Assignment #29: Think about what you would like to present in a class exhibition and blog about it.
Considering the extent I'd like to go for my final project, if there were a class exhibition, I'd love to show the results, even if it is only a few volunteers at this stage. While I like most of the other work I've completed for this class this semester, I feel like my final project is able to delve much deeper in concept and idea, rather than just an exploration of a medium.
At this point, there is not much I can share, but the preparation I posted here: http://angienmnf.blogspot.com/2012/12/final-project-progress.html
Wednesday, December 5, 2012
Sound Artist: Susan Philipsz
Assignment #28: Research 1 or (if you signed up for 3 credit points) 2 artists who have used sound in their work. Observe how they used it; how obvious that component is; and how creative they were in their approach. Blog about it.
Susan Philipsz is a Scottish artist-musician who is best known for her sound installations. For most of her sound installations, she sings a cappella covers of songs played over a public address system in an art space or public space (or both).
Philipsz's approach to sound art makes me question what I have always questioned in sound art...what is the distinction between sound art and music? Even in the music industry, music videos and live performances are the visual and the sound coming together. The only difference I really see is where the sound is played.
For example, if organized sound is played in a concert hall, it seems to be music because that is what is associated with that specific space. That space is built to amplify sound in a particular way, with or without amplification technology and equipment. However, in a gallery space, we associate visual art, whether in 2D or 3D, still or in motion - sound art seems to touch upon that questioning of a space that is usually reserved for visuals.
The above video, known as "Lowlands" is a culmination of three versions of a 16th century Scottish lament, played under three bridges in Glasgow over the same river, River Clyde. This piece won her the 2010 Turner Prize (a first time achievement for sound art since the Turner Prize is usually given to a visual artist).
The space here is public and accessible. Because it is not a live performance, it would be odd for any of us to go to a bridge to listen to music. I think re-positioning where we expect certain sounds or music to be is what makes sound art, such as "Lowlands" so interesting, and also it brings up questions to why there are places and times that sounds/music are appropriate anyways!
Susan Philipsz is a Scottish artist-musician who is best known for her sound installations. For most of her sound installations, she sings a cappella covers of songs played over a public address system in an art space or public space (or both).
Philipsz's approach to sound art makes me question what I have always questioned in sound art...what is the distinction between sound art and music? Even in the music industry, music videos and live performances are the visual and the sound coming together. The only difference I really see is where the sound is played.
For example, if organized sound is played in a concert hall, it seems to be music because that is what is associated with that specific space. That space is built to amplify sound in a particular way, with or without amplification technology and equipment. However, in a gallery space, we associate visual art, whether in 2D or 3D, still or in motion - sound art seems to touch upon that questioning of a space that is usually reserved for visuals.
The above video, known as "Lowlands" is a culmination of three versions of a 16th century Scottish lament, played under three bridges in Glasgow over the same river, River Clyde. This piece won her the 2010 Turner Prize (a first time achievement for sound art since the Turner Prize is usually given to a visual artist).
The space here is public and accessible. Because it is not a live performance, it would be odd for any of us to go to a bridge to listen to music. I think re-positioning where we expect certain sounds or music to be is what makes sound art, such as "Lowlands" so interesting, and also it brings up questions to why there are places and times that sounds/music are appropriate anyways!
Electronics/Coding/Software Artist: Jason Salavon
Assignment #27: Research 1 or (if you signed up for 3 credit points) 2 artists who have used electronics / coding / software in their work. Observe how they used it; how obvious that component is; and how creative they were in their approach. Blog about it.
Jason Salavon is an American artist that works with a custom computer software to re-evaluate and re-configure various data and mediums into another form. Salavon collects pre-existing images and overlays and "averages" them to create "visualamalgamations." He also recomposes statistical data into visual images.
From an aesthetic stand point, it's hard to identify that his artwork is software-based. It looks very much like photography manipulation or even paintings. However, the software aspect is much more appealing on a conceptual level - finding an average or mean of images seems sort of ridiculous. Collecting images and creating a mega image that takes components of each culminates in an interesting dialogue of how similar things and people can be, and how popular culture moves (or doesn't) in time.
The following 4 images are from yearbook photos collected from Salavon's history. The first two are from the Class of 1988 and the second two are from the Class of 1967. The images are the end results of inputting all the images for a yearbook from a particular year into Salavon's custom software that applies an averaging process.
The four images below follow a similar process of averaging the Playboy centerfolds from each decade (60's, 70's, 80's, and 90's from left to right). In fact, at one point, Salavon's website was in a higher position than Playboy's own website in a Google search for "Playboy."
