There's only a few days left until the final deadline of phase 4, and I haven't completed it yet! I am still in the phase of waiting for my image file to be sent around by e-mail from one participant to another.
I forgot if I had previously mentioned that I forgot to document one of the steps for the physical transformation section of my phase 4, but I have decided to go along with it and do one more documented phase to make up for it at the end myself. I plan to make a pdf document that presents each transformation and write a little blurb beside it documenting what has been changed. The rationale for the whole project would be included at the beginning to give a sense of what I am trying to accomplish.
As of now, I am happy with my phase 4 because the changes are becoming more interesting as it goes through the next step. It was the right decision to allow any changes possible because if I had restricted what they can do to the image, then it wouldn't be able to showcase so much fun and diverse ideas.
Thursday, May 21, 2009
Tuesday, May 12, 2009
Phase 4 Process
Okay, I have decided to do the exquisite corpse (image based) for my phase 4. The image that I chose to work with is an image of the Hong Kong Disney Land that is lighted at night. I chose this image because it is the classical example of Jean Baudrillard's term simulacra, which is defined as follows: the key piece is that where images used to refer to something outside themselves, we have now moved into an era in which images seem to refer to things outside themselves but are in fact devoid of any reference — that is, they are simulacra, things which bear no relation to reality, so that there is no “re-presentation” because there is nothing which is “present” in the first place to be presented again (”re-”) in the second. “Simulacra” (plural of simulacrum) seems to refer to individual instances of the phenomenon, whereas “simulation” seems to refer to the whole system.
Disney land is a perfect example of simulacra because it refers to itself, which does not have a solid foundation. It is a completely made up thing with thoughts and ideas.
What I did for my phase 4 so far is that I have printed the image on a piece of paper and passed it around to my classmates not just in the facs class to make any changes to it providing them with a box full of materials such as paint, pastels, pencil crayons, and magazine/scissors. I want to complete the first 5 transformations in hard copy, then transfer the image digitally and ask people to make changes to it there. This allows for a wide range of changes that can be made. This process relates to how art can exist between the boundary of physicality and technology. At the end, although the image would be transformed, it in itself remains the same because it refers to only itself and nothing else.
Source: http://thebookman.wordpress.com/2008/03/01/postmodern-terms-saccade-to-typological-study/
Disney land is a perfect example of simulacra because it refers to itself, which does not have a solid foundation. It is a completely made up thing with thoughts and ideas.
What I did for my phase 4 so far is that I have printed the image on a piece of paper and passed it around to my classmates not just in the facs class to make any changes to it providing them with a box full of materials such as paint, pastels, pencil crayons, and magazine/scissors. I want to complete the first 5 transformations in hard copy, then transfer the image digitally and ask people to make changes to it there. This allows for a wide range of changes that can be made. This process relates to how art can exist between the boundary of physicality and technology. At the end, although the image would be transformed, it in itself remains the same because it refers to only itself and nothing else.
Source: http://thebookman.wordpress.com/2008/03/01/postmodern-terms-saccade-to-typological-study/
Monday, May 4, 2009
A little about copy art
Last week we had a presentation about copy art. I didn't understand some of the information that was presented so I decided to research a little bit about this topic.
What is Copy Art?
Well, I had originally thought that copy art refers to anything the artist copies based on an existing piece and calls it his own, kind of like appropriation. Apparently I had misunderstood this concept...Copy Art is apparently something that is made using a photocopier as the main medium. The artist makes use of the light and distance of the original piece along with other modifications to create a 'new' image when photocopied.
What I think about it...
I remember in class, Carol posed the question whether the artist or the machine is the main creator of Copy Art. I would say that the artist remains as the main creator of the piece although it is the machine that does the physical manipulation. This is because the decisions made in the process are by the artist. Without these decisions and instructions, the machine wouldn't be capable of producing a meaningful piece (takes us back to the question of meaning).
Another question that was posed by Carol is whether Copy Art would live on in the future. My answer to this is definitely because its method is interchangeable with many types of technology that are present today, providing artists with new ways to experiment. In addition, all art is Copy Art in a way because art itself is a copy of our experience of the physical (and sometimes virtual nowadays) of the world. Copying something that is already copied is right in every way as it expresses our experience of the copied object. However, my ideas about cloning remain reserved as it is too complicated to discuss it right now.
