‘The map is not the terrain’ ( Abraham Maslow, from The Farther Reaches of Human Nature, 1971 )
Lesson / Koan : Leave the earth’s surface as many times daily as possible.
In “The Farther Reaches of Human Nature“, an extension of “Toward a Psychology of Being“, Maslow explores the complexities of human nature by using both the empirical methods of science and the aesthetics of philosophical inquiry. With essays on biology, synergy, creativity, cognition, self-actualization, and the hierarchy of needs, this posthumous work is a synthesis of Maslow’s ideas.
A Space Between Utopia and a Place We Know 2006, (210x297mm, 100pp., 126 ill. in colour). Bookwork prototype/as yet unrealized.
A large public park interpreted during the course of several months as a photo-essay.
‘When the night lights are extinguished the sky reasserts itself as the common denominator of all architectonic features; a temporal phenomenon that appears to modify volume, bulk, surface and, most crucially, mood. The shadow forms that expand and contract are two-dimensional distortions that reveal gradients, curves and hard edges; both mapping and animating. A single building lies under the sky, a unitary space, that closely defines its own immediate area, multiplying-up to form the greater whole of the city – a multifarious space that is not easy to comprehend or experience in its’ totality from a fixed, ground level viewpoint‘ – Richard Schofield
Richard is a British artist/photographer. He graduated with a degree in Multi-Disciplinary Design (with central studies in Graphic Design) from Staffordshire University in 1994. He has taught and exhibited both in the University of Brighton and Birmingham City University in the UK. In addition to photography his professional creative practice has included mixed media, screen-print, video(including several pieces commissioned by BTV in Barcelona), small-scale sculpture, Public Art, and electronic/experimental music. He is especially interested in the relationship between word and image, and the relationship of the still to the moving image.
another project by Richard Schofield, beyond terrain.
NIGHT FOR DAY
Or maybe Day for Night, being a (or various) technical process(es) whereby night scenes for cinema films can be shot-by-day.
In this way, Jon Voight’s character in ‘Deliverance’ (John Boorman 1972) sits exhausted on a cliff-top under an acidicly glaring sun which burns like magnesium through the make-believe gloom. The tension seems to increase as a result of the fake obscurity. Adverse light conditions force us to narrow our eyes and to seek artificial forms of protection or illumination.
multifarious |ˌməlt(ə)ˈfe(ə)rēəs|adjective – many and of various types : multifarious activities.• having many varied parts or aspects : a vast multifarious organization.