Monday, February 23, 2009


Des sawed off the top bit 0f the starling egg, and tried to buff it up but it is still a bit tacky, we are going to place it in a drier over in ceramics. Mike wants to borrow it tomorrow to show elective students examples of casting techniques. Went to multi media room to do some more work on video but there was a class going on there. Handed in FYP today, was talking to Darragh about the FYP, he gave me some good advice on it.

Name: Richard

FYP Option: Thesis
Choice of Tutor: Tutor with the most knowledge in contemporary issues relating to my proposal. (Kieran Cashell ???)

Description of project

An investigation into how, an artist with an in depth knowledge and understanding of colour theory (i.e. vibration frequency of colour, psychological aspects of colour), used in conjunction with an in depth knowledge and understanding of sound theory (i.e. vibration frequencies, auditory cues etc) can enhance the viewing experience for the spectator, while at the same time maximising the potential to make his work more desirable/collectable, even by the use of unscrupulous/unethical methods.
For example, in my studio practice I plan to create a painting using a combination of sound and colour theories, so that the spectator has to both visually and aurally[1] sense the painting. I will use subliminal auditory cues to both ‘enhance’ the viewing experience for the spectator, and to ‘promote’ the work.

Context of Project

Historically, paintings were made to be seen by the spectator, in other words visually sensed. It could be said that to actually listen to a painting as well is a contemporary construct. It has been scientifically proven that auditory signals (sound waves) impact on the neural receptors of the brain far more effectively than visual signals. Advertisers have used this to great effect, especially in television advertising. (I am aware that there are laws regarding the level of sound in television advertising).As for the use of subliminal cues in advertising, there are laws governing this too. However, as for the use of subliminal auditory cues in paintings, I am unaware of any such laws in connection with this; obviously this is one of the aspects that I shall be researching in this thesis. Current investigations into semiotics will also no doubt be of use in this thesis.
Obviously paint alone has been used as an emotive force for many years, especially by artists like Mark Rothko etc but if there are other aids available like sound manipulation, which would take the viewing experience to another level, I believe it is the artist’s duty to use these aids for the benefit of the spectator.

research Sources

ReseaRegarding research sources, use of the instrumentation from LIT engineering department in Moylish, will be required; I presume this will not be a problem. Familiarisation with procedures relating to subliminal implementation will have to be researched through the library catalogue. Experimentation with sound, colour, video and drawing from my studio practice, will be used as source material. I also plan to test my experiments on a number of people to see if my theory actually works; the results will be source material. A brief overview of colour psychology, semiotics, visual and aural methodologies will have to be researched through books, magazines, web etc.

Work Plan

Research books on my associated themes, e.g. Colour psychology, semiotics, subliminal practices, and sound waves/vibrations etc, to gain knowledge of these topics.
From my studio practice experiments, and work with the equipment from the engineering section, I would expect at this stage to be in a position to write up the details/analysis of these investigations.
At this stage, I would expect to have my case studies completed. I will write an analysis of the findings of these case studies. At this stage also, I expect to be in a position where I would be able to give an overview of all my investigations in the whole project, and finalise my conclusions.
[1] I will have instructions that headphones are to be used when the painting is viewed.

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