What is Copy Art?
Well, I had originally thought that copy art refers to anything the artist copies based on an existing piece and calls it his own, kind of like appropriation. Apparently I had misunderstood this concept...Copy Art is apparently something that is made using a photocopier as the main medium. The artist makes use of the light and distance of the original piece along with other modifications to create a 'new' image when photocopied.
What I think about it...
I remember in class, Carol posed the question whether the artist or the machine is the main creator of Copy Art. I would say that the artist remains as the main creator of the piece although it is the machine that does the physical manipulation. This is because the decisions made in the process are by the artist. Without these decisions and instructions, the machine wouldn't be capable of producing a meaningful piece (takes us back to the question of meaning).
Another question that was posed by Carol is whether Copy Art would live on in the future. My answer to this is definitely because its method is interchangeable with many types of technology that are present today, providing artists with new ways to experiment. In addition, all art is Copy Art in a way because art itself is a copy of our experience of the physical (and sometimes virtual nowadays) of the world. Copying something that is already copied is right in every way as it expresses our experience of the copied object. However, my ideas about cloning remain reserved as it is too complicated to discuss it right now.
Monday, April 27, 2009
Phase 4
Last tutorial, we have gone through some questions regarding the first suggestion of what you can do for phase 4, I want to take this opportunity to address some questions for the two suggestions we haven't looked at yet.
Google Image Trawl/Small World/Rhizomes/Digital Trails
- do we have to focus on all of the key words or just one? Or are they just suggestions
- do we have to use google or can we use yahoo and other search engines as well?
- are we restricted to using just one search engine?
- how many possibilities do we have to come up with?
- what format do we need to present the information in?
- can we crop/edit the image ourselves are does it have to be found? (can we ask a friend to edit it?)
- do we record our thoughts too?
- does the person on the other end have to know about the purpose of the call?
- can it be scripted?
- what happens if we miss information because of delay or overlap?
- how many times do we have to perform this?
- do we perform this with the same individual?
Based on the suggestions so far, I'm leaning more towards the e-mail art and the google image trawl. I think that all of these have to do with the degrade of information through communication technology (a lot like the telephone game I used to play when I was a child). The result is always interesting and completely different from the original message. I have never did anything similar to this with imagery, so I am more inclined to focus on that area. Another question is: Does the original image for the e-mail art have to be found or can you produce it yourself?
Yep...and I glad that we finally have a break from lecture this week. Work is really cramming up at this time of the year.
Google Image Trawl/Small World/Rhizomes/Digital Trails
- do we have to focus on all of the key words or just one? Or are they just suggestions
- do we have to use google or can we use yahoo and other search engines as well?
- are we restricted to using just one search engine?
- how many possibilities do we have to come up with?
- what format do we need to present the information in?
- can we crop/edit the image ourselves are does it have to be found? (can we ask a friend to edit it?)
Revisiting key works involving technology using contemporary technologies
- how would we do a written documentation of a cell phone conversation?- do we record our thoughts too?
- does the person on the other end have to know about the purpose of the call?
- can it be scripted?
- what happens if we miss information because of delay or overlap?
- how many times do we have to perform this?
- do we perform this with the same individual?
Based on the suggestions so far, I'm leaning more towards the e-mail art and the google image trawl. I think that all of these have to do with the degrade of information through communication technology (a lot like the telephone game I used to play when I was a child). The result is always interesting and completely different from the original message. I have never did anything similar to this with imagery, so I am more inclined to focus on that area. Another question is: Does the original image for the e-mail art have to be found or can you produce it yourself?
Yep...and I glad that we finally have a break from lecture this week. Work is really cramming up at this time of the year.
Monday, April 20, 2009
Another Monday...
Today we watched a video that was aired live in 1994 that shows us the communication between different broadcast locations. This video is a comment on how we communicate to each other in the same electronic space. Compared to the quality and level of communication now, this video can be described as something very chaotic.
This leads me to think about the level of electronic communication now. It is true that television shows are organized in different genres and are grouped by different stations, but the idea of hundreds of television programs running at the same time in different places is chaotic itself. The internet is parallel with this as there are millions of websites that exist within the same space. Someone could be messaging their friend on facebook the same time 300 other individuals are looking at photos, researching, watching videos, or uploading files. We may think that we have developed to a more organized system, but in fact the level of communication we have now is not much different from the electronic communications in 1994.
