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The Chimp Paradox (2012) is about the complicated and crazy mess that is the human brain. These blinks explain why people can be calm, rational and composed one minute and irrational and irate the next. Learn how you can keep your cool when faced with triggering situations.

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your chimp thinks in black and white , is paranoid, catastrophic, irrational and resolves to emotive judgment 

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your chimp thinks in black and white , is paranoid, catastrophic, irrational and resolves to emotive judgment 

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research for internal dialogue with myself and Linda   

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research for internal dialogue with myself and Linda   

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observing people in public

write about who I document them and write about then as well as a way of observing them

writing letters to my self if i was talking to Linda i person as a way to prepare for the script and the video

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how do I see Linda is she feminine?  if so why? Am I relating my childhood to Linda?

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how do I see Linda is she feminine?  if so why? Am I relating my childhood to Linda?

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• An, K & Cerasi, J. (2020) Who’s Afraid of Contemporary Art? London: Thames&

Hudson.

• Grovier, K. (2015) Art Since 1989. London: Thames & Hudson

• Lack, J. (ed.) (2017) Why Are We Artists? 100 World Art Manifestos. London:

Penguin.

• Madoff, S. (ed.) (2009) Art School: Propositions for the 21st Century. Cambridge, MA:

MIT Press.

• Osborne, R. & Turner, N. (2010) Art Theory for Beginners. London: Zidane.

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first initial response to my brain trying to compartmentalize unit 2 

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first initial response to my brain trying to compartmentalize unit 2 

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I feel it also links in to my early experimentation and understanding of the chimp paradox and my chimp (Linda)

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prompt to talk about why and why again where were the connection in this response where do you see them going later in the unit

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series of videos images of bows taking over my mind 

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series of videos images of bows taking over my mind 

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have some in black and white to resemble the difference between human mind and the chimp mind .

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have Linda placed in the ares I find safe environment to me 

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have Linda placed in the ares I find safe environment to me 

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take plan photos of these areas

cams

grandma normas

mams

dads (grandpas chair)

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create different observations of people interacting wether that is in writing on a painting or a photo you can sneak 

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create different observations of people interacting wether that is in writing on a painting or a photo you can sneak 

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do that in red sketchbook and take many so you have an abundance when it comes to reviewing the pan for the put come and the practice journey

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use the jargon form the book and subtitles it with your on understanding and interpretation of the information yo are hearing 

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use the jargon form the book and subtitles it with your on understanding and interpretation of the information yo are hearing 

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highlight the jargon you want to translate to subtitle the dialogue in the scrip to the subtext in the subtitles when Linda is talking

insert photos of plan from sketch book

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fold paper in a concertina style way and then college photos on top like a long zine and then write a poem reflecting on the concept at hand

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a short film with multimedia motion graphics layered on top, maybe ???

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a short film with multimedia motion graphics layered on top, maybe ???

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art house style ##

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Very simplistic version of plan for film early stages of planning

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why him? because of the scarlet sunset, the way that painting makes me feel is the way I want my unit 2 to feel, true, ruff, bold, bright, unique, and explorative,

JMW Turner was painting only from what he saw which we come to find wasn't true as he was colour-blind. so he was also living with a vale over his perception of what he brought to the world. his art. If he knew he was color blind do you think he would point differently, or would the painting feel the same,

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Viewers have been puzzling over JMW Turner's singular vision of the world for over 200 years.

Now an opthalmic surgeon is suggesting that there is no mystery; Turner, suffering from early, slight colour-blindness and later cataracts, was painting exactly what he saw.

The debate over Turner's eyesight has been revived by the argument over a battered pair of Victorian spectacles, to be auctioned at Sotheby's next week. They are claimed as Turner's, but are a completely different prescription from those on view at Tate Britain.

Consultant opthalmic surgeon James McGill has been studying Turner's work for years, and sees a potential patient for surgery which could have changed the course of art history. He believes both pairs were Turner's, evidence of his deteriorating eyesight.

Three current exhibitions, in London, Birmingham and Manchester, show off Turner's blazing scarlet, gold and black night scenes, wild seas and piercing blue skies, hazes of smoke and cloud, and the Venetian paintings where solid objects dissolve into a dazzle of golden light.

The colour and light mesmerised the critic John Ruskin, and bewildered his contemporaries. The Morning Herald described it in 1829 as "colouring run mad", and the Athenaeum in 1842 sniffed: "This gentleman had, on former occasions, chosen to paint with cream, or chocolate, or currant jelly - here he uses his whole array of kitchen stuff."

Mr McGill is convinced Turner was slightly colour-blind, and this particularly affected his perception of red and blue. "The blues are all wrong, either too dark or too bright, and the reds get stronger and stronger, which is exactly what you would expect. And I have no doubt that later in life he had untreated cataracts, which would have made the centre of his field of vision very blurred, with some objects at the edges in focus - and with exactly that effect of dazzling shimmering light we see in the paintings.

"With the type of cataract which I believe Turner had, it is quite possible to see foggily through the cataract, until you are look ing directly into bright light. Then you're in trouble, because all you can see is the dazzle - and that's what we get with Turner."

The spectacles come with a broken snuff box, a tattered card box, and a magnifying glass, valued at up to £8,000 because of the Turner connection. They came from Maria Tanner, a friend of Turner's housekeeper, who may have pinched them from his studio while employed as a cleaner.

Henry Wemyss, Sotheby's expert on English watercolours, said: "The fact that they have always been described as Turner's spec tacles, and passed on from generation to generation, is suggestive. Why else would they have been kept at all?"

A rival pair of Turner spectacles, or rather two pairs packed into a box with a palette and two knives, is now on view at Tate Britain.

These may also have been snapped up from the chaos of the studio by Ruskin, the artist's executor. In 1861, he presented them to the Ashmolean museum in Oxford.

Mrs Tanner's spectacles turned out to be minus 2.5, while the Ashmolean pairs, now on loan to the Tate, are plus three and plus four. However, Mr McGill insists there is no conflict: the Tanner spectacles were an everyday pair, with the Ruskin pair used in later life for close work.

Mr McGill says his theories do not diminish Turner's genius. "The paintings are superb - but there is no mystery about why he painted that way: he was painting exactly what he saw."

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An opthalmic surgeon is suggesting there is no mystery surrounding Turner's vision of the world; Turner, suffering from slight colour-blindness and later cataracts, painted exactly what he saw.

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(my photo's)

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https://naein.tumblr.com/post/652407969745616896/afexplorer-julia-luzina

the link to the artists name to add for later in bibliography

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de Armen Susan Ordjanian

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Minnie Cunningham at the old Bedford , 1892

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When at the zoo I saw these two slabs of load shutter and i think to looking like Linda and I regather one almost hidden and worms down me the human and then the other full of colour and form Linda who hasn’t really had the space the become tired and is recognisable

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women in the revolt exhibition (my photos )

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women in the revolt exhibition (my photos )

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MIRROR ON THE WALL. 1986 - 1987

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old plan this is more evidence of development in my practice

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a short film with multimedia motion graphics layered on top, maybe ???

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a short film with multimedia motion graphics layered on top, maybe ???

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art house style ##