Wednesday, 24 November 2010
Friday, 27 August 2010
Monday, 23 August 2010
Tuesday, 20 July 2010
Sunday, 11 July 2010
Monday, 5 July 2010
Sunday, 4 July 2010
+ The sequences of the project
1- The architect sits in the garden, draws from the frames. She gazes at the Ancient Temple, and then changes in a different position through the Temple (to get different view, different proportions in the landscape). When the position is changed, view does not change in a parallel way.
2- She goes back to the previous position, then stopping, extracting the time.
3- She walks through the garden from a different pathway rather than the usual pathways.
4- The intersecting slopes and the follies drag the eye during the journey. Participant tries to control this floating in the space.
5- ?? (HOW TO GET INTO THE VESSEL?)
6- Getting into the vessel from the garden to everyday life. Observer looks at the portholes through a glitch, and the images, which are seen through the glitch, “some are the reflections of a basic reality, some mask and pervert a basic reality, some mask the absence of a basic reality, some bears no relation to any reality whatever: it is its own pure simulacrum” (Baudrillard, cited in Poster 2001, p. 173). When the observer looks at the porthole, something changes back of her (light conditions, shadows). A virtual camera records these changes, but cannot control, because the participant controls the space. These records construct the skin of the vessel, and the vessel casts a shadow on the landscape.
7- Vessel scans the landscape and records it. But he cannot scan its own shadow, because it cannot see it. Another virtual camera records these changes on the landscape (shadow of the vessel), but cannot control, because they are the representations of the phenomena from the inside.
8- Participant accesses these virtual records from the glass table in the interior. She is editing out the information, drawing the changes, drawing the traces. After records pass through the lines, they reach to the camera under the table. The records are reflected from the double mirrored transparent object to the wall, to the ceiling as anamorphic surfaces, and another camera records these changes, and the participant accesses to the record of the changes from the glass table...
* These anamorphic surfaces show how a space from a different level occurs in a different surface as the reflection of other objects in the space.
* This project is an attempt to design a guidance system that enhances picturesque method, which is a guidance system itself. In the picturesque theory, the observer knows her place, however in this project participant is inside a vessel floating in the landscape; a garden which always drags the observer’s eye. The project tries to visualize this floating in the space in order to reread the picturesque virtually. It is an endless process of rereading, which is unique in each time.
2- She goes back to the previous position, then stopping, extracting the time.
3- She walks through the garden from a different pathway rather than the usual pathways.
4- The intersecting slopes and the follies drag the eye during the journey. Participant tries to control this floating in the space.
5- ?? (HOW TO GET INTO THE VESSEL?)
6- Getting into the vessel from the garden to everyday life. Observer looks at the portholes through a glitch, and the images, which are seen through the glitch, “some are the reflections of a basic reality, some mask and pervert a basic reality, some mask the absence of a basic reality, some bears no relation to any reality whatever: it is its own pure simulacrum” (Baudrillard, cited in Poster 2001, p. 173). When the observer looks at the porthole, something changes back of her (light conditions, shadows). A virtual camera records these changes, but cannot control, because the participant controls the space. These records construct the skin of the vessel, and the vessel casts a shadow on the landscape.
7- Vessel scans the landscape and records it. But he cannot scan its own shadow, because it cannot see it. Another virtual camera records these changes on the landscape (shadow of the vessel), but cannot control, because they are the representations of the phenomena from the inside.
8- Participant accesses these virtual records from the glass table in the interior. She is editing out the information, drawing the changes, drawing the traces. After records pass through the lines, they reach to the camera under the table. The records are reflected from the double mirrored transparent object to the wall, to the ceiling as anamorphic surfaces, and another camera records these changes, and the participant accesses to the record of the changes from the glass table...
* These anamorphic surfaces show how a space from a different level occurs in a different surface as the reflection of other objects in the space.
* This project is an attempt to design a guidance system that enhances picturesque method, which is a guidance system itself. In the picturesque theory, the observer knows her place, however in this project participant is inside a vessel floating in the landscape; a garden which always drags the observer’s eye. The project tries to visualize this floating in the space in order to reread the picturesque virtually. It is an endless process of rereading, which is unique in each time.
Thursday, 1 July 2010
Wednesday, 30 June 2010
Friday, 25 June 2010
+ Adding another dimension into the space
This video work is a representation of previous video works, which are different positions, the hovering vessel, and the portholes of everyday space.