This leads me to think about the level of electronic communication now. It is true that television shows are organized in different genres and are grouped by different stations, but the idea of hundreds of television programs running at the same time in different places is chaotic itself. The internet is parallel with this as there are millions of websites that exist within the same space. Someone could be messaging their friend on facebook the same time 300 other individuals are looking at photos, researching, watching videos, or uploading files. We may think that we have developed to a more organized system, but in fact the level of communication we have now is not much different from the electronic communications in 1994.
Monday, April 13, 2009
Early Monday Morning...
Nothing like to start your day watching a man breaking out of the television...Today in class, we were shown a video by the artist Douglaus Davis where he created an illusory space
by preforming a piece where he tries to find the audience and breaks out of the television to reach them. This comments on the televisual culture today where what we see is considered as a world separate from ours. The artist here brings the world of television back to our world and tries to break the boundary between us (the screen).
Aside from that, I have to get my presentation ready for this week on the fluxus experience...I find that this topic is pretty obscure as there are many ways of interpreting it. I think that I will present this topic by guiding the class through my step to step process of defining this topic through looking at different works and relating it back to what we are doing in this class.
It is Easter Monday today, but I still have to go to school *sigh*
by preforming a piece where he tries to find the audience and breaks out of the television to reach them. This comments on the televisual culture today where what we see is considered as a world separate from ours. The artist here brings the world of television back to our world and tries to break the boundary between us (the screen).
Aside from that, I have to get my presentation ready for this week on the fluxus experience...I find that this topic is pretty obscure as there are many ways of interpreting it. I think that I will present this topic by guiding the class through my step to step process of defining this topic through looking at different works and relating it back to what we are doing in this class.
It is Easter Monday today, but I still have to go to school *sigh*
Monday, April 6, 2009
More thoughts about lecture...
Christian Marclay's "Telephones" features footage of phones ringing, people answering phones, waiting on the phone, talking, and hanging up. What sounds like a continuous sound piece but when you look at the image, it is discontinuous. The purpose is to show how repetitive films are and show how standard actions are preformed similarly. This piece emphasizes and frames the differences between sound and image. We hear these sounds in a daily basis, but we are so focused on the visual culture, we begin to block out certain sounds and choose what we want to hear. I think it is for this reason, the phase 3 project tries to shift the focus back to sound.
Another aspect to sound is the tension between the performer and the audience, in the example by Max Neuhaus (in the previous blog) the performer is the audience too. At first, it is a solo performance, but then as more people called in to the radio station whose voice is remixed, it becomes a collaborative performance and the performer is forced to take the role of the audience as well.
Another aspect to sound is the tension between the performer and the audience, in the example by Max Neuhaus (in the previous blog) the performer is the audience too. At first, it is a solo performance, but then as more people called in to the radio station whose voice is remixed, it becomes a collaborative performance and the performer is forced to take the role of the audience as well.
Monday, March 30, 2009
Psychotic Sounds O_O
Today Marc played a series of different pulses and tones constructed by various artists. What is interesting about it is that there is the creation of a 3rd tone that isn't really there and is solely constructed by how the listener perceives sounds. This brings us to the concept of how "the listener is always the co-creator of the work" (quoted from Marc) because art is subjective. The following pieces acknowledges this and is created to play with how the brain deciphers sounds.
James Tenney - Ann Rising : as it goes up, it gradually fades out, and can hear the lowest frequency as it loops over and over again...therefore as you're going up, you're actually creates the illusion of going down and no where (Shephard tones)
Maryanne Amacer - Intrac Rontal: difference tones, two pitches very close together= creation of third low frequency in the mind
Ryoji Ikeda - Using minimal pulse with different frequencies to give a sense of how time is passing
Max Newhaus - Radio Net: taking over a radio station and set up a record system recording calls in which he remixes them in real time. The delay between actually speaking and the radio playback in real time eventually mixes many of the callers voices together creating a crowd of voices.
These works relate directly with phase 3 because it distorts what is reality and what is constructed. By knowing how the brain works, the simple record of two high pitched sounds may create a third sound or the illusion of a loop, which is constructed by the listener.