[His custom computer software is written in C on Unix-based SGI's using Paul Haeberli's SGI file format.]
Response to Workshop: Intro to Electronics for Art Teachers/Artists
Assignment #26: Share your experiences, thoughts, notes, learning about the workshop with Deren - Intro to Electronics for Art Teachers/Artists.
In this class, along with other art education classes, we've talked a lot about integrating new technologies into our classrooms as teachers in the future. We have talked about how to use the internet as a resource, or how to scan and print and copy as a creative outlet, or how to take traditional art mediums and use their technological equivalents to make art.
However, we weren't able to actually combine traditional and technological together the way we did during our workshop. We took traditional materials and added something technological, rather than finding a way to separate the two.
For example, our Drawdio pencils didn't enable us draw in a virtual space like a tablet does, but rather it focuses on the normalcy of a pencil to create physical graphite lines, and then adds another dimension to it - the audio.
Another sample, origami has been done for over four hundred years, and instead of say, letting a machine make origami for us, we still focused on the traditional folding aspect (though with directions on an iPhone or a directions sheet), and THEN added the technological dimension of motion.
I think that both of those projects are an excellent way of bringing the traditional with the technological, rather than using one to replace the other.
In this class, along with other art education classes, we've talked a lot about integrating new technologies into our classrooms as teachers in the future. We have talked about how to use the internet as a resource, or how to scan and print and copy as a creative outlet, or how to take traditional art mediums and use their technological equivalents to make art.
However, we weren't able to actually combine traditional and technological together the way we did during our workshop. We took traditional materials and added something technological, rather than finding a way to separate the two.
For example, our Drawdio pencils didn't enable us draw in a virtual space like a tablet does, but rather it focuses on the normalcy of a pencil to create physical graphite lines, and then adds another dimension to it - the audio.
Another sample, origami has been done for over four hundred years, and instead of say, letting a machine make origami for us, we still focused on the traditional folding aspect (though with directions on an iPhone or a directions sheet), and THEN added the technological dimension of motion.
I think that both of those projects are an excellent way of bringing the traditional with the technological, rather than using one to replace the other.
Video as a Creative Outlet
Assignment #25: Revisit our video class and your notes about it. Come up with 2 ideas about how you would like to introduce video through lesson plans in an art class (age: your choice); alternatively: 1 or 2 paragraphs describing how you would like to continue to work with video creatively; alternatively: what you have been able to learn about video as a creative material.
Since I am particularly interested in a visual narrative, video is, in some way or another, the epitome of visual narrative. However, I'm interested in exploring with video in a similar way I explore photography sometimes. Instead of being over focused on having a specific story line, or having a specific subject, I want to use video to collect visual aesthetics, such as the floating plastic bag in the movie, American Beauty.
This brings about quite an interesting debate about photography and video to begin with, especially in the digital age (accessibility to instant review and "unlimited" storage) - documentary vs. art.
Just a glance at YouTube, anybody would be overwhelmed with the range of material on there - differences and similarities in topics, equipment, editing, style, sound, etc. There are music videos, video blogs (vlogging), short films, advertisements, how-to's, etc. Many of these videos are filmed in an approach that can be understood as documentary-like. "Here's what I want to show and that's what I show."
However, many people think of anything fancier than pressing the record button as too difficult or requiring a lot of skill. But, in reality, good videos (not to include blockbuster movies) don't necessarily require anything fancy. In video, you can focus on getting the right frames aesthetically or you can focus on the editing, which opens up a huge territory.
I'd like to revisit the "getting the right frames aesthetically" approach. Instead of all of the pre- and post- video editing and preparation I want to focus on the actual filming itself, by filming whatever I think evokes feelings/emotions or is aesthetically pleasing - whether it's something with a lot of movement or motion, or something that actually stays still and the camera does the moving (from even just natural breathing or intentionally). I think that there's beauty in video in just that simplicity, and that's what I'd like to explore.
Since I am particularly interested in a visual narrative, video is, in some way or another, the epitome of visual narrative. However, I'm interested in exploring with video in a similar way I explore photography sometimes. Instead of being over focused on having a specific story line, or having a specific subject, I want to use video to collect visual aesthetics, such as the floating plastic bag in the movie, American Beauty.
This brings about quite an interesting debate about photography and video to begin with, especially in the digital age (accessibility to instant review and "unlimited" storage) - documentary vs. art.
Just a glance at YouTube, anybody would be overwhelmed with the range of material on there - differences and similarities in topics, equipment, editing, style, sound, etc. There are music videos, video blogs (vlogging), short films, advertisements, how-to's, etc. Many of these videos are filmed in an approach that can be understood as documentary-like. "Here's what I want to show and that's what I show."
