DESIGN DEVELOPMENT DOCUMENT

PORTFOLIO DRAFT SUBMISSION 16012013 FIzaa Esmail PT Yr 3- Unit 15

Nic Clear- Simon Withers- Mike Aling

We share the external world but our experience is internal.I am inside.. I am outside.. Cognition to explore spatial organisation, representation of our consciousness through spatial means. When architecture stops being about the physical space, stops being material, a mentally fabricated architecture- is this therapy? There is something at work in my soul which I do not understand- Captin Walton, in Frankenstein

CONTENTS

POJECT 01 : CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM

POJECT 01 : CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM- PROCESS

POJECT 02 : SPACE TIME DLR CHRONOGRAM

POJECT 02 : DLR PROCESS-MAPPING INITIAL OBSERVATION

POJECT 02 : SPACE TIME DLR PROCESS

EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

SPACE TIME FILM CHRONOGRAM

CONTENTS

CONTENTS Cont..

SPACE TIME :PROCESS

SPACE TIME :PROCESS, NEURON ARCHITECTURE

DESIGN DEVELOPMENT MIND/THERAPY SPACE

CHRONOGRAM- NEURAL SCAPE- MENTAL SPACE

EXTERNAL-INTERNAL:ENTERING THE MEAT

EXTERNAL-INTERNAL:ENTERING THE MEAT PROCESS DRAWING-ANIMATION

DISSECTING BRAIN MATTER- DISCONNECTION FROM REALITY

CONTENTS Cont...

CONTENTS Cont..

DISSECTING BRAIN MATTER- DISCONNECTION FROM REALITY- PROCESS DRAWING-ANIMATION

DISSECTING BRAIN MATTER- DISCONNECTION FROM REALITY- PROCESS DRAWING-ANIMATION

NEURON WORLD WORK PACKAGE 01 OVERVIEW

BRAIN MEAT: SPECIFICATION

FIBERS: DETAILING

FIBERS: DETAILING

THESIS PROCESS

NOTEBOOK EVOLUTION- MENTAL SPACE

ANIMATION PROCESS- TRIPTYCH

01 CONTENTS Cont...

ABSTRACT

This Document shows the development of my work throughout the year, It will be used for my own reference and reflection throughout the year. The document incorporates drawings which were produced and revised over the course of the year showing progression of design both thematically & technically. This document should be read in conjunction with the large format drawings, research document & thesis produced as part of the portfolio.

ABSTRACT

PROJECT 01 CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM

PROJECT 01 CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM

PROJECT 01 CHEMICAL BROTHERS PROCESS- CHRONOGRAM 01

PROJECT 01 CHEMICAL BROTHERS PROCESS- CHRONOGRAM 01

PROJECT 02 SPACE TIME DLR CHRONOGRAM

PROJECT 02 SPACE TIME DLR CHRONOGRAM

03 PROJECT 01 CHEMICAL BROTHERS STAR GUITAR CHRONOGRAM

SPACE TIME DLR- MAPPING INITIAL OBSERVATIONS & ANALYSIS

I started with the coordinate- Mapping our locality on the earth, are we aware of our directional movement, speed & time? I am inside & then I am outside, how do we respond to this- an unspoken reaction? If my environment is unfamiliar is this a conscious thought? Is it a conscious awareness of my current surroundings or am I using what is imbedded in my unconscious mind,my nature, is it part of my biology & physical memory? Entering, departing both geographically and physically in person.

SPACE TIME DLR- MAPPING INITIAL OBSERVATIONS & ANALYSIS

PROJECT 02- TIME SPACE ANALYSIS & PROCESS

My first attempt at a film- A work that was in progress, recording the DLR thematically & representationally 'A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of mobile elements. It is in a sense actuated by the ensemble of movements deployed within it.' Michel De Certeau - The practice of everyday life Interested in our awareness of our bodies in space and our awareness of our surroundings/locality & how we experience the world around us both through body & mind. How do we measure the mind body connections? Your feet, why are we aware of them on a train?Stepping on, stepping off, standing still sitting down. Is it because our feet aid in our balance when we move or is it because our feet touch the ground and collide with solid matter? Or is it that we are simply looking down connecting our bodys location with our mind? 51 30 44.64 N, 0 2 22.92 W 5:55.50 PM.......A flood of bodies from all walks of life appear each to their own with their own background, culture, knowledge base & experiences. All beings become aware of their breathing, sense of smell and owns body in space, where is my hand how should I stand...? 60 seconds pass the push & throw......25 second stop....