James Tenney - Ann Rising : as it goes up, it gradually fades out, and can hear the lowest frequency as it loops over and over again...therefore as you're going up, you're actually creates the illusion of going down and no where (Shephard tones)
Maryanne Amacer - Intrac Rontal: difference tones, two pitches very close together= creation of third low frequency in the mind
Ryoji Ikeda - Using minimal pulse with different frequencies to give a sense of how time is passing
Max Newhaus - Radio Net: taking over a radio station and set up a record system recording calls in which he remixes them in real time. The delay between actually speaking and the radio playback in real time eventually mixes many of the callers voices together creating a crowd of voices.
These works relate directly with phase 3 because it distorts what is reality and what is constructed. By knowing how the brain works, the simple record of two high pitched sounds may create a third sound or the illusion of a loop, which is constructed by the listener.
Wednesday, March 25, 2009
Phase 3 Ideas
After hearing that the captured pieced can be preformed as well, I have came up with an idea for my phase 3 in hopes of blurring the distinction before what is captured and constructed.
For my captured piece, I plan to record something that is obviously constructed so that it will fool people to think that it is actually constructed when it isn't. For my constructed piece, I plan to either to construct the piece that I will record for my captured piece, make additions of sounds on top the the constructed piece so fool the audience that it is playing in the background of a captured piece, or use different 'natural' sounds to make the constructed seem like it is captured.
For my captured piece, I plan to record something that is obviously constructed so that it will fool people to think that it is actually constructed when it isn't. For my constructed piece, I plan to either to construct the piece that I will record for my captured piece, make additions of sounds on top the the constructed piece so fool the audience that it is playing in the background of a captured piece, or use different 'natural' sounds to make the constructed seem like it is captured.
Monday, March 16, 2009
Phase 3 - Sound
As an introduction to phase three, Marc has given us a briefing on sound with the movie
"The Conversion" by The Director's Company. This movie is interesting because it examines a conversation with three different microphones placed in different positions. It is through careful editing that the main character finds out what the man was saying to his friend in a noisy background. This leads us perfectly to our phase 3 because sound is something that travels around with no exact location where receivers in different location will have a different depiction of it. The way I understand phase 3 is that we are supposed to record 1 sound in its existing environment and create 1 sound which is a constructed with different sounds. The goal is to make both the sounds sound like it is constructed by emphasizing on the layers of sounds to understand the matter more in depth.
I just have one question at this point: Can we record sound using cell phones or do we have to use some high tech equipment?
"The Conversion" by The Director's Company. This movie is interesting because it examines a conversation with three different microphones placed in different positions. It is through careful editing that the main character finds out what the man was saying to his friend in a noisy background. This leads us perfectly to our phase 3 because sound is something that travels around with no exact location where receivers in different location will have a different depiction of it. The way I understand phase 3 is that we are supposed to record 1 sound in its existing environment and create 1 sound which is a constructed with different sounds. The goal is to make both the sounds sound like it is constructed by emphasizing on the layers of sounds to understand the matter more in depth.
I just have one question at this point: Can we record sound using cell phones or do we have to use some high tech equipment?
Monday, March 9, 2009
Winter Term - 1st Class
Today's lecture focused on the topic of surveillance vs. souveillance (watching back). I thought this is interesting because we are used to being captured on surveillance cameras in our public life, but we have never thought about acting and watching the ones that watch us back. It leads me to wonder who is watching you on the other side or if there really is anybody, which relates to the example we talked about in lecture today.
Marc gave us an example of the panopticon, it is jail in which the cells are lined in a circular shape one on top of each other. The jail guards watch them in a tower in the center, where the window spans all the way across. The glass is tinted so the inmates have no idea when they are being watched or if there is anybody watching them. This forces the inmates to behave themselves at all times. This example relates to myself because I know that I am being watched all the time outside from home (sometimes inside my home) if not by cameras, by other people. Souveillance is similar when I look back at somebody that is looking at me.
In real life when my gaze is caught with somebody else, one or both of us would immediate turn away avoiding the gaze. This can be related to the surveillance camera performers as they perform in front of security cameras for the security and surrounding people to see. This is highly unnatural and, similar to my example, the security would like to avoid this from happening again and would rush to the scene and tell them to stop.