However, many people think of anything fancier than pressing the record button as too difficult or requiring a lot of skill. But, in reality, good videos (not to include blockbuster movies) don't necessarily require anything fancy. In video, you can focus on getting the right frames aesthetically or you can focus on the editing, which opens up a huge territory.
I'd like to revisit the "getting the right frames aesthetically" approach. Instead of all of the pre- and post- video editing and preparation I want to focus on the actual filming itself, by filming whatever I think evokes feelings/emotions or is aesthetically pleasing - whether it's something with a lot of movement or motion, or something that actually stays still and the camera does the moving (from even just natural breathing or intentionally). I think that there's beauty in video in just that simplicity, and that's what I'd like to explore.
Final Project: Progress
Assignment #24: Further define and work on your final project. Due date: Dec 10. Add a paragraph about it's current state on your blog.
To "explain" my project, I've copied and pasted a public ad I put on Craigslist, CouchSurfing, TC's Classified, among other online communities.
-----------------------------------------------------------------------
Are you of mixed race or culture (2 or more)?
Have you had a relationship (current or past) with somebody of mixed race or another race than your own?
Do you have children of mixed race or another race than your own?
When asked, "Where are you from?" do you require more than a few words?
I WANT TO HEAR YOUR STORY! (AND TAKE YOUR PHOTOGRAPH, TOO)
ABOUT THE PROJECT:
I am a graduate (art and art education) student working on an art project that involves all the questions above and more. I am using the initial process for a small class assignment, but beyond that, it is out of personal interest. Since this is at the very beginning stage, I have no specific thesis or end result. I feel as if this will be reached through the "research" process. I am looking for volunteers who would like to engage in a short conversation/dialogue and then have a few photographs taken that will later be used with drawing - this should take approximately 1 hour.
PARENTS OF BABIES/CHILDREN (0-18 years old):
I am especially interested if you would be willing to share your experiences as a parent - your concerns, challenges, positive experiences - of having or adopting children of different or mixed race/cultures. I will compensate extra accordingly (see below).
DATES/TIME:
Phase I: 12/06/2012 - 12/10/2012; By appointment, flexible
LOCATION:
Midtown (local Starbucks for interview, apartment studio for photograph)
COMPENSATION:
I am working with a $0 budget here, so I would appreciate volunteers without compensation, but at the very least, due to the immediacy of volunteers needed, I can offer $30, along with any reasonable travel reimbursement, and a drink. Referrals: For each person (that somehow "qualifies") that you can bring along, I will also compensate you with an additional $10 (or $20 for each child/baby).
CONTACT:
Email above! Please send me a couple of sentences about yourself and why you want to get involved, along with some times you'll be available from 12/06/2012 to 12/10/2012.
To "explain" my project, I've copied and pasted a public ad I put on Craigslist, CouchSurfing, TC's Classified, among other online communities.
-----------------------------------------------------------------------
Are you of mixed race or culture (2 or more)?
Have you had a relationship (current or past) with somebody of mixed race or another race than your own?
Do you have children of mixed race or another race than your own?
When asked, "Where are you from?" do you require more than a few words?
I WANT TO HEAR YOUR STORY! (AND TAKE YOUR PHOTOGRAPH, TOO)
ABOUT THE PROJECT:
I am a graduate (art and art education) student working on an art project that involves all the questions above and more. I am using the initial process for a small class assignment, but beyond that, it is out of personal interest. Since this is at the very beginning stage, I have no specific thesis or end result. I feel as if this will be reached through the "research" process. I am looking for volunteers who would like to engage in a short conversation/dialogue and then have a few photographs taken that will later be used with drawing - this should take approximately 1 hour.
PARENTS OF BABIES/CHILDREN (0-18 years old):
I am especially interested if you would be willing to share your experiences as a parent - your concerns, challenges, positive experiences - of having or adopting children of different or mixed race/cultures. I will compensate extra accordingly (see below).
DATES/TIME:
Phase I: 12/06/2012 - 12/10/2012; By appointment, flexible
LOCATION:
Midtown (local Starbucks for interview, apartment studio for photograph)
COMPENSATION:
I am working with a $0 budget here, so I would appreciate volunteers without compensation, but at the very least, due to the immediacy of volunteers needed, I can offer $30, along with any reasonable travel reimbursement, and a drink. Referrals: For each person (that somehow "qualifies") that you can bring along, I will also compensate you with an additional $10 (or $20 for each child/baby).
CONTACT:
Email above! Please send me a couple of sentences about yourself and why you want to get involved, along with some times you'll be available from 12/06/2012 to 12/10/2012.
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