PROJECT 02- TIME SPACE ANALYSIS & PROCESS

PROJECT 02- TIME SPACE ANALYSIS & PROCESS

The disorientating effect of unpredictable events make me loose my awareness of self. One moment its still silent, the next overwhelming with events, colliding bodies and the space is transformed into a space made by the beings & movement of bodies. Is our experience therefore purely instinctive & primal? Something which our bodies inherit and learn over time, a knowledge base that is biologically stored? Is there therefore no norm of representation, as communication happens instinctively, is our perception measured by what we hold within ourselves rather than the fact of position & orientation? How do we represent our architecture to reach this level of instinctive communication? Can we create an experience that builds our knowledge base connecting the architecture with the user.. like a language? especially since all beings are individuals but are we really? ..... The feeling is the same... how can we be certain??
Tada Rasa- Clean Slate (Audio By Avro Part) Based on a theory that individuals are born with out built in mental content, knowledge comes from our experience. Avro part quotes 'it is like that magic experience when you speak to someone in a language they don't speak but they understand all you say... Communication happens on another level, somehow we all are one... Although musically from different worlds the feeling is the same, the desire is the same it is as if we are on different trains but going to the same destination.'

PROJECT 02- TIME SPACE ANALYSIS & PROCESS

I am inside, I am outside

Process; After thinking of what I wanted to do i went back on the DLR retaking footage and interviewing people on the train recording their thoughts namely asking what are you thinking rite now.. trying to think about what was going through their minds trying to understand what they were aware of in that moment From my interviewing I found that people who I saw to be of english origin had comments such as Im not thinking of anything Im reading my twitter What hospital have I got to get to My dog iv left him at home I dont have a phone Im thinking of where I am going.. shopping canary wharf Followed by a questioning of what I was doing followed by their ideas of architecture in London.. a very practical level Others from elsewhere on the train were saying I dont speak English very well Im hungry Im thinking of going away.. going to Barcelona Should I move my bag if someone comes? A larger sample would obviously need to be taken to make such assumptions but could this show connections between our society and our knowledge base, background and experience

are lead to believe. It is factual biological seemingly connecting to the global facts of location, time, actuality.

The culture and society in which we live inevitably influences the way in which we experience things, our

brains build connections by what we see what we learn and what we lead ourselves to believe or what we

EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

I remade a film which looks at the inside and the outside, voiceover of peoples thoughts and consciousness jumping from one to the other together with my own over in places taking the camera inside the human brain how its working at a particular time the connections it may be making, with the coordinates factual, zooming into the body and going back out again We share the external space but have an internal experience How do we think we perceive space? How do we create our cognitive map of our surroundings and environment? Is this connected to our social staus, gender, age, race, culture & background, knowlage base and educational background were we come from? what of the biological human process that occurs within the brain? Is it therefore different for everyone or is there a control of the same? Am interested in the idea of our perception being biological & instinctive something we learn and develop instinctively over time ,through practice knowledge base and experience. Our awareness of self & being able to be self aware based on what we tell ourselves how we train ourselves so we have connections inbuilt within us. Being in an external reality, the factual but internally experiencing the moment. Have been looking at how the brain works, the connections it forms when it becomes better at it - Like how you learn to walk , you fall down first time but biologically you train your brain to learn it then becomes an unconscious action you do it instinctively The brain - consciousness where does it come from??

EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK 05 EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

I am inside, I am outside The culture and society in which we live inevitably influences the way in which we experience things, our brains build connections by what we see what we learn and what we lead ourselves to believe or what we are lead to believe. It is factual biological seemingly connecting to the global facts of location, time, actuality.

EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK 05 EARLY THESIS IDEAS & PURPOSE OF DESIGN WORK

SPACE TIME CHRONOGRAM 01

SPACE TIME CHRONOGRAM 01

SPACE TIME CHRONOGRAM 02

SPACE TIME CHRONOGRAM 02

SPACE TIME CHRONOGRAM 03

SPACE TIME CHRONOGRAM 03

SPACE TIME PROCESS THE HUMAN BRAIN

LOKING INSIDE THE HUMAN BRAIN how do our brains work? how to we map our locality in space how is information stored and used, how do we communicate this information. I drew a neuron understanding that communication is done through chemical impulses. To incorporate these ideas into the film I wanted to put the 2d into a 3dimensional space going inside the mind of the human seeing the connections formed, I did this by testing the teqniques in after effects also showing the light as transfer between information the chemical impulses within our brains. I overlay the mapping as it is in the brain where this information is translated and action is then formed.

SPACE TIME PROCESS THE HUMAN BRAIN

SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

LOKING INSIDE THE HUMAN BRAIN CLOSER How we communicate information and what we do with the information we have. How do we think we perceive space. These concepts taken literally to form an architectural world formed through the eyes & maps of different people what we think we see.

SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

SPACE CHRONOGRAM- NEURAL SCAPETO TIME FILM -PROCESS RELATIVE 01 THEMES- THE NEURON ARCHITECTURE

LOKING INSIDE THE HUMAN BRAIN CLOSER How we communicate information and what we do with the information we have. How do we think we perceive space. These concepts taken literally to form an architectural world formed through the eyes & maps of different people what we think we see.

SPACECHRONOGRAM- NEURAL SCAPETO TIME FILM -PROCESS RELATIVE 01 THEMES- THE NEURON ARCHITECTURE

SPACE CHRONOGRAM- NEURAL SCAPETO TIME FILM -PROCESS RELATIVE 02 THEMES- THE NEURON ARCHITECTURE

LOKING INSIDE THE HUMAN BRAIN CLOSER How we communicate information and what we do with the information we have. How do we think we perceive space. These concepts taken literally to form an architectural world formed through the eyes & maps of different people what we think we see.

SPACECHRONOGRAM- NEURAL SCAPETO TIME FILM -PROCESS RELATIVE 02 THEMES- THE NEURON ARCHITECTURE

DESIGN DEVELOPMENT MIND THERAPY SPACE

Struggling to understand yourself or place yourself? do you know what you want your world to be? what do you know your world to be? Why fear why worry why have emotion.... ? What makes you you?? what is your reality? Does it even matter?? This is my therapy space.... offload into a new architecture.... a mentally formed space.....disconnect yourself from the everyday.... but can you really?

DESIGN DEVELOPMENT MIND THERAPY SPACE

NEURON WORLD- INITIAL HAND DRAWING COMPOSITION & LAYERING

THE WORLD WAS CREATED BY INITIALLY HAND DRAWING AND COMPOSING IT, I WAS TRYING TO SPATIALISE THE FORMS, SOMEHOW CREATE A 3 DIMENSIONAL LANDSCAPE. IN ORDER TO GIVE THE DRAWING A VAST AMOUNT OF DEPTH LAYERING WAS USED WHERE EVERY COMPONENT IN FROMT OF THE NEXT IS A SEPARATE LAYER IN PHOTOSHOP. The hand drawing gave me the freedom to think with out the constrains of the computer, however it lacked crispness of line and I was constantly struggling with quality.

NEURON WORLD- INITIAL HAND DRAWING COMPOSITION & LAYERING

NEURON WORLD- PROCESS TRACE & LAYERS

NEURON WORLD- PROCESS TRACE & LAYERS

NEURON WORLD- TEXTURE, LAYER & EMBOSS

NEURON WORLD- TEXTURE, LAYER & EMBOSS

NEURON WORLD 3D LAYERING IN AFTER EFFECTS

To create the 3 dimension depth in after effects i further imported the layers from photoshop after texturing and tracing and made them into 3d layers, i then used depth of eld and moved the camera through the space making it seem like a 3d world, 3d layers consisted of both tracings and texturing, followed by background meat.