Three spaces from different surfaces are communicated here. One from everyday space, one from Stowe, and another is the workshop. The first and the second space reveal each other by moving into the portholes (white spaces), then moving out of portholes. The third space reveals these two spaces, and records them on an interactive glass table by drawing the portholes with pen, painting the nature with brush, and masking the moving images with 3d objects.
+ The portholes of everyday plane
These sequences show the play with the dynamics in the interior space. It is the revealing of everyday objects which have been moved to another space. The object moves in the interior when another porthole into Stowe is revealed. The white spaces which have been revealed are the portholes of the interior, and the white lines show the effect of light to the surface. Changes of light conditions on the surface are the reflection of the dynamics of both moving and stable objects.
+ The artificial ruins and the vessel. The drawing shows the revealing of follies, and their relationship according to points of view.
The follies are positioned there for dragging the observer’s eye, and stretches the one’s mental vision with their irregularity, colour and naturalization to the soil. The vessel is there to experience them virtually.
+ Intersecting views/ a collage work
This landscape is the construction from the previous panoramic drawing aiming to create a perspective of what has been known, what has been seen before, and redefining different views simultaneously.
+ A 270° panorama starting from the Gothic Church towards South vista
The photographic films of these images were taken from the same point, but from the different directions, and were treated differently in the dark room. The final image shows the back of the slope, which is on the other side of intersecting lines.
Sunday, 20 June 2010
Tuesday, 25 May 2010
Monday, 24 May 2010
+ Reflective anamorphic surfaces
Section of the workshop
Two videos, one from everyday space and another from Stowe are brought together with After Effects Virtual Camera. These two videos are reflected on the glass table with a projector (from the computer to the projector), a mirror (from the projector to the white paper which is under the glass surface), and a white paper (from its own surface to the glass table).
Communicating different scales
This is the context drawing of the interactive space which shows the participant, an interactive glass table, computer screen, the reflective anamorphic surfaces reflected stem from both double-mirrored transparent perspex (situated by 75° to the glass table) and the light of projector on the wall and on the ceiling. These anamorphic surfaces show how a space from a different level occurs in a different surface as the reflection of other objects in the space.
Friday, 21 May 2010
+ Continuing...
I am currently drawing the plans and sections of my work spaces. I am looking at the Dan Graham’s performance works. He has also used 2-side mirror transparent material in one of his work; crossed lines: one of them linear, one of them curved. It is applied in the side; I have put them to the reference blog. I am also looking at Bruce Nauman’s videos. In his works, the position of camera has really affected me.
Thursday, 20 May 2010
+ One of the drafts for adding another dimension into the video work
This is the last work after many attempts. As a result of thickness of the table and differences of the views of me and camcorder, the lines are not on the contours, and the quality of the video is not very good. As the next step, I am going to do it in the opposite way. The projector will be hanged to the ceiling, and the camcorder will be placed on the ground faced up. By this way my hand will look like a shadow, rather than a clear view. This scene will take place on the one corner of the table, and then I am going to zoom out to the whole table. Now, I am designing the next step for the whole table; glass, ink, and maybe map of Stowe Gardens. Hopefully, the new plan is going to work. Coming soon!
Friday, 14 May 2010
+ The report feedback
I was thinking that I am supposed to write about my workshop, and write about things that I have done. But as I saw in the report feedback, I need to add some references, quotations, example images. I have looked at many books since September, I got them, and I have done something with these opinions, otherwise I couldn’t do anything, I couldn’t improve my seeing, I couldn’t enjoy to expand my knowledge. Then I wrote the book list that I refer when I was improving my workshop. But my feedback is unsatisfactory, because I didn’t write the report like a thesis work. I know how to write a thesis, I have many references to add into the report, but my course asked me for writing a report about my workshop rather than quotations, history and philosophy. Because I already have to read and research about something to enjoy and to do this kind of works. Now, I have to write my argument in the thesis in 5 weeks and also embed my work into this thesis. Good luck to me.
