Drafts

I started experimenting with the idea of an animation, using as a material source Muybridge's stills.
The idea is one of a creature moving while going through several metamorphoses.
As i started i was more concerned about the overall movement, i wanted the movement to have a sense of flow, to be organic in a way, even if it does not constitute of too many frames. I sense that the metamorphoses should be as slow as possible, and should be driven by analogies (similarities) in the appearance of two figures.
In a while, i got also concerned in finding a way to combine the aesthetics of these old photographs with other elements more colorful which would give me more freedom in creating shapes and creatures. I also tried to use some photoshop's drawing tools but i am not so satisfied with the result. Maybe photoshop's collaging combined with hand drawing would be a better thought.

I consider the following collages just quick drafts.

I believe that the most important thing among all is the movement that this creature would have, something that someone is not easy to understand just from one frame.

Experiments' documentation

I tried some projections through different kind of mirrors, lens and prisms. I used a bathroom round mirror, a cheap convex security mirror, an old lens from an antique camera obscura, and a right angle prism.

When figures are projected through the prism and lens, the projections are multiplied; someone can see thrown on the wall both the actual projection and its reflection. The figure appears shattered in space.

The reflection seems to be slightly distorted in colors and shape while some strange circular beams of light appear  on the wall.

I realized that an easy way to project on the ceiling would be to use the convex mirror. The resolution of the reflection though is quite poor, something that probably has to do with the quality of the mirror used, as well as with the quality of the projector. I also expected that the figures would be slightly distorted to fit in a round shape. I was quite disappointed as something like that was not so obvious. The image was also reversed. The right side appear to be the left side of the reflection.

In the following image the upper reflection on the ceiling seemed to be melting, while the heads of the figures where reversed. I was trying to find an angle of reflection where their heads would be joined together.

I tried to project on the curves of the curtains.

I also tried to project on 'in between' spaces like the corridor, and under the beam of the door.

 

In the end what i really enjoyed was the figure which appears as a wallpaper on the screen of my laptop, projected on different textures and materials, on a wooden closet and some clothes which were there by accident. As i was moving the projector, the figure was animated, jumping through different materials , hiding in the dark and traversing the space of the corridor.

The Wonder of Mirror

Richard Gregory in his book 'Mirrors in mind'(ch. Histories and Mysteries) writes that 'the wonder of mirrors is reflected in their name, 'mirror' being closely related to 'miracle' in Latin: miratorium means 'mirror' and miraculum means 'object of wonder', exceeding the known powers of nature.'

The wonder of mirror derives from the fact that it is 'like a window, except that it presents a fully three dimensional visual world in a wrong place' (Richard G.,p.26). Mirror subtracts images from the environment and dislocates them; mirror images seem to be real objects' terrifying double, with a life of their own as their perspective change with movements of the viewer. Melchior- Bonnet Sabrine in her book 'Mirror' writes: '...The reflection creates the sensation of an ethereal world looming beyond the mirror' while she continues describing reflections as 'an invisible "elsewhere"in the heart of the visible'.(p.101)


It came into my hands a children's book, full of experiments with mirrors and lenses. In the picture, the children are trying to figure out where the image of the soldier is in space. I found it really amusing; it demonstrates how mirrors invite us into a play of appearances.

The brief history of how mirrors were used in the past is also very interesting: 'In Egypt...mirrors were sacred, and were buried with the dead...As the face is seen through the mirror, it was believed that a mirror placed under the head of the dead person in the tomb allowed the soul- the Ka or Double- to pass through the mirror, to visit the gods.'(Richard G.,p.48)
In China and  Japan there were the mysterious magic mirrors which 'have the remarkable property of projecting invisible designs onto a distant wall or screen' while 'the roundness of the mirror represented the cosmic world of the sky; its brilliance, the intelligence of the universe.' (Richard G., p.50)

Mirrors were also associated with scrying and hypnotism. The Arabian historian Ibn- Khahaldun as quoted in Richard G.(p.67) writes: 'The persons are mistaken in thinking they behold objects and visions in the mirror; a kind of misty curtain intervenes between their eyes and the bright mirror and on this appears the phantasms of their imagination' while Richard further continues writing about hypnotism: 'the curious and still not entirely understood hypnotic state, when the subject is susceptible to suggestion, was produced when the subject gazed on a shiny object.'