NEURON WORLD 3D LAYERING IN AFTER EFFECTS

NEURON WORLD CREATING LIGHT SOURCE & PATH USING NULL OBJECT

I needed a light source which would serve as information processing, this light source needed to lightly glow- created in after effects and applied with colour curves, using opacity and paths linked to null objects to give it the path which it moved in after effects, key frames to change the size & glow effect. I then created additional light sources in after effects to create further depth of elds and ambience to the animation- zooming in and out of the overall world moving through the space- I struggled with camera movement but tried to make it subtlesound would be used later to amplify the feel of the neuron world.

NEURON WORLD CREATING LIGHT SOURCE & PATH USING NULL OBJECT

EXTERNAL- INTERNAL:ENTERING THE MEAT

Have you ever found yourself watching people? Ever wondered why you think about something when you are in a certain place? What makes us think, decide, worry, feel or just stare into space? What is your reality? where do you place yourself? The everyday-the robotics of our external shared environment, but our self is internal within our bodies how you feel comes from within yourself, however does it not originate from external experience, knowledge gathering, background, identity... what we think to be true... what we think we know (the everyday), how do you construct your reality? "Men can see nothing around them that is not their own image; everything speaks to them of themselves Their very landscape is alive' Karl Marx

EXTERNAL-INTERNAL:ENTERING THE MEAT

EXTERNAL-INTERNAL: PROCESS - INITIAL HAND DRAWINGS

EXTERNAL- INTERNAL: PROCESS - INITIAL HAND DRAWINGS

EXTERNAL-INTERNAL:ENTERING THE MEAT- PROCESS

07 SPACE TIME FILM -PROCESS RELATIVE EXTERNAL-INTERNAL:ENTERING THE TO THEMES- THE NEURON ARCHITECTURE MEAT-PROCESS

EXTERNAL- INTERNAL: PROCESS - INITIAL HAND DRAWINGS

EXTERNAL- INTERNAL: PROCESS - INITIAL HAND DRAWINGS

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY

It was like I was in an elevator & the cables were cut- David Lnch

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS & NOTES

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: 07 SPACE TIME FILM -PROCESS RELATIVE PROCESS & NOTES TO THEMES- THE NEURON ARCHITECTURE

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- TRACE TEXTURE & EMBOSS

Further texturing and embossing in photoshop, using colour in the texture to create depth and light sheen, working on clarity & quality, higher resolution to attain the crispness of the image.

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- TRACE TEXTURE & EMBOSS

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- LAYERING/LIGHTING TESTS

3d layering testing in after effects, all components imported into after effects as photoshop layers and put into 3d pace- experimenting with masks and key frames to produce the growing & evolution.

Test light source in after effects, I wanted something that would icker and glow coming from behind, giving a sort of uid feel, this proved to be too complex but a good light source, the forms within it were unnecessary

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- LAYERING/LIGHTING TESTS

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- LAYERING/LIGHTING

I wanted the light source to be internal coming internally from the world, I tried to use the light I had created which flickered within my composition to amplify the depth but it seemed too complex in how i had created it, I went on to mask the light to get rid of over complicated forms detracting from the space but I used the light as an internal light source reflecting off other objects. a particle only exists in relationship to other particles- we only therefore exist in relationship to one another

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: PROCESS- LAYERING/LIGHTING

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: TRAPCODE FORM-LIQUID EVOLUTION

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: TRAPCODE FORM-LIQUID EVOLUTION

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: ANIMATION PROCESS- EVOLUTION

evolution's proclamation, and so it was that all creatures, from honeybees to humans, came to see the world not as it is, but as was most useful. This uncomfortable place--where what an organism's brain sees diverges from what is actually out there Beau Lotto

DISSECTING BRAIN MATTER: DISCONNECTION FROM REALITY: ANIMATION PROCESS- EVOLUTION

07 SPACE TIME FILM -PROCESS RELATIVE DISSECTINGTO THEMES- THEDISCONNECTION FROM BRAIN MATTER: NEURON ARCHITECTURE REALITY: ANIMATION PROCESS- EVOLUTION

Recent Brain imaging studies have shown the processing of realistic objects takes place in different parts of the brain than the processing of abstract objects Processing and the interpretation of the image are two different concepts, much research has been done in the mechanisms, locations and stimuli but little on interpretation and the neurological evolutions of our brains. Is interpretation down to evolution of what we know and are we designed to not know everything, designed to evolve counter towards understanding our interpretation, free will & that something else?