Wednesday, 12 May 2010
+ Transparent sequences of space
It was done by a double-mirrored perspex and a projector. I was trying to set up a glass table and project some videos from Stowe Garden, but when I set up the projector at the bottom of the table and capture it from above, camcorder captured just the projector itself. Nothing occurred on the glass, because it is transparent. A matte surface also didn't work, worked but it is like reflecting it to the wall, not special. Then I found a material, double-mirrored perspex, it is double mirrored and transparent at the same time. However, when I set up the system I disappointed, nothing appeared on the surface again, because it is transparent, as well. But reflecting speciality of the mirror helped me to use the same scenario as 2 scenarios. Different positions of it might constitute different compositions. Now, I am trying to design, present a guidance system with this matte, and double mirrored transparent material and projector. I am planning to design a scene, draw it as 2d, and print it on this transparent double mirrored surface in laser cutter. Then, give some colour with gouache or ink. And project 2 video to this surface...
Thursday, 6 May 2010
+ 3rd term
1. What did you take from critique of your work at the last crit?
a) How is it architectural? Correlate how to define project. Do finished things.
b) A guidance system of where something is for the neoclassical system. What does the guidance system correlate? Where is the guidance system located? GPS table.
c) Method of making landscape drawings.
d) Where does the spaceship come from as an idea?
e) Deal with the time element in your project .
f) Take what you are doing inside to the outside. Moving through the environment.
2. What are you responding too, from the last crit?
a) The main point is here to see the user as a participant, and understanding the importance of the user’s view to the space in design process. The follies in the Stowe Garden are the symbols for the 18th century’s enlightment and some political ambitions. I am viewing the landscape from where I am supposed to stand as a participant, and then viewing from different way to say never can control of how the participant view things.
b) It is a guidance system which is interrupted a guidance system which is the picturesque. The guidance system correlates relationships between the environment and the participant as social and emotional beings.
c) -give multiple of seeing distance (eyeshot)
-the length of an object rather than distance can be used as a unit of measure
-multiple of acting distance
d) Spacecraft are used for a variety of purposes, including communications, earth observation, meteorology, navigation, planetary exploration and space tourism. Spacecraft and space travel are common themes in works of science fiction.
e) Picturesque deals with composition of time.
f) Curvilinear vectors.
3. What do you want to do for your project over the last three months?
-I want to use the idea of interaction in space, such as bringing domestic space into the landscape by double exposing.
-I want to use the Peter Greenaway’s movie The Draughtsman’s Contract for narrating of the simultaneous phenomena.
-Take the black box as an idea of a visual construction.
-Continue to the video work with the connections of the landscape.
4. How do you intend to develop and finish your project over the next three months?
-The first journey was including the picturesque views of the garden. The second journey might be other sides of the picturesque views that we are not supposed to stand. It might be done by using a mirror in the same line as the first journey in order to play with object and subject within the environment.
-A video work with the connections of the environment and the interior, using double expose on video work.
-Some perspective drawings with the collage of the photography works by transforming original picturesque paintings.
a) How is it architectural? Correlate how to define project. Do finished things.
b) A guidance system of where something is for the neoclassical system. What does the guidance system correlate? Where is the guidance system located? GPS table.
c) Method of making landscape drawings.
d) Where does the spaceship come from as an idea?
e) Deal with the time element in your project .
f) Take what you are doing inside to the outside. Moving through the environment.
2. What are you responding too, from the last crit?
a) The main point is here to see the user as a participant, and understanding the importance of the user’s view to the space in design process. The follies in the Stowe Garden are the symbols for the 18th century’s enlightment and some political ambitions. I am viewing the landscape from where I am supposed to stand as a participant, and then viewing from different way to say never can control of how the participant view things.
b) It is a guidance system which is interrupted a guidance system which is the picturesque. The guidance system correlates relationships between the environment and the participant as social and emotional beings.
c) -give multiple of seeing distance (eyeshot)
-the length of an object rather than distance can be used as a unit of measure
-multiple of acting distance
d) Spacecraft are used for a variety of purposes, including communications, earth observation, meteorology, navigation, planetary exploration and space tourism. Spacecraft and space travel are common themes in works of science fiction.
e) Picturesque deals with composition of time.
f) Curvilinear vectors.
3. What do you want to do for your project over the last three months?
-I want to use the idea of interaction in space, such as bringing domestic space into the landscape by double exposing.
-I want to use the Peter Greenaway’s movie The Draughtsman’s Contract for narrating of the simultaneous phenomena.
-Take the black box as an idea of a visual construction.
-Continue to the video work with the connections of the landscape.