Mirror 's reflections create ambiguous shapes, allowing perception to create its own phantasms.
An example of such an illusion conjuring is Pepper's Ghost:
'Reflections have been used to produce stage ghosts since large sheets of glass became available in the middle of the nineteenth century. Pepper's Ghost is named after Henry Pepper(1821-1900),...Pepper's Ghost depends on a large part-transparent mirror(or simply a sheet of glass) which optically combines reflected actors with other actors seen through the glass...The intensities of lighting are varied to make them visible or invisible, or combined as transparent ghosts...It is commonly seen in one's window at dusk: the room gradually appears as though it lies outside in the semi darkness.' (Richard G.,p.178)

Another trick performed with the use of a large curved mirror, created the illusion of the image of a god being suspended in nothingness:

Today full dome projections use large convex mirrors in order to create the impression of another ethereal world looming onto the ceiling. Usually we encounter them in planetariums, but have been explored in artworks as well:

 For more information check the site : http://paulbourke.net/miscellaneous/domemirror/faq.html#mirror

Image taken from the site: http://www.bbc.co.uk/birmingham/content/articles/2007/10/02/planetarium_film_feature.shtml


After a short research into the internet i also discovered the artist Ursula Berlot who seems to use reflective materials and kinetic light installations in order to create her environments:

Images taken from the artist's webpage: http://www.ljudmila.org/~berlotur/podstrani/en-portfolio.html




Melchior-Bonnet Sabine writes about glasses, prisms, enlarging and distorting mirrors:'...all of this optical machinery aims to blur dimensions and distances, to change perspectives and scales, while allowing one to traverse through oddities and incoherencies of the world' (Melchior-Bonnet S.,p.229)
She mentions that 'Leonardo da Vinci enjoyed creating monstrous forms and constructing optical chambers in which the disturbances of the images and the explosions of space lent themselves to dreaming.'(Melchior-Bonnet S.,p.236)
Melchior-Bonnet S. also describes the 'temple of laziness': 'anonymously invented in 1667 and described
as a "cave decorated with large, crystal mirrors cut into different sides". All sorts of fantastic images decorate the walls of the cave and are reflected there. Through the prisms, the fragmented images are randomly juxtaposed, so that one can simultaneously see "a bit of landscape, a small part of a chateau, the face of a beautiful lady, the wings of a cupid or the ruins of an old palace- all in the mirror"'.(Melchior-Bonnet S., 241)

Kircher used an inclined mirror in order to create a device through which the visitor could see his own image undergo one metamorphosis after an other. He placed the mirror on an axis where the reflections of the human face and of bizarre animals painted on octagonal wheel converge. His aim was that the optical reflections would move the observer to spiritual reflections on his own nature. The creator of this machine wrote: I myself have such a machine, which sends everyone into great raptures when they look into the mirror and instead of their normal countenance discern now the visage of a wolf, now that of a dog or some other animal.'

                                  
                                      Athanasius Kircher, De Ars Magna Lucis et Umbrae, Rome, 1646


A similar modern version of Kircher's machine could be created using modern technologies nowdays:

                               
                                  Image from the site: http://userwww.sfsu.edu/~infoarts/links/motion/motartists.htm

The artist Rigid Waves writes about his work:

a hidden camera takes a picture of the viewer and transfers his image to a projection screen that resembles a framed mirror. The closer the viewer approaches, the more unrealistic the image becomes. The movements of the viewer distort the images – they are delayed, speeded up, manipulated, fragmented or frozen. The viewer cannot pin down his digital twin. The asynchrony of real time and image time distances the viewer from his digital image and enables him to see himself in different guises – fragmented, fractured or from behind. Acoustic signals are linked to the image processing system and mark the position from which the user can influence his computergenerated image using gestures and changes of position. Rigid Waves uses interactive media technology to represent the separation of body and perception alluded to by Echo and Narcissist


What influence could have on people the reflection of their distorted image?