Why do people watch people if people don't like to be watched? Is it fun watching other people? - a question to think about
Marc gave us an example of the panopticon, it is jail in which the cells are lined in a circular shape one on top of each other. The jail guards watch them in a tower in the center, where the window spans all the way across. The glass is tinted so the inmates have no idea when they are being watched or if there is anybody watching them. This forces the inmates to behave themselves at all times. This example relates to myself because I know that I am being watched all the time outside from home (sometimes inside my home) if not by cameras, by other people. Souveillance is similar when I look back at somebody that is looking at me.
In real life when my gaze is caught with somebody else, one or both of us would immediate turn away avoiding the gaze. This can be related to the surveillance camera performers as they perform in front of security cameras for the security and surrounding people to see. This is highly unnatural and, similar to my example, the security would like to avoid this from happening again and would rush to the scene and tell them to stop.
Why do people watch people if people don't like to be watched? Is it fun watching other people? - a question to think about
Tuesday, February 17, 2009
Fluxus....
I was just looking at some information for my presentation topic and I came across this video on you tube.
Fluxus
I found this video pretty neat because it blends different media and modes of art together to form this clip. It fits in to the concept of fluxus because the video is basically made from the flow/intersection of one type of media to another. It also ties in to detournement and appropriation because something new in meaning is created from existing pieces of art. I am feeling good about this topic because it is beginning to tie in to what we are doing now. I think that I have a much better understanding of this topic now than before.
I was going to end this post but something just hit me now, I don't remember if it was this class or was it a design lecture but I remember the prof talked about mail art. Someone in the circle sends a piece of paper to the next person whom adds a little bit to it and send it to the next person and so on. The mail piece would look different each time someone receives it. By the time the first sender gets it back, it would look nothing like the original and would probably have an entirely different meaning. This ties in to the fluxus concept because the circulation of the mail creates an environment where nothing added is planned and resulting piece would be the combination of different artists' additons. Some may choose to go with its original meaning and some would recontextualize it and make it in to something different. However the piece is free flowing, no one has complete control over the result unless it is the last person.
This leads me to one final question: Does fluxus involve control or is it the spirit of free flowing limitless ideas? And if it doesn't require control, then in what instance can a piece of art be truly fluxus, or is it even possible when someone is involved with it?
Fluxus
I found this video pretty neat because it blends different media and modes of art together to form this clip. It fits in to the concept of fluxus because the video is basically made from the flow/intersection of one type of media to another. It also ties in to detournement and appropriation because something new in meaning is created from existing pieces of art. I am feeling good about this topic because it is beginning to tie in to what we are doing now. I think that I have a much better understanding of this topic now than before.
I was going to end this post but something just hit me now, I don't remember if it was this class or was it a design lecture but I remember the prof talked about mail art. Someone in the circle sends a piece of paper to the next person whom adds a little bit to it and send it to the next person and so on. The mail piece would look different each time someone receives it. By the time the first sender gets it back, it would look nothing like the original and would probably have an entirely different meaning. This ties in to the fluxus concept because the circulation of the mail creates an environment where nothing added is planned and resulting piece would be the combination of different artists' additons. Some may choose to go with its original meaning and some would recontextualize it and make it in to something different. However the piece is free flowing, no one has complete control over the result unless it is the last person.
This leads me to one final question: Does fluxus involve control or is it the spirit of free flowing limitless ideas? And if it doesn't require control, then in what instance can a piece of art be truly fluxus, or is it even possible when someone is involved with it?
Further process
At this stage I found the clips mentioned in my previous entry and have begun to piece them together. The rendering duration is hideous because I am dealing with a several video clips and it is taking up to 30 minutes to render it. This is also my first time using final cut so I'm not too familiar with using the tools. One of the problems I am having now is with the transactions between the clips, I don't want to make the video seem choppy but I don't want to fill it up with transactions between every single clip. I am trying to figure out how to expand the duration of the fade-in transaction, I tried to drag it, but it doesn't work. Other from this, its going so far so good.