4. How do you intend to develop and finish your project over the next three months?
-The first journey was including the picturesque views of the garden. The second journey might be other sides of the picturesque views that we are not supposed to stand. It might be done by using a mirror in the same line as the first journey in order to play with object and subject within the environment.
-A video work with the connections of the environment and the interior, using double expose on video work.
-Some perspective drawings with the collage of the photography works by transforming original picturesque paintings.
Wednesday, 5 May 2010
Tuesday, 20 April 2010
Sunday, 28 March 2010
+ Continue with a narrative
The project refers to design a device to view through the portholes. It is about everyday space changing how the observer sees other spaces through these portholes from different points of view.
Peter Greenaway’s "The draughtsman’s contract" can be a good narrative for the project. It is a witty, stylized, erotic country-house murder mystery. In an apparently idyllic 17th-century Wiltshire, an ambitious draughtsman is commissioned by an aristocrat's wife to produce 12 drawings of her husband's estate, in return for which he will receive payment, board and bed-hers (1). The film is deftly shot, each scene composed as if it were a painting, using landscape, light and finery to full effect (2).
1-http://www.ihousephilly.org/petergreenaway.htm
2-http://www.eyeforfilm.co.uk/reviews.php?film_id=10112
Peter Greenaway’s "The draughtsman’s contract" can be a good narrative for the project. It is a witty, stylized, erotic country-house murder mystery. In an apparently idyllic 17th-century Wiltshire, an ambitious draughtsman is commissioned by an aristocrat's wife to produce 12 drawings of her husband's estate, in return for which he will receive payment, board and bed-hers (1). The film is deftly shot, each scene composed as if it were a painting, using landscape, light and finery to full effect (2).
1-http://www.ihousephilly.org/petergreenaway.htm
2-http://www.eyeforfilm.co.uk/reviews.php?film_id=10112
Saturday, 27 March 2010
Thursday, 25 March 2010
Wednesday, 24 March 2010
+ After 2nd crit
I will be studying English for the next 4 weeks, and getting Passiflora for the 3rd crit!
+ Presentation of 2nd crit
General: My architecture is creating a visual language to represent an idea about the reading the context of what is observed and how to view things through other things. This process is based on archiving the landscape in the theory in a vessel and then constructing landscape within the landscape through positioning of objects.
Stowe and Picturesque: I am observing the Stowe Garden. Because it is a place in which somebody archives an artificial landscape in a literal way and each structure has a different history, culture, art and different notion of space. Stowe was owned, enhanced and expanded by one family for almost 350 years. They created one of Europe's most influential landscape gardens in Buckingham. There are over 40 monuments and temples in the 300 hectares site (BBC 2006). These landscapes build a spatial composition bringing together all particular moments in time which gives inspiration to the painters for the picturesque landscapes. The picturesque was a concept that emerged in the eighteenth century, embodying a new attitude towards beauty in nature. It was constructing as part of Enlightenment an English rereading and reclaiming these things for the notions of reason.
Map: I went to Stowe Garden. I draw the plan of the side. This pathway is my journey through the landscape. I marked on map where I am standing, where I am looking through, and what height above the ground. These lines shows the positioning in the landscape, they are the directions through the picturesque views. Then I have started to collect data from different things.
Frames: I tried to understand the idea of picturesque in these frames: “a plain appears a hill, or a hill a plain, according to the point of view from where each is seen” (Macartur 2007). Enlightenment as the point of which certain subjectivity constructed in time and that is what the picturesque was dealing with. It is a creation of utopia as a visual system embedded in a subject. The idea was to be viewed by subject from a specific position.
Section: I was trying to visualize all the hidden bits which have been left out of these spaces. Revealing the hidden landscape, and different perspectives. Layered landscape which reveals lots of hindrance. Reintroducing of other space into another space is what the system is going to do and this is my architecture. Introducing pull-out sections (sheets) and shadows is not introducing slip and slide, it is constructing a landscape. For example, colour effects inside a glass vessel. It is almost bringing the domestic space into the landscape. It was one of the revealing that I did it through the x-ray. And the idea of planting seed from one space to another, because it is the introducing one space into another.
Home photos, Vessel exterior, Double exposures: I am dealing with dependency of the relationships between different bases which make my project a system, and dealing with the interaction in the space itself. Now, I am looking for the relationships between the things that I observed. I am trying to develop some special strategies to define the interior of my vessel with the idea of using the photographs as the objects in a feedback system. I am looking for if could I choose different views, horizons, different heights in relationship to the body.
