Check out the paper 'The Stone Is Inside the Mind (When cut the durée leaks out) -
https://www.academia.edu/10640047/The_Stone_Is_Inside_My_Mind_When_Cut_The_Durée_Leaks_Out_ and a few others.

My practice has entered a new phase fully using the methodology of OODA loops as a practical and philosophic mode of working. My practice had been predominantly moving image and sound with writing as a cognitive springboard. Now use of painting and other mediums are revisited to invest for sustainability and produce a wider breath of vision.

Experimental fine-art moving image and sound is inflected with poetic sensibilities and sci-fi vibes. I tend to film opportunistically, so that the footage I acquire necessarily embodies its flaws. I have come up with the term
arte difettoso, which I consider a bastard offspring of arte povera in its reference to poor quality materials. The footage I can be subject to reframing to produce immersive audio-visual installations. This process is at once literary and scientific, with observation and invention informing one another. Observation becomes poetic inquiry, a means of seeing potential, while invention is informed by philosophical research and material interrogation. The intention is that any verbal representation of a work would necessarily acknowledge this multiplicity and avoid simple description of image and effect. Film cognition theory, technological advances and philosophic discussions of the digital context are vital to my practice, since they affect and express collective and individual understandings of moving digital imagery in the gallery and out in the world. The works are highly structured, edited compositions with layered timelines that challenge limits of reality, in that their hyper-realistic appearance might be fabricated through entirely fictitious means. In this way they are obviously a digital form of painting, albeit extending out of avant-garde film history and using cinematic archetypes. Films, for me, are not only philosophic, cognitive instruments, but should incorporate aesthetic enjoyment; an absence of traditional characters or plot necessitates a different sort of absorption and identification.

Painting and writing and other mediums are in their infancy for this new methodology in my practice.

  • Fragments of textual response become a background process that feed forward and back into works

  • Landscapes has cinematic composition: a frame capturing portends


SunJLrgeMoleulesC3_S2 still from 'Suns are Just Large Molecules' C3, 2mins, digital video, 2015, Debra Fear