Oh yes, and I'm not sure if there is lecture tomorrow because it is supposed to be a make up day for Monday and Mark said that there is no lecture this week. I haven't received any e-mail regarding about this and I live quite a distance from York, so I think I wouldn't be able to make it to the lecture (if there is any) tomorrow seeing its my only class (only 1 hr long).
Oh yes, and I'm not sure if there is lecture tomorrow because it is supposed to be a make up day for Monday and Mark said that there is no lecture this week. I haven't received any e-mail regarding about this and I live quite a distance from York, so I think I wouldn't be able to make it to the lecture (if there is any) tomorrow seeing its my only class (only 1 hr long).
Wednesday, February 11, 2009
Phase 2 Process
Change #1
I have made a several changes to how I will present my ideas. Instead of doing an in depth news report and replacing the on-site footage with cartoons and other material, I have decided to cut out the actual news report and replacing it with a short intro. of the Jetsons. The idea here is to have the actual news intro and ending, so it makes it seem like the viewer is missing the entire news report but actually the question is 'are they REALLY missing it' because nowadays the news can be so biased we need to ask ourselves whether we are shown the truth or only fragments of it? Watching the news and watching cartoons may have no difference at all.
Change #2
After going in to the critique in class just now, I have decided to change my video once again. The Jetson's intro is surprisingly a parody when placed along with the news intro. because they but show images of the globes and outter space. Instead of using the Jetson's clip as the main highlight, I will piece chunks of it together with a several news intros playing on the parody to give a more immediate reflection to the viewer. Apart from that my main idea is getting across pretty slowly so the goal for now is to find a controversial issue (I picked gun control) and find clips of biased opinions and methods of presentation from different news broadcasts and piecing it together to strengthen my point.
Yep...and thats how I am going to go about phase 2 for now.
I have made a several changes to how I will present my ideas. Instead of doing an in depth news report and replacing the on-site footage with cartoons and other material, I have decided to cut out the actual news report and replacing it with a short intro. of the Jetsons. The idea here is to have the actual news intro and ending, so it makes it seem like the viewer is missing the entire news report but actually the question is 'are they REALLY missing it' because nowadays the news can be so biased we need to ask ourselves whether we are shown the truth or only fragments of it? Watching the news and watching cartoons may have no difference at all.
Change #2
After going in to the critique in class just now, I have decided to change my video once again. The Jetson's intro is surprisingly a parody when placed along with the news intro. because they but show images of the globes and outter space. Instead of using the Jetson's clip as the main highlight, I will piece chunks of it together with a several news intros playing on the parody to give a more immediate reflection to the viewer. Apart from that my main idea is getting across pretty slowly so the goal for now is to find a controversial issue (I picked gun control) and find clips of biased opinions and methods of presentation from different news broadcasts and piecing it together to strengthen my point.
Yep...and thats how I am going to go about phase 2 for now.
Saturday, February 7, 2009
Ideas For Phase 2
My main idea of phase 1 is to question the audience about the intersection of art and technology, I want to carry this idea through to my phase 2 project by asking the viewers the following questions:
- Is the audience really passive? Or can they judge and reflect about the media they see?
- Can the audience differentiate between what is real and what is fake shown in television?
- Can the audience differentiate between what is entertainment and what is serious?
- Does technology aid or degrades arts and ideas i.e.) through plagiarism?
- Are we being shown the truth, or only fragments of it?
- Are popular cartoons just moving images, or can it have a deeper meaning?
I plan to touch on the ideas above by replacing the on-site footage of a news program with entertainment sources such as cartoons, movies, and drama that are similar from the reported incident. This will force differentiation upon the audience about the two opposite sources and question them about what we are shown on television and film.
- Is the audience really passive? Or can they judge and reflect about the media they see?
- Can the audience differentiate between what is real and what is fake shown in television?
- Can the audience differentiate between what is entertainment and what is serious?
- Does technology aid or degrades arts and ideas i.e.) through plagiarism?
- Are we being shown the truth, or only fragments of it?
- Are popular cartoons just moving images, or can it have a deeper meaning?
I plan to touch on the ideas above by replacing the on-site footage of a news program with entertainment sources such as cartoons, movies, and drama that are similar from the reported incident. This will force differentiation upon the audience about the two opposite sources and question them about what we are shown on television and film.