DISSECTING BRAIN MATTER: DISCONNECTION FROM 07 SPACE TIME FILM -PROCESS RELATIVE REALITY: ANIMATION PROCESS- EVOLUTION TO THEMES- THE NEURON ARCHITECTURE

NEURON WORLD WORK PACKAGE 01 OVERVIEW- MATERIALS & WORKMANSHIP

When I placed my head on the pillow I did not sleep, nor could I be said to think, my imagination, unbidden, possessed and guided me, gifting the successive images that arose in my mind with a vividness far beyond the unusual bounds of reverie. .I saw- with shut eyes, but acute mental vision- I saw (Shelly)

NEURON WORLD WORK PACKAGE 01 OVERVIEW- MATERIALS & WORKMANSHIP

BRAIN MEAT- SPECIFICATION-SLIDING DOOR

07 SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

fantasy is always opposed to reality.. reality is conceived as that which is external to our inner liveswe simultaneously inhabit two distinct and separate worlds. One is mental, private, internal. The other is physical, public, external (Burgin)

BRAIN MEAT- SPECIFICATION-SLIDING DOOR

07 SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

BRAIN MEAT- DETAILING- HEAD DETAIL

What liberates is the knowledge of who we were,what we become;where we were where into we have been thrown;where to we speed, wherefrom we redeemed; what birth is, and what rebirth. ( Shelly)

BRAIN MEAT- DETAILING- HEAD DETAIL

BRAIN MEAT- SPECIFICATION- JAMB DETAIL

07 SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

our enquiry has lead us to the heart of beingthe concrete can only be the synthetic totality of which consciousness, like phenomenon only constitutes moments. The concrete is man within the world in that specific union of man.(Satre)

BRAIN MEAT- SPECIFICATION- JAMB DETAIL

07 SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

FIBERS - DETAILING- THRESHOLD

The judgments we make the choices we make what gives you free will to see what you want? If the brain sees what is useful to it as learned from experience then what you see is a fabrication of your baggage unconsciously. Is it just meat or is there something else much more beautiful to it allbrain meat or something else? Stepping through over the level threshold and making that choice through an act of free will.

FIBERS- DETAILING- THRESHOLD

FIBERS - DETAILING- CILL

07 SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

I pose a question, this question I can consider objectively as it matters little weather the questioner is myself or the reader who reads my work and is questioning alongside me.. this being which we question we question about something. (Satre) Does my educational background influence the way I see the world, my experiences that has resulted in a continuous questioning of what it is we know. The discipline of architecture, so vast and diverse constantly producing and working towards a goal, a goal where there will never be enough knowledgewe will never know enough. Never reach the knowing ness. My dilemma could be based on my immigration, where I come from, where I have been in conjunction to what I think I know of 3dimensional space. Am I just displaced waiting for a break through set free of confusion from my education & background trying to understand too much of consciousness and know..know..know.. why do we pose the question..

FIBERS- DETAILING- CILL

07 SPACE TIME FILM -PROCESS RELATIVE TO THEMES- THE NEURON ARCHITECTURE

FIBERS - DETAILING- SEALANT

FIBERS- DETAILING- SEALANT

FIBERS - DETAILING- DRIP

FIBERS- DETAILING- DRIP

THESIS DEVELOPMENT

THESIS DEVELOPMENT

THESIS DEVELOPMENT

THESIS DEVELOPMENT

THESIS DEVELOPMENT

THESIS DEVELOPMENT

THESIS DEVELOPMENT

THESIS DEVELOPMENT

NOTEBOOK EVOLUTION- MIND SPACE

NOTEBOOK EVOLUTION- MIND SPACE

INTERIM PORTFOLIO ANIMATION PROCESS TRIPTYCH

INTERIM PORTFOLIO ANIMATION PROCESS TRIPTYCH

NEXT STEPS- MOVING FORWARD

Brain tissue as a time machine- how do we evolve our neurons? Can we immerse the body into this space- how do the forms respond to the body & movement? How will I bring this world to life within the city and integrate it onto thesis research? These are all questions which will form the next stage of the project, both through animation , research and drawing.