I have started to construct my landscapes with light being exposed on the photographic paper in the dark room with the snapshots of things. I exposed one space on to another space by using double exposure. I treated the film differently. I masked scenario. I folded scenario. And these are all kind of composing in different scales in the vessel. There are three certain elements of the project; exposures, time, and positioning in actual space. Time is important in terms of duration of exposure and duration of taking in one thing to another. Exposures are drawing the drawings. It is recomposing the landscape, rearticulating. I am collecting new landscapes here by double exposing through the idea of multiplying and layering of something. There are two surfaces and I am moving the objects from one surface to another. I am observing the things moving which reveals the space. When things are moving, it means I am opening the space.
Video 1(home 1): It is first place of my methodology. I am in the space, and acting the relationship with me and objects. It is almost like reading two spaces as the same space. I am constructing the landscape within the space through positioning of objects like the idea of still life. It is all about reversing the relationship. I am determining the landscape and something comes out of something.
Video 2(home 2): This mark leave a trace. These are play with the dynamics now. It is revealing in every objects that get moves to another space been revealed. The object moves when I revealed another porthole into stowe garden. Almost like I am repositioning the body in the landscape as a new alternate picturesque, point of view. I might move into them I might do this as triple (triıpıl) height collage which introduces different bits from different landscapes. If I construct this landscape, I am going to add all the bits in; I am going to layer up small bits to big things.
Kiesler’s Endless House is a nice connection for my project. In this metaphysical house, all about views in the city. The views are devices in this endless house. My project is about viewing the landscape form different perspectives which is always being repeated, shifted. These different portholes are I look through, change the way I see the Stowe Garden through this corridor space. I might think like I am designing an instrument how to view through them. Because, it is not about getting it, it is about the within it. I am a part of the system. My architectural project is about the system that I am working with. It is not inhabiting a space which changes the where you use table, floor, and chair. It is more about everyday space changing how we see other spaces through these portholes different point of view. Like we have a porthole in the house which is called tv. We have interface here which is a porthole which is continually changing our expecting of the world or maybe not.
Video 3 (vessel): Airship is a metaphor which represents the idea of being in a corridor that connects two surfaces. I am operating inside the space when the other space is revealed. When I move something, it is spaces revealed through it. It creates an impression in the ground with its shadow. Vessel casts a shadow over the landscape. I might have this black object being projected somewhere. This vessel which leaves the shadow on the landscape could be the potential side for something else. This hover might be behind the picturesque landscape, in the areas which is not where you supposed to stand.
Interior: I am working with the driver of my project. I am working with the idea of glitch. It is the focus of my system. I am in a corridor where I view this glitch in space. This glitch is like disturbing the framework, spot on my face, pixellance missing in my screen. Focus in the way I view things from different angles. Picturesque is all about the controlling in a way, and I am trying to disturb that and say you can never have control of how we view things. Because we all view things in a different step of mind. My project is about my view in space which totally transforms what the picturesque is in my own subjective view. I am trying to crop the system by dealing with the subjectivity. I am in the glitch object. I am not changing that, people going there for. I am altering the masked off areas, the things behind.
Stowe and Picturesque: I am observing the Stowe Garden. Because it is a place in which somebody archives an artificial landscape in a literal way and each structure has a different history, culture, art and different notion of space. Stowe was owned, enhanced and expanded by one family for almost 350 years. They created one of Europe's most influential landscape gardens in Buckingham. There are over 40 monuments and temples in the 300 hectares site (BBC 2006). These landscapes build a spatial composition bringing together all particular moments in time which gives inspiration to the painters for the picturesque landscapes. The picturesque was a concept that emerged in the eighteenth century, embodying a new attitude towards beauty in nature. It was constructing as part of Enlightenment an English rereading and reclaiming these things for the notions of reason.
Map: I went to Stowe Garden. I draw the plan of the side. This pathway is my journey through the landscape. I marked on map where I am standing, where I am looking through, and what height above the ground. These lines shows the positioning in the landscape, they are the directions through the picturesque views. Then I have started to collect data from different things.