Kircher believed that animal metamorphosis would move the observer to spiritual reflections on his own nature.
Richard G. mentions that there is a substantial psycho-analytic literature on the development in children of Self,  and relation to Others, and mirrors are sometimes used. Experiments have been carried out using distorting mirrors to estimate how people see themselves. Traub and Orbach(1964) made a flexible mirror that could be distorted, concave or convex, with four motor-driven clamps controlled by the subject of the experiment. The Adjustable Body- Distorting Mirror was designed to explore the visual perception of the physical appearance of the body. A full-length mirror was made that was adjustable to reflect the observer on a 'distortion continuum', ranging from extremely distorted to completely undistorted. It was found that subjects tolerated quite large distortions- and they sometimes forgot what they looked like.
He further mentions that ' looking glasses have been used for psychiatric and weight-control therapy...Gradually the patients corrected their distorted mental images of themselves, and in some cases were able to change their eating habits so that they could achieve a healthy body weight.'(Richard G.,p.11)
Another example which indicates how powerful is the effect of our reflection on the way we perceive ourselves is mentioned again in Richard's G. book:
People who have lost a limb in an accident may experience the missing arm or leg as though it is still present. Worse, they may experience pain, which may be excruciating, in the missing limb. Recently V.S. Ramachandran, with his wife Diane and S.Cobb, found that for ten out of ten cases of losses of arms, the phantom limb and the pain disappeared when the patient could see a normal hand 'superimposed' with a mirror. Trying this fro fifteen minutes a day over three weeks could make the feeling and pain of the phantom limb shrink and disappear for good.( Richard G.,p.188)

Melchior-Bonnet Sabine writes: ' the mirror is this "no man's land" between the concrete life of the everyday and the place of dreams.' While she cites jean Cocteau suggesting that ' mirrors are the promise of an elsewhere, of a luminous night beyond the real, which makes it possible to reach the poetic universe.'(Melchior-Bonnet Sabine p.263)

Work in progress

The research i have been involved in, was about the mutations of forms in myths and about possible ways the former could be visualized through modern technology's interface. Mutations, as represented in myths, reveal a delight in the potency of change, a built in dynamic in all living beings and a magic aspect of reality.
After the submission of my research paper, i started reading the book ' Phantasmagoria' of Marina Warner were i came across the term 'haunted media' in order to express how modern technologies and first illusionist optical devices communicate imagination's desires and terrors and as a result open up unimagined universes.

Robertson's Phantasmagoria
Image from:http://www.acmi.net.au/AIC/PHANTASMAGORIE.html

For Warner the projections are always supernatural creatures, while some of the words she uses to describe optical technologies are: eidolon, spectre, phantom

Images from : http://wernernekes.de/00_cms/cms/front_content.phd?idart-794



My initial idea, was to document the conversation between my mother and a friend. These two people have different religious belief systems.The theme of the conversation would be about some of religion's mythic stories and miracles. I intended to use the orginal footage as a basis on which i would project my own fantasies. The people invoved though, did not happen to interact as i expected; i am not satisfied with the recorded material which probably i am not going to use.

Simultaneously, i had started reading the book: 'Devices of Wonder' of Barbara Maria Stafford and Frances Terpak and got really interested in vanished mechanisms of the past: prisms, mirrors, microscopes, telescopes, magic lanterns, camera obscuras...

All these mechanisms involved some kind of interaction, as well as a distortion of appearances, a kind of mutation of forms.The observer had to shift his position and another 'reality' was being revealed to him.

At the moment what i have in mind is a dark space where figures float free. A close example is the work '7 lights'(2005-2008) of the artist Paul Chan. This artwork seems to be a play of shadows and light, a sort of a window into another realm while it is strongly associated with biblical accounts of creation and destruction.

                                              Image from: http://www.museomagazine.com/#993419/PAUL-CHAN




I came across the painting of Goya ' They rise up joyfully' and what i have in mind is to create something based on this painting, adding things as well as movement.

Iam also examining how changing images were produced by mechanisms of the past and what kind of visual vocabulary they used.

                                                             Mercury and Venus
                                         image from book 'devices of wonder' of Barbara Stafford and Frances Terpak


In this painting the physical relationship of the god and goddess changes when the metal dial affixed to the center of the object is rotated, dividing and redividing their bodies.

                                      Images from: http://wernernekes.de/00_cms/cms/front_content.php?idart=794
                                                     and: http://pillanatgepek.c3.hu/en/kiallitas/werner-nekes-gyujtemeny/

In these images pictures or sections of pictures are placed in relationship to one another in order to give the pictures a new meaning. Through the combination of pictures it is possible to assemble different versions.

Mid Point review

Research:
Mutation of forms in Myths. 
Comparing the mutational imagery in Bosch's "Garden of Earthly Delights" to the  mutational imagery of a contemporary artist.



