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2008-09-05 17:03:36
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<img600*0:stuff/FinalAsse.jpg>

The Flash works based on this drawing:

<URL:stuff/558_swfButtons.swf>  <URL:stuff/558_swfSound.swf>


The Mechanism of My Relationships. Pencil on paper and Macromedia Flash, 2006

This is my favourite drawing I've done. It started as an attempt to cure artist's block: I had an A2 piece of paper, but it felt too big, so I folded it. Then I folded it again, and again and again until it was the size of a business card. Then I unfolded it and was facing an 8-by-8 grid of rectangles, a total of 64 surfaces to draw on. I then decided to dedicate one rectange to every person I know (at the time I actually struggled to come up with 64) and draw a representation of them as a machine. Kind of like that game that children sometimes play with animals and flowers and what have you, the "if you were <something>, what would you be" -game. And I was thinking about the names of the machines I saw in the books I used for reference, and how some of the names don't mean anything else: to name things is an essentially human practice, so somewhere had to be a human, an inventor, who named this object that does one simple task in a bigger machine designed to do something else, and if this one piece breaks down, the whole machine will be compromised. And that is very much the same with human relations: I drew myself in the middle of that mechanism - if I disappear, the machine of relations will be very different, some of its parts will not connect in anyway, some the relations will change drastically, some won't be as much affected but still would not be the same. And the same goes to all people: without you the world would be very different, at least to someone. That is a frightening thought.


The two Flash-pieces based on this drawing are the first two I did in my second year of my Bachelor's course, and are almost textbook excercises on the two most fascinating elements of Flash: controlled randomness and interactivity. They continue the exploration of human relationships and the ambiguity of the mechanical languages (verbal and visual) that the drawing itself kicked off.

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