more inspiration from Rohtko

I have dropped the using bitmapData because although the effect it gives is good, it ends up obliterating itself in a a short amount of time and turns the whole screen black including the cursor. Since what I am aiming for is a gentle and slow transformation of the image triggered by movement, I am now using the blur and glow filters together and changing the color using a timer. This has meant learning about arrays, filters and timers in AS3. It is going well and working! Since I have now reached the point of getting a functioning application, the time has come to concentrate and think more about the conceptual experience. For this I went back to the source; Mark Rothko and have been reading about what he wanted to achieve in his work and the intended  relationship between the painting and the viewer I propose to take some of his ideas and apply them to this installation.
see below for some of the ideas I am most interested in.

'And I think one of the things that makes this extraordinary quality of Rothko’s canvases is that they are almost like blank cinema screens. You almost have the sense you, as the viewer, now begin to project onto the canvas.  So there is a space for response.  It’s also very much about duration.  It is how long can you look? ' 

http://www.tate.org.uk/tateshots/episode.jsp?item=16698

transcript of curator’s video commentary on Rothko exhibiton

'In the dimness the paintings appear at first fuzzy, and move inside themselves in eerie stealth: dark pillars shimmer, apertures seem to slide open, shadowed doorways gape, giving on to depthless interiors. Gradually, as the eye adjusts to the space's greyish lighting - itself a kind of masterwork - the colours seep up through the canvas like new blood through a bandage in which old blood has already dried. The violence of these images is hardly tolerable - as Rilke has it: "Beauty's nothing / but beginning of Terror we're still just able to bear." Here we are in the presence not of religion, but of something at once primordial and all too contemporary.'

On a notecard from the 1950s, Rothko had written, in his usual clotted style that yet makes his meaning entirely clear:

"When I say that my paintings are Western, what I mean is that they seek the concretization of no state that is without the limits of western reason, no esoteric, extra-sensory or divine attributes to be achieved by prayer and terror. Those who can claim that these [limits] are exceeded are exhibiting self-imposed limitations as to the tensile limits of the imagination within those limits. In other words, that there is no yearning in these paintings for Paradise, or divination.On the contrary they are deeply involved in the possibility of ordinary humanity."

John Banville writes a personal appreciation of Rothko after a visit to Tate Modern's Rothko Room.

http://www.tate.org.uk/tateetc/issue7/rothko.htm

It is also true that the process of building the application has turned up some ideas of its own. Each iteration determines the next step to be taken, it is very much a case of trial and error. I see this process as being at the core of the creative process. I am most successful when I allow ideas to live as 'trials'. ie if I do this will it achieve what I want or not? only by acting out this kind of approach are questions answered. It is a inquiry. In some repsects all the iterations that will lead to final outcome are as much a part of the installation. In other words I do not have success with making a plan/design and then building it.