Someone could find a strong similarity between the mythologies and religions of human kind.This is a theme of transformation, considered to be a natural law which encompasses the whole universe. The essence of oneself and the essence of the whole universe is one, while bodies are transient :
"...Myth is but the penultimate; the ultimate is openess- that void or being, beyond the categories- into which the mind must plunge alone and be dissolved..."( Joseph Campbell, "The Hero with a thousand Faces", ch.The Cosmogenic Cycle, 1993)

In mythologies we encounter various images of gods who reperesent change and fluidity:

Wheel of fortune, from ms. of John Lydgate's Troy Book and Story of Thebes, England,c.1455-1462












In myths outer changes of shape reveal an inner, "hidden" character. Animals, vegetables, munerals, beasts, humans are transformed one in to the other. Myths teach a sense of "unity in multiplicity", a "truth" beyond names and forms.







Bosh's "Garden of Earthly Delights"

Bosh's painting involves a merging of forms, monsters associated with eggs and hatching. All these disturbing hybrid forms are thought to be related to an alchemical process while the whole triptych repeats the nature's circuit of birth, life , death and rebirth. Bosh's painting constitutes a microcosm, a garden which encloses a world. It is a uniting of different genres in the same place, a strangely fluid distant land.

My question would be: How could technology be used to create an imagery of the mutation of forms? And how could this reveal a secret , "personal" interpretation of the world?
To answer this, I will try to compare Bosh's Garden of Earthly Delights to an artwork of a contemporary artist.

The artist Barbara Rauch was a suggestion of my tutor Jonnathan Kearney.
In Rauch' s work we participate in a transformative act as human feelings appear to alter the form of the body.
Human passions and feelings take the form of animal characteristics ; an act which proves the close affinity existing among man and animals.

I encountered this image of Richard Stammer's untitled piece (1991) in a book named "Digital dialogues", which is a collection of articles focusing on the meaning of technology.
Richard Stammer "dismembers"a body and creates a figure resembling a mythical creature.
He achieves a new "synthesis" through the destruction of the old familiar form of the human body, as well as a new image of the world. Fiction seems to take over reality.





I would like to end with the following images from the book I am reading at the moment. It is called "Anamorphic Art"of Jurgis Baltusaitis and take us back to the 18th century:

Anamorphic art:"...A system with basis of mathematics and physics around which figurative forms and mental speculations are made and unmade.."
It seems to me that the distortion techniques of technology could be used easily to create a sense of a "false"reality, and yet a "universe" full of personal meanings.

group presentation01

The more I try to represent my ideas in a specific form , the more I realise that this is almost impossible as  they are  in constant transformation by the process of research . My intention may seem totally altered from the slightest shift in focus.

My initial interest lied in how the myths feed our personal fantasy and how this could serve as a starting point to personal transformation, and as a result ,to cultural evolution.

I believe that through the myths and fairytales found in our culture, we all encountered  the  storytelling of a hero or heroine who journeys  through fantastical adventures only to discover his or her inner self.

Apuleius ‘ the Metamorphoses of Lucius, or the Golden Ass ':

“ I wondered whether the stones I kicked against were really, perhaps petrified
men and whether the birds I heard singing were people in fathered disguises and I began to entertain doubts about the trees around the house, and even about the faucets through which the fountains played..”

There is something in the nature of fantasy that really intrigues me;there seems to be a flow of information between the internal and external worlds we inhabit.

We are at first inspired from mythology and folklores that surround us, and then transform them in a

personal setting. Even if our fantasies seem to be “borrowed” from our culture, they still have the power to reveal our inner selves.


The senses of the outer body are linked to 'souls ' inside the brain, which include ' the imaginative soul, or fantasy' according to the Neoplatonist scheme of Robert Fludd ( 'Vision of the Triple Soul in the Body' from Utriusque Cosmi, 1617)

















 At the heart of every fantasy, lies the desire for a personal evolution, as well as all the possible scenarios for our life to come. Fantasies provide substitute of what life lacks and give us strength to endure.

I am interested in people influenced by what they read, by the movies and other cultural materials they watch, people who live their most treasured stories.

I consider this to be a kind of achievement without which one’s life would be passionless, lacking hope and forward momentum.

I am also interested in the dark side of fantasising when people being trapped into the novels and movies they watch, consequently are so immersed into their own fantasised world ,that they miss out on real life or cannot communicate with others.

At this point, I’m thinking of videorecording conversations of people, revealing their private mythologies. I consider it being an imaginary journey between differing mental worlds, a labyrinth-like psychological structure.