Monday, November 3, 2008
Detournement article
Okay I've just finished reading the detournement article by Guy Debord and I don't really get what this guy is talking about...
What I understood was that detournement is a fresh and innovative way to create new works by combining different materials. He argues that no matter how contradicting the materials used are, the finished piece will always link the materials together to form a new meaning (the contradiction can be the meaning in itself.) Another pro of detournment is that it can be mass reproduced as there are limitless combinations of works.
Then he starts to relate detournment with metagraphics and writing, which starts to get a but confusing for me. First of all I don't know what metagraphics mean...so I plugged it in on the wiki and it gives me the definition, "merges poetry (text) with more visual (graphic) ways of communication such as painting, illustration or signs." I understood this to be some form of mixed media art, possibly closest to the ads we see everyday.
After he talks about how titles are strongly linked to detournement as well. I guess that the title usually uses quoted material (similar to what we did in phase 1) to form a new meaning with the visual that accompanies it.
Shortly after, he talks about the laws of detournement.
From what I understood from this article, detournement relates closely to art and advertising. I can't seem to find anything that doesn't fall in the category of detournement besides original literature (but then what is original.) Detournement is a useful tool because it gives us a deeper level of understanding by linking the material used to create it together. Usually humor is raised when someone links the materials together if they contradict. However a down side to this is that if things are increasingly detourned, then what is the base of all things? This raises the problem questioned by Baudrillard's simulacra.
source: www.wikipedia.org
What I understood was that detournement is a fresh and innovative way to create new works by combining different materials. He argues that no matter how contradicting the materials used are, the finished piece will always link the materials together to form a new meaning (the contradiction can be the meaning in itself.) Another pro of detournment is that it can be mass reproduced as there are limitless combinations of works.
Then he starts to relate detournment with metagraphics and writing, which starts to get a but confusing for me. First of all I don't know what metagraphics mean...so I plugged it in on the wiki and it gives me the definition, "merges poetry (text) with more visual (graphic) ways of communication such as painting, illustration or signs." I understood this to be some form of mixed media art, possibly closest to the ads we see everyday.
After he talks about how titles are strongly linked to detournement as well. I guess that the title usually uses quoted material (similar to what we did in phase 1) to form a new meaning with the visual that accompanies it.
Shortly after, he talks about the laws of detournement.
From what I understood from this article, detournement relates closely to art and advertising. I can't seem to find anything that doesn't fall in the category of detournement besides original literature (but then what is original.) Detournement is a useful tool because it gives us a deeper level of understanding by linking the material used to create it together. Usually humor is raised when someone links the materials together if they contradict. However a down side to this is that if things are increasingly detourned, then what is the base of all things? This raises the problem questioned by Baudrillard's simulacra.
source: www.wikipedia.org
Monday, October 27, 2008
No Lecture...
Today I came to school and was told that the lecture got canceled... I came to school for nothing!! This was my only class for today >_>
Okay anyways, I want to talk a little bit about Milkim's psychology experiment where he tests how far someone will go to push buttons. The subject was told that if the person being tested (which is actually an actor) answers the given questions wrong, then he would push a button giving the actor an electric shock. The subject was given a voice recording as feedback, which depicts the other in increasing levels of pain. Milkim wanted to see if the subject were to use his discretion and stop increasing the voltage of the shocks even if he was given orders by an authority figure. We didn't get a chance to finish the clip, but from what I saw, the subject did hesitate to increase the voltage, however he continued with the experiment when he was told to do so.
I think that in this can be related to internet usage as people push buttons all the time and is given a visual feedback from the screen of the result. There is a need to question the result because it can be fake. The user doesn't experience the result in the same space which he/she resides so the user will never know what truly happen when the button is pressed. Therefore if the user is given instructions to follow, then mostly likely he/she will obey disregarding the consequences. There is a disconnection between the physical world and the virtual world and I think that the ultimate goal for the internet artist to form a bridge between the two worlds.
Okay anyways, I want to talk a little bit about Milkim's psychology experiment where he tests how far someone will go to push buttons. The subject was told that if the person being tested (which is actually an actor) answers the given questions wrong, then he would push a button giving the actor an electric shock. The subject was given a voice recording as feedback, which depicts the other in increasing levels of pain. Milkim wanted to see if the subject were to use his discretion and stop increasing the voltage of the shocks even if he was given orders by an authority figure. We didn't get a chance to finish the clip, but from what I saw, the subject did hesitate to increase the voltage, however he continued with the experiment when he was told to do so.
