The Final Outcome

This project, with its unconnected strands of individualism and creativity, has been connected together to take the form of a dice. The 'Dice' not only acts as a facilitator for our purposeful play: the viewer is invited into a game of chance,whereupon throwing the object they find drawings through the peepholes, which were of a once unconnected past. Furthermore, the 'Dice' becomes a museum. Our works of art, once visual threads of thought, are bound together as six faces contained within an indestructable whole.

An insight into our social activity

 As well as 'blogging', social networking became a key aspect in the development of our project. Allowing fast, long-distant, intertwined group messaging which enabled us to schedule meetings, inpromptu-rehersals and ultimately, it fed directly into the 'usefulness' of this project.

Ideas and practicalities of the 'Performative Presentation'

Edited version of our first film. Connecting the unconnected.

Film focusing on body language, gestures, voices and the film in full.

Weaving hangings

Weaving text from video and mark making drawings to connect the unconnected

UN COUP DE DÉS JAMAIS N'ABOLIRA LE HASARD - MUSIQUE, Michalis Pichler, 2009

http://www.youtube.com/watch?v=JkG_qAk7zxQ

'All thoughts emit a throw of the dice'. Mallarmé

A Throw of a Dice

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Page from Un Coup de Dés jamais n'abolira le Hasard (1897) by Stéphane Mallarmé
Edition of l’Imprimerie Nationale from 1990

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Stéphane Mallarmé worked on his long poem Un coup de dés (A Throw of the Dice), which consists of ten printed pages, for thirty years. The first printed version that approximately conformed to his wishes was begun in 1897, shortly before his death, and thus can be considered definitive only in a limited sense. The status and esthetic intention of the work go far beyond classic pattern poetry: the main phrase—Jamais un coup de dés n’abolira le hasard (A throw of the dice will never abolish chance)—is strewn across the entire text in the largest typeface. The spaces in between have subordinate clauses using nine other typefaces and types of highlighting. The intention was to enable a reading on several levels, similar to that of a score. Large blanks spaces and entirely blank pages allow the reader to experience his or her own shipwreck (naufrage). Particularly easy to understand in French, the phonetic equivalence of, for example, maître (master) and mètre (meter) or coup de dés (throw of the dice) and coup d’idées (spontaneous insight) permit many associations. The parallels to Claude Debussy’s esthetic of surfaces are obvious: the principle of the construction of La mer (The Sea; 1905) is not goal-oriented progression but rather the simultaneity or sequence of many small, brief movements. Mallarmé’s work has inspired many, mostly unsatisfying attempts at translation, film versions, and musical settings. In 1998, it was projected onto the four walls of a room at the Musée d’Orsayin Paris and could thus be experienced spatially like a constellation of stars.

This is a piece of documentation demonstrating how we came about the cube idea. We combined all six of our markmaking pieces to create a cube. Pinholes allow viewers to look inside to see the drawings. The idea came about as we wanted something which from the outside looked like a unified and complete object but on the inside demonstrated our individuality and something that was fun and interactional, encompassing our ideas of 'purposeful play'. 

 More Purposeful play.

Notes made from video on ideas of individuals and how they connect as a collective

Documenting the weaving process used to connect the unconnected