Workshop Week 2

Exercise 1: Where I’m From

Read and research George Ella Lyon’s approach to making poetry inspired by one’s origins. Concoct your own list, and cast it as a piece of poetry, designed to inspire your Remoscope.

http://www.georgeellalyon.com/where.html

Exercise 2: Image Analysis

In a group of 2, select one of the following images and discuss the following:

Without looking up references online, describe the image by analysing the following:

  • Composition
  • Framing and distance (e.g. Close up)
  • Depth/ picture plane
  • Lighting
  • Colour
  • Focus/ de-focus (including the use of depth of field)
  • Material used
  • Effects (use of filters, analogue or digital manipulation etc.)

Then answer the following questions:

  • What place or space(s) is being depicted in the photograph?
  • Is the photograph part of a series?
  • What does the image remind you of? Is it referencing an existing work or visual images (e.g. a painting, a historical view, an everyday view)?
  • What kind of feelings does the image impart? In what ways do they does it do this (e.g. framing, contrast, textures,
  • What kind of concepts do they convey? How do you think these ideas are encoded/ convey in the visual images?
  • How does the material used in creating the image influence the quality of the image and how we experience it?


1. James Tylor, One Mile WA, 2014 from Postcards from the Frontier series, Box Brownie camera.


2. Ed Rusha,Standard, Figueroa Street, Los Angeles, 1962, from Twenty Six Gas Station series, Silver Gelatin Print.


3. Trent Parke, Shark Bay WA, 2006, from Welcome to Nowhere series, C-type Print.


4. Jeff Wall, The Storyteller, 1986, Silver dye bleach transparency in light box.

Screen Shot 2017-03-07 at 1.58.20 pm

5. Megan Jenkinson, Morell’s island


6. Martha Rosler, Seattle Stripes, 1991 from the In the Place of the Public:Airport Series.

7. Alan Sekula, Panorama. Mid-Atlantic, November 1993, from Fish Story 1989–95.


8.Greg Girand, Shanghai Falling (Fuxing Lu Demolition), 2002 from the book Phantom Shanghai, Medium format transparency.


9. Hiroshi Sugimoto, Revolution 001, 1990, Gelatin silver print.

Gleick-Information-Excerpt-1-7 (James Gleich, The Information)

Week 13 Install

uow121099

There are many MEDA102 works to be installed in Week 13, so we need to get organised to make sure that everyone has adequate space and equipment to present their work in the best possible light. Please remember that you will be hanging / lighting / adjusting / pinning etc..

Don’t forget to also display your project statement. The quality of its presentation will be taken into consideration with your mark. i.e.: please don’t blue-tac a ripped piece of paper up beside your work (looks terrible, negatively affects how your work is received).

Please make sure that you have:

  • Booked a day (Wednesday 26th or Thursday 27th)
  • Booked a physical location (see Mat or Etienne)
  • Booked equipment (see Glenn) equipment includes:
    • projectors of different strength and resolution
    • flat screens of different sizes
    • sound speakers
    • media players
    • laptops,
    • directed lights,
    • mounting / nailing / hanging / etc.

If you would like to display your work on the flat screens in the foyer, please supply Glenn with:

  • Images in PNG format, at full HD res (1920x 1080 pixels)
  • Videos in full HD as a *.mp2 (video compression mp2, audio mp3)

Support from Glenn

Please note that Glenn will have a limited capacity to help people setup. Most years, about 1/3 of students don’t get any help from Glen.

Setup / tear down

If you have booked to display on Wednesday 26th, please complete your setup by 11am that Wednesday (use monday and tuesday setup). Tear down at noon (or confirm with Mat and Etienne if your work has been marked).

If you have booked to display on Thursday 27th, please complete your setup by noon Thursday (use wed noon-4pm and thursday morning). Tear down at 5pm (or confirm with Mat and Etienne if your work has been marked).

GOOD LUCK EVERYONE! don't forget to take some time to walk around and enjoy all the work.

Workshop Week 11: How many repetitions to create significant variation?

This week we continue with research and development of your final project, but we ask you to consider one very important question: How many repetitions will you need to allow the variation to hold significance?

Part 1: Thinking about count of repetition

Consider the following works and estimate the repetitions used. Could these works have been done with less repetitions? Would these works be better with more repetitions?

Vera Molnar, 25 Carrès (25 Squares), 1989

Vera Molnar, 25 Carrès (25 Squares), 1989

 

 

More information here: http://ericascourti.com/art_pages/life_in_adwords.html

This second “Life in Adwords” video shows an alternate method of presentation for the same work:

line-made-by-walking

Richard Long, Line Mae by Walking, 1967

Pavillion-Deutschland-Ai-Weiwei-7

Ai Wei Wei, Bang, 2010-2013, 886 antique stools, installation view, 2013

Is there a difference between repetition and simply large numbers of objects?

ai_weiwei

Ai Wei Wei, Sunflower Seeds, Tate Modern’s Turbine Hall, October 2010. 100.000.000 seeds, with a total weight of 150 tons.

