account - let’s roll the dice
(don’t) loose the thread: paint and write this is way to common thinking standard, though
Let’s start with exploring with writing only:
Writing in three dimensions explores the concept of expanding traditional, linear writing (typically confined to the two-dimensional page or screen) into a more dynamic and spatial form. It involves thinking of text as something that can exist in physical space, interact with the environment, and be experienced from multiple perspectives simultaneously. This concept merges elements of visual art, sculpture, and interactive storytelling, and can be explored through several lenses:
1. Visual and Spatial Writing
Three-dimensional writing can involve text in physical form, where the words themselves take on a sculptural quality. This approach redefines how writing is perceived and interacted with by adding depth, volume, and tactile elements.
Examples:
- Text sculptures: Artists like Jenny Holzer have transformed writing into large-scale public installations, where words are physically built into architectural spaces or projected as light.
-
Word sculptures: Text can be carved, moulded, or constructed in ways that change its appearance from different angles, requiring viewers to move around the structure to fully grasp its meaning.
Example: Robert Indiana’s “LOVE” sculpture, where the arrangement of letters has both visual and symbolic depth.
basically both examples are more 2D than 3d though
- Augmented reality (AR) and virtual reality (VR): New media technologies allow for immersive storytelling where text can float in space, be manipulated by the reader, or exist in three-dimensional landscapes. This expands the traditional form of reading into a more interactive, navigational experience.
Implications:
- Words can be arranged spatially in ways that change how they are read. Readers may encounter text differently depending on their position or perspective.
- Three-dimensional text installations can add layers of meaning by incorporating environmental factors (like light, shadow, and proximity) to affect interpretation.
2. Interactive and Kinetic Writing
Three-dimensional writing can also be kinetic, engaging with movement and time. Rather than being static, the text can change form, shape, or position in response to interaction or over the course of time.
Examples:
-
Kinetic typography: This form of dynamic, animated text can change shape, move, or transform over time, often used in video art, film, or digital presentations to emphasize or visually express language.
Example: In motion graphics, words might stretch, spin, or morph to express emotions or concepts like speed or chaos.
-
Interactive installations: Artworks or digital systems where text changes based on user interaction, such as walking through a space, touching an object, or triggering sensors. This transforms the reader into an active participant, with the meaning of the text unfolding as they engage with it.
Time though is the 4th dimension in SpaceTime/TimeSpace continuum
therefore it doesn’t really count
Implications:
- Meaning isn’t fixed but is fluid and unfolds with time and interaction, giving the reader agency to influence the experience of the text.
- This dynamic dimension blurs the boundary between reader and writer, as both can participate in the creation or transformation of the text.
3. Narrative in 3D Space
Moving beyond linear writing, stories can be told spatially, where the reader navigates through physical or virtual environments that reveal pieces of the narrative. This can be seen as an evolution of traditional storytelling, where the plot unfolds based on where the reader chooses to go or how they interact with objects or text.
Examples:
-
Escape rooms and immersive theatre: These experiences often involve hidden texts or clues that participants must uncover in physical space, blending story, puzzle-solving, and interactivity. The text is embedded in the environment and part of the narrative experience.
Example: In a historical-themed escape room, participants might uncover letters, symbols, or documents that gradually tell a story, allowing them to explore the narrative in a non-linear way.
-
3D virtual environments: In VR experiences, users can explore entire worlds where text is embedded into the landscape. The structure of the story could change based on where the participant goes, emphasizing spatial exploration as a form of reading.
Implications:
- The traditional linear structure of narrative is broken, replaced by branching paths or an open-world model, where readers explore and discover different elements of the story at their own pace.
- Spatial storytelling challenges the reader’s sense of time and sequence, as narrative elements could be experienced in multiple orders.
4. Architectural and Environmental Writing
This concept extends to writing as architecture, where the structure itself becomes a text, and the experience of moving through space becomes an act of reading. Architectural forms, sculptures, or environmental designs can embody language, with meaning revealed as the individual navigates or inhabits the space.
Examples:
-
Literary architecture: Imagine a building whose design is inspired by a narrative, such as a library shaped to represent the progression of a story, with different sections dedicated to different phases of the narrative.
Example: The House of Books in St. Petersburg, Russia, uses its structure to embody its function as a place for literature and learning, with features that represent layers of knowledge.
-
Environmental writing: Public spaces where text is embedded in the landscape (like inscriptions in pavement or walls) that form part of a larger storytelling experience.
Implications:
- Words are no longer contained within the page but become part of the landscape or architecture itself, creating a lived, immersive experience of writing.
- Reading becomes a physical journey through space, where text is encountered as part of the environment.