Inside the conversation, two different belief systems are confronting each other. I believe that the reoccurring reversal of the two belief systems, will suddenly lead to a parallel synchronised way of thinking that is going to reveal  their similar identities.

I’m thinking of using the “space” of conversations as a tool for discovery, and a tool for poetic constructions. I consider them to be a structure , a three dimensional space whose inhabitants utilise and through which they reconstruct meaning.

In ancient years, medieval monastic practices, known as the art of memory,  used a text as a foundation for composition and invention. Such practices where based on a fully individual new composition  from one’s own reading of the biblical text. It was supposed to bring together in this new structure, distinct “places” , images,  texts or signs, as recalled from associational memory. Another important value in monastic life was to bring an individual's discoveries into the public domain,  while all this was understood to be acts of “invention”.

The words uttered inside a conversation and the meaning residing, can act for me as the foundation text used in these medieval monastic practices.

I imagine it as an experiment, which will hopefully lead to a   “ cross cultural space” and political influence of heterogeneous people’s histories and languages.

In all that I also see a performative quality, which really interests me, as it is like trying to create a plot-line from ordinary people and interact with them.

I hope that something like that might offer possibilities for thinking differently.

My aim would be to prove the degree of familiarity between  the inner worlds of people…Familiarity that exists between things perceived as dissimilar, sameness in otherness. Many fantasies are drawn from the fiction , art and myths surrounding our culture… what thought to be a unique fantasy is probably shared by others. In our everyday life we talk so little about our fantasies that it seems quite possible that we will never find out the commonalities. We can use that commonality to foster intimate ties between us. If we do so, it seems to me quite possible for us to live our utopian scenario in real life.

Another aim would also be to accept the differences in others. While enjoying excursions into the believe world of others; we expand the boundaries of our “known” world  for seeing immeasurable dimensions open around us…

If we do so, it seems to me quite possible not only to script our personal scenarios in our fantasies, but to live a collective utopian one, in real life.

The revellers in the Garden eat, carry, flourish, and play with all kinds of fruits: they also emerge from berries and gourds, and even appear to be turning and plums (detail, Bosch Garden of earthly Delights)

project proposal

Working Title
Private fantasies / personalised myths / micro-utopias


Aims
In the absence of an effective general mythology each of us has his private secret dreams.
- Emphasise the need to reconstruct a more spacious fully human life in touch with the mythological realm we carry within.
- Reveal hidden private spaces.

Objectives
- Understand the symbols used in myths and the unconscious fears hidden beneath. What does mythology teach?reconciliation with the universal will, the cosmogenic cycle. All people have the same fears but express them in different ways
-Reform of myths / symbols, which shape our appreciation of the world. What could a new approach of mythology be in modern times?
-Understand how the insights of inner lives are shown in different artworks, how they mix documentary and fantasy footage.

Context
My interest lies on ideas, which challenge the notion of a single identity, ideas which focus on ethnographic, psychological studies. I could say that my research relates to ideas, which try to incorporate ‘otherness’ and polyphony. The general aim would be to urge us not to settle for ready-made notions of ourselves but to discover alternative conceptions of ‘self’.
As I cannot name one single history I will name several artworks varying from film and video to networking constructions.
In all of them we gain insight in the inner lives of other people. Sharing their impossible dreams, we are shown a different way to inhabit the world. Even if some of them describe rare situations of heavy mental disturbances, I believe all of us can be considered to be mentally disturbed at times, which does not necessary mean that we are mentally ill. When such situations occur in our everyday lives we should not fight them, but rather embrace them as that is where our dreams lie.
Werner Hergog’s films often feature heroes with impossible dreams or people with unique talents in obscure fields.
In the film ‘Billy tha Kid’ by Jennifer Verdith the young leading actor (who is not a fictional character) states: ‘…I’m not black, not white, not foreign, just different in the mind. Different brains, that’s all.’
This difference, because of different appreciation of the world, is also the theme of the film ‘Wicker man’ by Robin Hardy. As the patrol officer investigates the disappearance of a young girl on a remote Pacific Northwest island, he finds that nothing is what it seems. Each step he takes closer to the lost child, brings him closer to the unspeakable.
In the video ‘The Black Tower’ of John Smith we enter the world of a man haunted by a tower, which he believes is following him around London.
In the video ‘As the Hammer strikes’ of artist John Massey, two men from different backgrounds are shown travelling together in a Volkswagen bus talking about their respective jobs. The viewers can to an extent move randomly back and forth between their differing mental worlds.
The video ‘Akki, Ani and God’ (of Eija Liisa Ahtila) is based on real events about a man who in a state of psychosis, created a woman for himself while the video ‘The House’ was again based on true recordings of mentally  ill women who heard voices.
‘The House’ is a story about a woman who starts to hear voices that interfere with her perception of the world and gradually disrupt the time and space around her.
The work of Gillian Wearing has been associated with the term ‘ethnographic surrealism’ as she uncannily transforms documentary material and makes the familiar strange.
Something quite different, as it is a networking construction, is ‘The_living’. I believe though, that it shares something in common with the works described previously. It enables us to step outside the known and enlarges the world.
The www.the-living.org is the home of a digital character (cannot find it on the present). ‘The_living’ embodies the dream of total connectivity; she is a veritable connectivity hero. She has been seen with her laptop at the bottom of a swimming pool, boating on the Amsterdam canals and pedalling in a swan boat on the river Fulda in Kassel. ‘The_living’ recycles real and fictional personas. ‘The_living’ is hyper living, living more than once while sharing all its experience with the participants.

