Boundaries: Morgan

30 Nov – narrative and framing


what imagine frames are, what frames are doing in fine art frame.

Frederic Lord Leighton – Last watch of Hero 1880

this is art, and worth looking at. its authoritative. distinctive effect.


  1. Architectural;
  2. joining the images together
  3. two windows: we see her looking out, what she is looking out.


Using the architecture frame of Speech bubbles

Charles Schultz – Peanuts 1960 

David carrier

Al Capp – Li’l Abner (detail) 1935 

Chester Brown – Louis Reel 1999-2003

The Last Saturday Chris Ware 2015


Comic strip

We start to read space as time

Windsor McCay — panels stretch upwards

Maurice Sendak illustrations 넣기- using the layout of the page, white spaces to show the narrative.

Maurice Sendak using white spaces in layout (narrative and framework)


George Herriman – Crazy and Ignatz 1916 —– It is not about the story you are telling, but its about how you are telling the story.


Chris Ware – Jimmy Corrigan 2000
While dreaming, the text is not in the speech bubble but dropped on the stairs!

sequences of the event > facets of event

the relation between the framework and narrative

not by an event but facet by facet


The last Saturday – Chris Ware 2015






an example of frame establishing our position in the work.


A Hunt in the Forest, Paolo Uccello, Around 1470

Enter a caption




There is double frame in jan van eyck the arnolfini wedding.

couple getting married / mirror – We would be the people reflected in the mirror. The artist is using the frame to narrate the illusion of the painting.


A Bar at the Folies Bergere, Eduoard Manet

As soon as you try to interpret it, it resists the interpretation from the viewer.



Dieter Roth Poetrie 1 deluxe edition 1966 (Letterpress, leather, embossing, paint, collage, chocolate) – totally prolific


Sausage Cloud 1969 (Sausage and paper between sheets of glass).


Gordon Matta-Clark : Bingo in progress 1974 / Bronx Floors: four way wall 1973



Christo and Jean Claude – Surrounded Islands 1983




in response to speculative imagination, i have set up an experiment with audio reactive visual. The language of seagulls have been used as data that i collected

live sound around the seagulls including their own voice and the sound they here

communication system



building two different side of coins — important two components




What If Humans Had Eagle Vision?


Eagle vision would mean 20/4 resolution, built-in magnifying glasses, and the ability to perceive an inconceivable array of colors.


<On top of sharp focus and a central magnifier, eagles, like all birds, also have superior color vision. They see colors as more vivid than we do, can discriminate between more shades, and can also see ultraviolet light — an ability that evolved to help them detect the UV-reflecting urine trails of small prey. But there’s no way to know what these extra colors, including ultraviolet, look like. “Suppose you wanted to describe the color of a tomato to someone who was born blind. You couldn’t do it. We can’t even guess what they’re subjective sensation of ultraviolet light is,” Hodos said. [Red-Green & Blue-Yellow: The Stunning Colors You Can’t See]>




Source: What If Humans Had Eagle Vision?

Brief: 103 Boundaries

Monday, 14 Nov 2016
Dr James Moore

… It’s a lack of imaginative thinking that concerns us. It’s very difficult to go out on a limb and propose a really new way of thinking about something, or reimagining how we might live, there is so much pressure to conform which is making radical thought very difficult, at least in design.

Being educators, we’re always exploring ways of setting up conditions for free imagining, a place where extreme creative risk-taking is normal.

The biggest enemy is the idea of the ‘real’ being limited to only what is possible now, and the very narrow view of life, and what design can do that goes with it.

 Anthony Dunne & Fiona Raby



This module allows you to take more radical entry points into your understanding of practice; taking project interest into new forms, or creating a critical design response frommore theorised, speculative, fictional or experimental catalysts.

In exploring this approach, debate around ‘designer as author’ becomes central to studying the discourse between maker and reader; how works are used and evolve; how you or your work disrupts or provokes.

Analysis of key theories and ideas form the starting point for this module, giving a strong emphasis to a ‘praxis’ based approach, ‘making in new ways’ and exploring broader arts orientated-methodologies.

The project in this final module of ‘deconstruction’ sees you submit a critical and contextual essay, structurally coupled to the practice based enquiry.



1. Deliberately re-phase process to enhance innovation in practice.


2. Identify new contextual insight and theory to support evolving practice.

3. Facilitate a review of practice methodology through experimental exposure to new media platforms and embrace risk as a fundamental character to design practice.


Within this module you will…

  1. Adopt a critical design perspective and apply broader arts practice methodologies.
  2. Undertake Critical and contextual essay writing, structurally coupled to your practice.
  3. Develop an authorial position and methodology in relation to design process & scenario modelling.
  4. Develop digital and analogue making skills.


Examples of data driven practices

Newsfeed haiku / Oliver williams


third deepest harbour in the world

Week 1. Research
Week 2. Propose
Week 3.


Design outcomes, development work & critical reflection [75%]

All development work, research and final outcomes should be presented on project boards.

Your DRJ for this period should also incorporate a video / concept demonstration of you electronic prototype.

2500 word essay [25%]
Your essay should reflect on the critical theoretical framework you adopted & explain how this inflected upon the design & development of your work.

i would be making a journal, notes by working on the idea all the time