Frames: I tried to understand the idea of picturesque in these frames: “a plain appears a hill, or a hill a plain, according to the point of view from where each is seen” (Macartur 2007). Enlightenment as the point of which certain subjectivity constructed in time and that is what the picturesque was dealing with. It is a creation of utopia as a visual system embedded in a subject. The idea was to be viewed by subject from a specific position.
Section: I was trying to visualize all the hidden bits which have been left out of these spaces. Revealing the hidden landscape, and different perspectives. Layered landscape which reveals lots of hindrance. Reintroducing of other space into another space is what the system is going to do and this is my architecture. Introducing pull-out sections (sheets) and shadows is not introducing slip and slide, it is constructing a landscape. For example, colour effects inside a glass vessel. It is almost bringing the domestic space into the landscape. It was one of the revealing that I did it through the x-ray. And the idea of planting seed from one space to another, because it is the introducing one space into another.
Home photos, Vessel exterior, Double exposures: I am dealing with dependency of the relationships between different bases which make my project a system, and dealing with the interaction in the space itself. Now, I am looking for the relationships between the things that I observed. I am trying to develop some special strategies to define the interior of my vessel with the idea of using the photographs as the objects in a feedback system. I am looking for if could I choose different views, horizons, different heights in relationship to the body.
I have started to construct my landscapes with light being exposed on the photographic paper in the dark room with the snapshots of things. I exposed one space on to another space by using double exposure. I treated the film differently. I masked scenario. I folded scenario. And these are all kind of composing in different scales in the vessel. There are three certain elements of the project; exposures, time, and positioning in actual space. Time is important in terms of duration of exposure and duration of taking in one thing to another. Exposures are drawing the drawings. It is recomposing the landscape, rearticulating. I am collecting new landscapes here by double exposing through the idea of multiplying and layering of something. There are two surfaces and I am moving the objects from one surface to another. I am observing the things moving which reveals the space. When things are moving, it means I am opening the space.
Video 1(home 1): It is first place of my methodology. I am in the space, and acting the relationship with me and objects. It is almost like reading two spaces as the same space. I am constructing the landscape within the space through positioning of objects like the idea of still life. It is all about reversing the relationship. I am determining the landscape and something comes out of something.
Video 2(home 2): This mark leave a trace. These are play with the dynamics now. It is revealing in every objects that get moves to another space been revealed. The object moves when I revealed another porthole into stowe garden. Almost like I am repositioning the body in the landscape as a new alternate picturesque, point of view. I might move into them I might do this as triple (triıpıl) height collage which introduces different bits from different landscapes. If I construct this landscape, I am going to add all the bits in; I am going to layer up small bits to big things.
Kiesler’s Endless House is a nice connection for my project. In this metaphysical house, all about views in the city. The views are devices in this endless house. My project is about viewing the landscape form different perspectives which is always being repeated, shifted. These different portholes are I look through, change the way I see the Stowe Garden through this corridor space. I might think like I am designing an instrument how to view through them. Because, it is not about getting it, it is about the within it. I am a part of the system. My architectural project is about the system that I am working with. It is not inhabiting a space which changes the where you use table, floor, and chair. It is more about everyday space changing how we see other spaces through these portholes different point of view. Like we have a porthole in the house which is called tv. We have interface here which is a porthole which is continually changing our expecting of the world or maybe not.
Video 3 (vessel): Airship is a metaphor which represents the idea of being in a corridor that connects two surfaces. I am operating inside the space when the other space is revealed. When I move something, it is spaces revealed through it. It creates an impression in the ground with its shadow. Vessel casts a shadow over the landscape. I might have this black object being projected somewhere. This vessel which leaves the shadow on the landscape could be the potential side for something else. This hover might be behind the picturesque landscape, in the areas which is not where you supposed to stand.
Interior: I am working with the driver of my project. I am working with the idea of glitch. It is the focus of my system. I am in a corridor where I view this glitch in space. This glitch is like disturbing the framework, spot on my face, pixellance missing in my screen. Focus in the way I view things from different angles. Picturesque is all about the controlling in a way, and I am trying to disturb that and say you can never have control of how we view things. Because we all view things in a different step of mind. My project is about my view in space which totally transforms what the picturesque is in my own subjective view. I am trying to crop the system by dealing with the subjectivity. I am in the glitch object. I am not changing that, people going there for. I am altering the masked off areas, the things behind.
Tuesday, 23 March 2010
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