Methodology
-Continue my library research more focused into the force of fantasy to transform our lives.
-Search information about antique projection devices (magic lantern or Kinetoscope as something that relates to early animation).
-Search information about shadow puppet.

Outcomes
Probably in the form of a video. I have in mind mixing documentary footage of a conversation between my mother and a friend, with fantasy.
The themes that are going to be discussed will be of specific nature, already inbetween the two worlds. These two people share one common thing: they regard themselves as someone who has a revelation from God. The difference is that they name their God with a different name.
What I would like as an outcome would be more of an electronic painting, than a passage of time through sequential events.
My biggest challenge as well as what intrigues me the most is that I rely on the interaction of two people that have never met before, therefore I cannot predict the outcome.

Work Plan
I will continue my library research for 2-3 months until March, clarify the concept more as well as the form of the final presentation (I should also find an alternative) and write the dissertation.
In April I should shoot the documentary and imagine how I will transform it.
Bibliography

·    Gillian Wearing: mass observation/ exhibition curator Dominic Molon: essays by Domonic Molon, Barry Schwabsky.
·    Gillian Wearing/ Russel Ferguson, Donna De Salvo, John Slyce. /Ferguson, Russell./London: Phaidon, 1999.
·    Portrait now/ Sandy Nairne, Sarah Howgate. /Nairne, Sandy./ London: National Portrait Gallery, 2006.
·    Gillian Wearing: family history: view from my bedroom window/ edited by Steven Bode.
·    Tony Oursler/ edited by Elizabeth janus and Gloria Moure/ Ousler, Tony./Barcelona : Poligrafa, c.2001.
·    Hero with a thousand faces/ joseph Campbell. /Campbell, Joseph, 1904- 1987./ London Fontana, 1993
·    Fantasized persons and taped conversations/ Eija-Liisa Ahtila./Helsinki: Crystal Eye: Kiasma, c.2002
·    Discovery of the art of the insane/ John M.MacGregor, John M./Princeton,N.J.;Guildford: Princeton Universitu press, 1989
·    Art of the accident./ Dutch Electronic Art Festival.(1998 : Rotterdam)
·    Cultural encounters : representing otherness/ edited By Elizabeth Hallam and Brian V.Street.// London : Routledge, 2000
·    Beyond the cinema: the art of projection : films, videos and installations from 1965 to 2005: works from the Friedrich Christian Flick Collection im Hamburger Bahnhof, from the Kramlich Collection and others / edited by Joachim Jager, Gabriele Knapste// c2006
·    Directory of British film & video artists/edited by David Curtis.// London: Arts Council og England Luton
·    Windows and mirrors : interaction design, digital art, and the myth of transparency/Jay David Bolter and Diane Gromala/ Bolter, J. Davis, 1951-/Cambridge, Mass.; London : MIT, 2003
·    Billy the Kid(videorecording DVD) a film by Jennifer Venditt.// (Brighton):artefact Films
·    Imagine(videorecording DVD)Werner Herzog : beyond reason.// London:BBC1, 2008
·    Wickerman (videorecording)/ directed by Robin Hardy.// (London): Warner Home Video, 2002
·    Cinematic Works (videorecording DVD ): Eija – Liisa Ahtila.//(London) : BFI;( Helsinki: Crystal Eye), c2005.