peter108 wrote:

So they may not need that image store unless of course you have already been modelled and happen to know that for sure?? What I'm getting at is be open to the fact that you might have been given a very profound and useful set of modelling tools, but that does not constitute the full picture of possibility, or does it? If you seriously close that door of possibility then yes the deal has been made. Remember you are considering what someone would need to know but that's from what you know already, what about what you do not know?

Something in there, and particularly the notion of 'what about what you do not know?' gave me pause for thought. I know Peter is writing about modelling there, but it took me back to Carol's description of her inner reference system.

When coming up with concepts, the specific reference images that Carol pulls up are not (are they Carol? I don't want to speak for you here: please comment!) simply translated into the finished image: they are the inspiration for it. There is still room for the unknown, in execution and completion, but the system of references provides a vocabulary for the creation of novelty.

What this points to, perhaps, is the notion that for 'the unknown' to express itself, it must necessarily use the trappings of the known. That's certainly the way it feels for me in devising a screenplay -- I have some sense of where I want to head, and will progress there by making choices that refine the number of later choices that are then possible down to a few, if the goal is to create a consistent and emotionally engaging narrative and not a video installation.

This makes sense when we consider that 'the unknown' is not an alien other, but merely a choice we haven't made before, a door unopened until now, a strategy untried.

Hi Adrian

I agree with your concept that "the unknown' is not an alien other, but merely a choice we haven't made before, a door unopened until now, a strategy untried" and yes you understand me.

We were working on modelling on the Master Practitioner when I learnt this about 'what I am doing that I didn't know I was doing. And yes you are right I discovered that I made and use this giant internal reference library when I am creating (the partner that worked with me was fantastic and he filled a notebook of my process and gave up his turn [we got together and swapped roles later in the evening]).

And yes there is absolute room for invention as I flick and sort through the thousands and thousands of images at high speed. We found I was looking at sameness, difference and making connections between the diverse images. I then whittled the selection down and down until I made my final selection. Your choice of the word refine to describe your process of devising a screenplay is perfect.

What has happened because of doing this process is I am now aware that I do this and I love that new awareness. Through this I know that if somebody wanted to look at Jenny Saville's work and see what I 'see' my internal library would be needed.

Jenny Saville - Torso 2 - Contemporary Art

I know this because when I googled Jenny Saville's latest works and looked at them I 'felt' myself flicking through my internal reference library and my 'creative strategy' kick in even though in this case I am 'looking' rather than 'creating'. Faster than light I was comparing her new work to Bacon, Rembrandt and others and flipping back to internally held images of her previous work and the works that I thought of when I looked at those paintings back in the early 1990s. I was also aware of images of what her palette and paint type and selection looks like and again made internal references to how her painting technique has altered and what that might mean for her choice of brush and even how she stands, I also could 'smell' and 'taste' her paint, additives and cleaners. For example these paintings came to mind and I was thrilled when I found them easily on the web - just look at that composition in the Bacon - note the top left hand, and the head form below left center in the Saville and then look at the Rembrandt - the one in my head is more similar as the carcass is more front facing but I could not find it. Isn't it amazing what we can hold in our heads.

Google Image Result for http://www.artinthepicture.com/artists/Francis_Bacon/meat.jpeg



Google Image Result for http://www.artinthepicture.com/artists/Rembrandt/ox.jpeg

Hi Adrian

I was wondering if the 'Impish' state you describe on another thread is similar to my 'know nothing' state. It is Impish and also like the fool on his adventure.

http://tarotbyarwen.com/blog/wp-cont...diant_fool.jpg

Hmm...my impish state isn't like my experience of no-nothing (on a Grinder Pattern Detection course), but maybe it is akin to yours. Will have to test that one day...

Hi Adrian

Kewl lets do that.