5. Conceptual and Philosophical Dimensions
Three-dimensional writing can also represent more conceptual or philosophical explorations, such as the interplay between time, space, and meaning in storytelling or expression. In this context, 3D writing engages with how language and narrative can be experienced non-linearly or multi-dimensionally, reflecting complex structures of thought, memory, and consciousness.
Examples:
- Time loops and fragmented storytelling: Three-dimensional structures can be used in narratives where time loops or fragments, with readers needing to navigate different timelines or fragmented narratives.
Implications:
- A philosophical rethinking of how language and narrative function, allowing for more complex representations of time, memory, and human experience.
Expanding the Possibilities of Text Writing in 3D
It pushes the boundaries of traditional narrative and language by integrating text with physical and digital space, creating multi-sensory, interactive, and spatial experiences. By incorporating aspects of visual art, sculpture, architecture, and technology, three-dimensional writing enables stories and messages to unfold in new, immersive ways, challenging our understanding of what it means to read and write in the modern world.
These chapters ignored so far the method of account and counting in the context of painting is like writing
best example of writing in 3d
The dice is a perfect example of counting, account, writing and painting in and with 3d.
Box and cube geometry/tries … cube, box, frame, shovel, half-cube
the dice is an interactive random and gaming tool
The dice, in its various forms, serves as a profound symbol and tool for understanding the relationship between painting and writing as intertwined processes, particularly in how they account for and recount experiences through different mediums. Both painting and writing are rooted in creating mental imagery, or “mind-pictures,” and they share key aspects of structure, randomness, and interpretation, which the dice helps illustrate.
3D Representation of Creative Process
The dice, whether cubic or in other shapes like tetrahedral, octahedral, or dodecahedral, represents a multi-dimensional space where outcomes can shift and vary depending on the angle or face presented. This mirrors how both painting and writing operate in three-dimensional mental spaces. Each face or side of a dice can be thought of as a potential facet of a story, a visual element, or a symbolic meaning that unfolds in the mind of the observer. When a dice rolls, it transitions between these facets, creating a seamless movement between possibilities, much like how painting transitions into writing and vice versa, depending on how meaning is structured and conveyed.
Transition Between Accounts and Recounts
The act of rolling a dice represents an account—a single action with a measurable result. The faces that appear are much like brushstrokes on a canvas or words on a page, marking a moment of creative decision. However, each roll also invites recounting—the interpretation and reconsideration of the outcome. This mirrors the process of engaging with art or literature, where both are subject to re-reading or re-viewing, and new interpretations can arise, shifting the narrative or visual meaning. The dice symbolizes the transition between these stages, as the outcome of one roll impacts the next, reflecting how painting and writing evolve as fluid expressions of creativity.
Structure, Symbols, and Chance
The dice also encapsulates the balance between structure and chance inherent in both art forms. Both painting and writing have foundational structures—whether it’s composition, form, narrative, or syntax—that guide the overall creative process. The numbered sides of the dice symbolize these defined elements that structure creative work. Yet, the element of chance, which comes into play with each roll, reflects the unpredictability and creative spontaneity that can arise in both painting and writing. The way a dice lands is never entirely controlled, just as inspiration or interpretation can take unexpected turns. This element of chance creates a dynamic that allows for new ideas, new combinations, and novel expressions.
Mind-Pictures in Three Dimensions
Ultimately, the dice serves as a tool of 3-dimensional painting and writing in the mind. It encapsulates the idea that both forms of expression move beyond their physical dimensions. Whether through color and composition in painting or through words and narrative in writing, both forms create mental images that engage with the viewer or reader’s imagination in multi-layered, often non-linear ways. Like the dice, which moves in three-dimensional space, painting and writing construct mind-pictures that are vivid, shifting, and alive in the mind’s eye, moving between layers of meaning, symbols, and interpretations.
Transition of Mediums
The dice, particularly in its variant forms, shows the fluid transition between painting and writing. Each side can be seen as a distinct mode of expression, but it is in the rolling, turning, and transitioning from one face to another that the creative process truly becomes unified. The interplay of forms, like painting becoming narrative, or writing transforming into visual description, reflects this dynamic, where neither medium is static but rather constantly evolving. The dice’s capacity to embody these shifts underscores how painting is like writing, and vice versa, as they converge through the dimensional transitions between visual and literary expression.
In sum, the dice is not merely an analogy but a three-dimensional model of how painting and writing operate as interrelated forms of storytelling and accounting. Through its multi-faceted nature, the dice represents the ongoing transition between the two, where mind-pictures, accounts, and recounts move seamlessly across dimensions, offering ever-new outcomes and interpretations.