Note: originally written in physical journal, but forgot to post properly on here. Anyway, lets pretend its still May 20.
This week, I began to refine my general concept and bridge the previously disunited themes of “Stained Glass,” “Heidegerrian frames,” and “digital windows.”
Material: In order to root my idea in media and digital windows, (i.e. the age of windows, the dissonance between man and nature created by modern technology,) I am no longer considering painting or more traditional methods Rather, I will make a video piece, which is slightly outside my usual material practice.
Conceptual: (already outlined earlier in the blog,) essentially still related to the duality of the window as both a metaphysical frame and a physical apparatus, the purpose of which is to organise our perception of reality in some way. The Rose window once possessed a higher transcendental purpose, yet digital technology aims to replace/imitate our experience of nature rather then transform it.
My aim is to construct a geometric template onto which I can begin designing my window. I also need to further study the symbolic purpose of the window.
The main challenge presently is: how can the stained glass window be made contemporary, without distorting and reducing its sacred symbols to pure aesthetic simulation? How can we transfer these motifs without resorting to Gothic revivalism?
“Stained Glass, Light Metaphysics, and Medieval Allegorical Commentary,” by Aelredus Rievallensis:  https://sicutincensum.wordpress.com/2019/11/29/light-metaphysics-and-medieval-commentary/
Gemma Animae (130-136), by Honorious, a 12th century theological commentary on stained glass
The Origin of the Work of Art, 1950, by Martin Heidegger
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