I think that in this can be related to internet usage as people push buttons all the time and is given a visual feedback from the screen of the result. There is a need to question the result because it can be fake. The user doesn't experience the result in the same space which he/she resides so the user will never know what truly happen when the button is pressed. Therefore if the user is given instructions to follow, then mostly likely he/she will obey disregarding the consequences. There is a disconnection between the physical world and the virtual world and I think that the ultimate goal for the internet artist to form a bridge between the two worlds.
Saturday, October 18, 2008
Phase 1 problems
I'm just trying to put phase 1 together today and I have encountered a few problems I don't know how to fix. I didn't want the frame boarders to show so I wrote framboarder="0" in my frame src, the frame boarder is gone...but is substituted by white lines.....I don't know how to get rid of these annoying white lines and it is very obvious against the black background I have put up. Another problem is that I don't know how to change the colour of the links separately and not as a whole. I have tried to put them in divs and change them separately on css but it doesn't work. I hope I will get these fixed in class on Wednesday.
I hope I am on the right track and I want to see what sort of things my classmates have done for their phase 1.
I hope I am on the right track and I want to see what sort of things my classmates have done for their phase 1.
Wednesday, October 15, 2008
Not Art Not Technology?
I just finished a reading from another class titled 'Sculpture in the Expanded Field' by Rosalind Krauss and I found it interesting how she defined the term sculpture by using two contradictory words, then expanded it in to a diagram: here
I thought this provided a deep understanding of the term sculpture and I thought that it would interesting to come up with a diagram of my own.
The 2 contradictory words I am using is art and technology, and the 2 that are opposite to those is not art and not technology. I would place 'interface' between art and technology because they require the interaction between the audience and the piece. The word 'thought' would lie between not art and not technology because it is a free flowing process that occurs in the head, it has no physical manifestation. Now...the word between art and not art would be 'ready-mades', these objects are made purely to function, but can seen as art through different contexts. Lastly the term between technology and not technology would be 'skeltons of nature' because it isn't man-made to help us extend the functions of our body, but simple thing like dry branches can be used as a pen to write in sand.
I thought this provided a deep understanding of the term sculpture and I thought that it would interesting to come up with a diagram of my own.
The 2 contradictory words I am using is art and technology, and the 2 that are opposite to those is not art and not technology. I would place 'interface' between art and technology because they require the interaction between the audience and the piece. The word 'thought' would lie between not art and not technology because it is a free flowing process that occurs in the head, it has no physical manifestation. Now...the word between art and not art would be 'ready-mades', these objects are made purely to function, but can seen as art through different contexts. Lastly the term between technology and not technology would be 'skeltons of nature' because it isn't man-made to help us extend the functions of our body, but simple thing like dry branches can be used as a pen to write in sand.
Tuesday, October 14, 2008
Fluxus Movement
I thought it would be nice to research a little bit about my presentation topic around this time. I picked the 'Fluxus Movement' because the name implies that it is something flowy and fluctuating. To my surprise, the meaning of the actual words comes from the latin word meaning 'to flow.'
Well...after that discovery I'm starting to get a headache because a lot of results just googling the word. There is a lot of diversity to this term and many different perspectives, but I finally found something on the wiki that can briefly sum up what this is about:
Sources: http://en.wikipedia.org/wiki/Fluxus#Artistic_philosophies
Well...after that discovery I'm starting to get a headache because a lot of results just googling the word. There is a lot of diversity to this term and many different perspectives, but I finally found something on the wiki that can briefly sum up what this is about:
- Fluxus is an attitude. It is not a movement or a style. (then why fluxus'movement'?)
- Fluxus is intermedia.Fluxus creators like to see what happens when different media intersect. They use found and everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts. (Ooo this sounds like a lot of what we are doing in class)
- Fluxus works are simple. The art is small, the texts are short, and the performances are brief. (I like minimalists :])
- Fluxus is fun. Humour has always been an important element in Fluxus. (yay)
Sources: http://en.wikipedia.org/wiki/Fluxus#Artistic_philosophies
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