similarly, a musical composer assesses the the range of instruments and their possible scope of playable sounds at his/her disposal, and creates a musical work, whether it is a nursery rhyme, a sonata, a choral mass. In baking a cake there is a selected choice of ingredients, each with its own taste, texture and identity, which mixed and heated together creates a cake. There is an important extra element in this theme and that is the identity of the player, as it is their interpretation that lies between the work and the receiver. The player appraises what things are: the substance and architecture, and approaches the question of How should this be portrayed. Their personal understanding and skill draws us in, so that we can appreciate the work more fully: the surprise of a different interpretation, the daring move of a chess player, the sensitive touch of a pianist: the different ways of how that particular phrase could be shaped. Their skills sharpen our understanding. In the infinite variety of interpretation we notice more and that adds to the depth of our appreciation and enjoyment .In Bridget Riley’s book ‘The Eye’s Mind’ she points out the value of looking at the paintings by earlier masters, and the importance of looking at the best as these artists have made the greatest effort to over come confusion and to achieve clarity; and this is what is so valuable to others. Though Riley is talking about paintings, what she says can refer to any creative endeavour. Nature of course is the supreme player of the game, and its effect are to be seen everywhere in the infinite variety of processes and forms in the universe.