John Tonkin air, water part 2

air, water is a series of lyrical and poetic computer animated studies of the elements air and water. The artist has written software combining mathematical models of different physical phenomena such as gravity, elasticity and aerodynamics to create abstracted simulations of natural phenomena. Although these simulations are relatively simplistic, the motion they exhibit is both complex and naturalistic.

These virtual environments evoke a range of emotional tones. Each animation is a journey through one of these imaginary landscapes. In contrast to most contemporary computer animation which seems to aspire to ever more dense and spectacular imagery, these works are visually sparse and deliberately simple. The sound-tracks, composed by Tony Kastanos, are played by an acoustic ensemble.

air, water was produced in association with the Australian Film Commission. It sidesteps the urge to recreate the real world as digital information, and finds virtue in its limitations. Each of the pieces offers a journey through an ever shifting terrain: a heaving sea defined by coloured checks ... the simulation of the invisible subtleties of air by passing paper thin objects through its vagrant movements, and finally, capturing the currents of an invisible sea through the movement of reed-like lines. All pieces are constituted by a tracking forward motion, a relentless and gentle penetration of space... the result is a strangely soothing promise of the digital age. It may remain human after all. John McConchie, FilmNews 1994.

The audience is certainly taken on a journey, it is one which is meditative and has qualities that provide a space for the viewer. Such a space is a rare thing with contemporary media, and one which the audience certainly appreciated. ... where are these very familiar, and yet imagined places? ... it is a very light touch that we are witnessing ... These sophistications and formal qualities ensure this piece's subverted and re-emergent serenity will remain and recur. Cecelia Cmielewski, Broadsheet 1994.

Information for students - issues / themes / art practice

John Tonkin is both a scientist and an artist. In the early eighties, after studying biological sciences, he began experimenting with film, video and animation. Tonkin's interests converge in air, water a three part computer animation series created using mathematical modeling to simulate the rhythms of nature. In air, water part 2, pages gently fall to the ground as the audience is invited into an immersive blue space. The visual effects are both evocative and minimal, a far cry from the visual noise of much contemporary computer animation.

Tonkin collaborated with composer Tony Kastanos to develop the sound component for air, water part 2, the middle work in the series. Where the imagery is obviously tightly controlled and computer generated, the music is improvisational and emotive. The visual forms of the electronic animation find their counterpart in the ambient and sparse musical score performed by an ensemble of violin, cello, double bass and gong. The score is performed in the Dorian mode, an ancient mode based on descending notes. The falling musical intervals echo the movement and gentle drift of the falling shapes in Tonkin's virtual nature.

Deliberately simple, air, water part 2 invites the audience on an emotional journey, one that is open-ended and abstract. Tonkin's motion studies are not based on replicating nature but rather abstracting it to appeal to the widest possible audience. This union of music and image is reminiscent of the early twentieth century abstractions of painter Wassily Kandinsky. Music, specifically the compositions of Schoenberg, greatly influenced Kandinsky's move towards abstraction. For Kandinsky, the more abstract the form, the more direct its appeal. He wanted painting to aspire towards the abstraction of music.

In a world where we have little time, the acceleration of our lives inhibits deep, reflective thought. John Tonkin creates time and space for the audience to experience and reflect on the passage of time. According to John Tonkin: We live in a time of great technical innovation. While the consequences of much of these technologies are very problematic, we increasingly have access to great toys. Particularly significant are the development of visualisation and collaborative networking technologies...I am interested in exploring the artistic potential of these technologies to create systems that investigate a range of issues and allow the user to play.

John Tonkin, artist statement, in "Profile: John Tonkin" Arts in Australia, Australia Council website. Available online: www.ozco.gov.au/arts_ in_australia/artists/artists_new_media_arts/ john_tonkin

Critical reviews / Quotes

"The artist has written software to create simulations of natural phenomena using mathematical models of physical forces such as gravity, aerodynamics and elasticity. Although these simulations are relatively abstracted, the motion they exhibit is both complex and naturalistic. "
Available online: www.johnt.org/projects/ airwater.html

"He tries to graph the imponderable without becoming ponderous, and so uses computers for paradoxical purposes. The results of his calculations couldn't be further from the spreadsheets and pie charts that glaze eyes in board meetings conducted in this era of the PowerPoint presentation. It is no small achievement to make beauty from statistical sludge. "
Ross Gibson "Painting by numbers" Pol Oxygen vol 6 2003-04