NEXT STEPS- MOVING FORWARD

BIBLIOGRAPHY
Journal Articles & Books Bennett, J. (1948) The Study of Cultures: A Survey of Technique and Methodology in Field Work American Sociological Review, 13(6), 672-689 Burgin, Victor. (1996) Indifferent Spaces , Place & memory in visual culture. London: University of California Press, Ltd Burch Noel . (1990) Life to those Shadows . Oxford: The Alden Press Burgess, E. (1945) 'Sociological Research Methods.'American Journal of Sociology, 50 (6), 474-482. Certeau,M.d (1988) Practice of everyday life, University of California, Crittenden, K & Hill, R (1971) Coding Reliability and Validity of Interview Data American Sociological Review, 36 (6) 1073-1080 Evans,R. (1996). Translation from Drawing to Building and Other Essays, AA Publications, Heidegger, Martin. Being and Time (German: Sein und Zeit, 1927) Jameson, F (1991) Postmodernism or, The Cultural Logic of Late Capitalism Jameson, Frederick . (1981) The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, N.Y.: Cornell University Press. Jameson Frederik. The Ideologies of Theory. Koolhaus,Rem. Metabolism Talks Project Japan: Metabolism Talks MacCabe, C (1995). Preface. In: F. Jameson: The Geopolitical Aesthetic. Cinema and Space in the World System. London, xivf McDonald, G (2000) Cross-Cultural Methodological Issues in Ethical Research Journal of business ethics, 27(1/2) 89-104 Melvin, B (1927) Methods of social research American Journal of sociology. 33(2), 194-210 Merton, R & Kendall, P (1946) The focused interview.American Journal of Sociology, 51 (6) 541-557 Oommen,T.K (1969) Data Collection Techniques: The Case of Sociology and Social Anthropology Economic and Political weekly, 4 (19), 809,811,813-815 Phenomenology of Perception: an introduction, Maurice Merleau-Ponty, Routledge Classics, 2009. Presser, S & Schaeffer,N.C (2003) The science of asking questions. Anuall review of sociology, 29, 65-88 Sanchez, E (1992) Effects of questionnaire design on the quality of survey data. The public opinion quarterly. (56)2, 206-217 Sartre, Jean-Paul; translated by Hazel E. Barnes [1958] (2003). Being and Nothingness. London: Routledge. pp. 649656. ISBN 0-415-27848-1. Shelly, M. (1818) Frankenstein. London: Penguin Books. Williams, J.A (1964) InterviewerRespondent Interaction: A Study of Bias in the Information Interview. Sociometry, 27(3), 338-352 http://lacan.com/zizek-matrix.htm Films/Lectures/Artists/ researchers works Wearing, G. (03, 10 97). Gillian Wearing. (B. Judd, Interviewer) postmedia.net. Dennet, D. (1991, 10 10). Review of McGinn, The Problem of Consciousness. Retrieved 01 03, 2013 from The Brain and its Boundaries: http://ase.tufts.edu/cogstud/papers/ mcginn.htm Guardian. (2012 27-03). Come on, you can tell me anything. Lotto, B. (Writer), & Global, T. (Director). (2009). Optical Illusion- How we see [Motion Picture]. Malins, C. G. (2004). Visualising Research. Aldershot, England: Ashgate Publishing Ltd. Martin, J. The Destruction of Sodom and Gomorrah. The Guardian. Tyne & Wear Archives & Museums, London. McGin, C. (2012, 27 05). Consciousness and Space. (R. University, Editor) Retrieved 01 09, 2013 from Consciousness and Space: http:// www.nyu.edu/gsas/dept/philo/courses/ consciousness97/papers/ ConsciousnessSpace.html McGinn, C. (1991). The Problem of Consciousness. Oxford: Blackwell. Philippe Rahm _ Conference at the Bartlett Beaulotto- The optical illusion what we think we see Gillian Wearing- Learning about people Colin McGinn- Philosipher John Marytn Synthetic cubism Outsider architecture Frances Crarey Francis Bacon, Triptych - August 1972, 1972 David Lynch, Consciousness Creativity & The Brain Mona Hatoum (b. 1952)

BIBLIOGRAPHY