“Like Ai Weiwei’s other works, ‘Sunflower Seeds’ is a work closely related to the society, politics and economy in China, and also a project that can be accomplished only in this country. It alludes to the globalisation and mass production in China that caters to western consumerism, and to the deemed insignificant element at the bottom of the production chain – thousands of cheap labors, assembly lines in gigantic factories, and tedious procedures. Absurdly, ‘Sunflower Seeds’ provided work for 1,600 artisans in Jingdenzhen, a fact that is an ironic reflection of the social reality. “(http://www.aiweiweiseeds.com/about-ai-weiweis-sunflower-seeds, accessed 10/2015)

Triple Elvis 1962 Acrylic silkscreened on canvas

Triple Elvis 1962 Acrylic silkscreened on canvas

Some ideas about exploring social media: http://www.fubiz.net/2014/04/07/emoji-nation/ (note that these don’t explicitly involve repetition)

Part 2: Presenting to Peers

Document your work and present it to a peer. Your peer’s role is to critically engage your work, that is: criticise it with a view of improving it.

Your presentation should follow the assessment guidelines:

  1. How is your work informed by artists / artists works / theorists. Peer should identify any logic holes in the presentation
  2. What new insight is exposed with your iterative action? Peer should identify whether the work actually does this for someone who hasn’t heard the verbal argument.
  3. How will you execute and present your work. Peer should identify how they think the execution and presentation might go wrong.

Part 3: Documenting work development

Create another blog post on your personal Blog, documenting any development of your concept. Post a link to your blog post on the links provided below.

You might include:

  • Found images
  • mock ups (perhaps done in photoshop)
  • word maps highlighting key words and concepts
  • idea maps
  • drawings (scanned or photographed and uploaded)

 

Workshop 10: Back to the Physical World

BREATHING ROOM II[Antony Gormley, [1]Breathing Room III, 2010]

(start at 2:45)

In weeks 10 to 12, we will be focusing on developing and creating your Project Work. This week we will look at how certain artworks have engaged with the notions of repetition and variation. You will also be quickly introduced to the Arduino in relation to idea of ’Physical Computing’ where software is used to design the translation of experiences from physical to digital, and back to physical.

PART 1: Research and discuss

In a pair, look at the following object works. Choose one to research and analyse. Present an analysis of the work to class by answering the questions listed below—think in terms of the Project Work.

[Maya Lin, Systematic Landscapes, 2009]

[Sol LeWitt, Five Modular Structure, ]

[Antony Gormley, Quantum Void I, 2009]

[Lucas Samaras, Chair Transformation Number 20B, 1996]

[Alexander Calder, Nineteen White Discs, 1961]

Questions:

  1. What are the representations inherent in the work … and what questions do they give rise to?
  2. What is the experience of the work from the perspective of the human body?
  3. What role does repetition/variation play in the form of the work? What does it point to, what does it reveal?
  4. Is the repetition in the creation of the work, or in the final form of the work?

PART 2: Physical computing/ Arduino

The following works all draw physical inputs through a technological device (sensor or camera) into a programmed system (micro-controller—tiny computers, or computer with running software programs). The software programs determine how these inputs will be processed and translated into forms of physical outputs.

In each case, can you identify:

• the inputs
• the outputs
• the algorithm/process that determine how the input is translated to the output?

[Jonas Jongejan and Ole Kristensen for Recoil Performance Group, [5]Body Navigation, 2008]


[Jaap Blonk and Golan Levin, [6]Ursonography, 2007]


[Céleste Boursier-Mougenot at Barbican Centre, London 2010]

[Camille Utierback, [8]Text Rain, 1999]

Arduino is a micro-controller board that can take in sensory inputs via devices such as sensors. Software written in Arduino determines how the inputs will affect the outputs. The board is programmed using the Arduino programming language, which is based on Wiring while the Arduino development environment is based on Processing). Arduino projects can be stand-alone or they can communicate with software running on a computer


[An Arduino microcontroller]

[Arduino interface]

Part 3: Research/ Discuss/ Consult: Project work

  1. Read the Project Work outline carefully and make sure you are clear on what you are asked to do for the project. What are the parameters of the project
  2. Create an ideas-map for your Project Work: what is the central idea that interests you? How does this idea relate to the processes of iteraon? What are the different ways you can explore and convey this idea? What physical forms can the work take? Connect these ideas together on a map.
  3. Analyse one existing work that interests you and on which you may build and develop your ideas. You can choose from any works discussed in the workshops or lectures. You may have seen a work in an exhibition or web that interests you.
  4. Consult with your tutor.
  5. Begin work by creating drawings,experiments, and prototypes.