The games cycling is a repeating day, that you the player (stanley) lives over and over. While this is an obvious metaphor about the monotany of the day to day tourture of office work, The stanley parables endings provide insight into the damage this cycle can perpetuate.

Stewart Lee, the man, is a man who writes stand up for his character to perform. He is a genius.

The main crux of his comedy is grounded in the rules of all comedy; set ups, punchlines, "ole switcheroos", etc, etc. But what Stewart Lee does differently from most other main stream comics is so freely break the aparent rules of stand up. Alot of the comedy in Lee's shows comes in the pauses, whats not said. These jokes are only really possible with a level of trust in the audience to know what should be said in the gaps, were this a regular stand up set. This relationship between audience and performer does exist in most all media, but is never so obvious as in a Stewart Lee stand up set.

"What you've [Stewart Lee] done is evlove a system that knowingly operates the levers that make people laugh, by using any means possible apart from actually saying anything funny. You make them feel awkward, you make them feel a little bit afraid, you make them feel nervous. And that is the only reason they laugh"

- Spoken by, Chris Morris, Written about Stewart Lee, By Stewart Lee

I was sat on a bus with my dad, the conversation wasnt exactly flowing and I wanted some kind of entertainment. Knowing who he was and how he is, I knew how I could get a conversation out of him. "what do you think of modern art dad" I said, knowing he'd have strong opinions about even such a sweeping general statement. So I went through photos of art works with him, getting more and more "simplistic" as I went. Basquiat, Pollock, Twomble, Duchamp and eventually, Mark Rothko. He was irritated me the shape, dumbfounded by the forms and perplexed by the colours. He hated it. He explained to me in no uncertain terms why this, was not art. He said, anyone! even he himself, nay, even a child could do this, "it is just colours and rectangles" he said, and I said he was right. But, as anyone who has seen a rothko in person knows, they are so much more than that. Rothko's planning into these seemily simple forms was immense, the levels of testing with washes and medium and stain could last years and the final pieces show this. People very often weep when they stand infront of rothko's work, often saying they dont know why. I hope one day to take my dad to see one of these and I hope he'll understand what makes his work so special.

Techniques used for the hobby are incredibly intricate and time consuming to allow to models to be as detailed as they are. Common materials include: Foam, fake grass, sand, plywood but alot of the time the model make will have to innovate and find creative solutions they can use for their specific scenes.

The people making these models are often driven by their interest in history and thus make them highly historically accurate meaning perfect recreations of the weapons, uniforms and vehicles.

To be completely transparent I dont completely understand why I find his work so appealing. I think he used colour, form and texture beautifully and with amazing effect that draw emotion from me, but i cant put my finger on exactly what does that. Oh well.

Much life the stanley parable, the secret life of walter mitty is a story of an office worker, who lives a repetitious and dull life, stumbling across an adventure that will change his life forever. While this isnt exactly an original story, nor a groudbreaking film, it carries hope, and does so with charm and care, for not only their story but the viewer.

This movie is above all about exploration and escapism. Its not overly self indulgent as critics claimed and its DEFINETLY is childish, but in a way we all need. The world and the working world especially are becoming more and more horrific, and we all wish we could take back control of our lives, and freedom to do as we please. The film endulges that escapism and adventure and inspires to break free and do the same.

But when the working week is over the city is also a home to millions, so how do you make a space that is so manufactured feel natural and inhabitable?

When I started looking at this I was think mainly about the division between the working and the inhabiting, and the resident and the tourist. But I'm stating to find more interesting the relationship and harmony between them. How cities are designed to accommodate so many people and so many needs.

Stylistically I love the deep tones and aggressive nature of Rothko, but in every way but form, also the opposing Halley.

Godzilla 1954 and its practical effect are also really intriguing as if I were do a city installation, its one of the most well know media who have created interact-able city's on that scale.

Cruelty squad has been an huge inspiration to a lot of my recent work, its themes of cooperation, status and the individual in the current changing socio-economic climate are all incredibly relevant and still remain relevant into my fmp. I've mainly been drawing stylistic references into my work from cruelty squad but with this work I want to do more with it thematically they are so pertinent to the topic.

City planning, however dull, will also be a noteworthy point of research, how peoples natural movements are accommodated for and thought about during the planning process. Dérive and psychogeography and both really relevant here, think about how people interact naturally and subconsciously with their city and how they carve it into being their own.

Material testing is incredibly important to ensure that I land on a strong material that is reagent to the themes. At this point I'm fairly certain I want an installation of a sculpture(s) and for them to be intractable, as this makes sense with my themes of accommodation and making the city your own). For this I need to make sure the material is safe for those using it as well as study enough to be within the space for a prolonged period and to have constant touching and interactions (especially with moving parts).

For most of my previous work experimentation have been textural and colour focus within my painting works, as well as experiments with bleach and fabric in thirty tasks. This will continue to be relevant as they are features that are all still relevant within any piece of work but more the leading focus of the pieces. Coming up with methods of test both theoretically and in practice will be vital to making the best piece of work I can and implementing my themes and ideas as effectively as possible.

Experiments will also include testing with other artists and observers to see how people perceive different forms, mediums colours and scales. For the project to work the ideas must be clear without explanation as well as the methods of interaction without hand holding or dictation. The Instal must be interacted with naturally as that is one of the topics of the piece.