Why research? Because research is what opens experience onto new things and new possibilities. Research is a set of practices and strategies for finding the ‘new’ – finding a difference that will make a difference – a difference in practicing, or in thinking, or in living.
This is our final week of classes – I have to say thank you to you all for being you – its been fun and a privilege getting to know and to learn from you as people and as producers, makers and thinkers. I wish I had more time making together – but universities and modern life generally seem to inhibit that possibility.
Many of you are clearly people I’ll continue to see producing awesome work – and I’ll look forward to it…I’m not sure I’ve ever had such a collection of quite naturally gifted producers and had the pleasure of seeing some stunning work.
You should take great confidence from the work you’ve produced and know that is far exceeds the work I’ve seen in many other undergrad courses to the north of here – in fact I’ve seen the best undergrad works of my teaching career in the mid year exhibit (and more than one)- a number well and truly honours level work.
I’m quite happy to supply references when you need them although give me a bit of warning…next year I’m more likely to be found at email@example.com…make sure you yell out when you have a show, launch or screening…
OH… big news – the Sarah Miller (our HOS) has invited the Director of dlux media arts (Tara Morelos) to be our guest speaker and she has accepted. This is a big deal… stakes are high…we must make sure the edges are tucked away and the work is polished.
Please use this time to install or start planning the install of your work- make sure you are clear about the space and your requirements. We expect a little more polish this session – lets think about the detail well ahead of installation…plinth’s a last resort and cleaned/painted and well presented …. mounting organised well in advance…lets avoid photos stuck directly to walls.
-Begin in you peer groups. Update them on your progress this week.
-Develop a plan for getting your work to bump-in stage on the 16th of November. Break it down and works out when you will have time to work on things and how
-Create a list of required elements and proofs – date for completion – test installs etc.
– Book a consult with Mat on a Tuesday or Thursday for the next two weeks. Come in with work to install…If you can show me work in progress we won’t have to sit down and make conversation.
Remember the issue last session for some of you was the work simply needed another couple of iterations. Plan for the likelihood of those iterations – make sure you have people around that your can test and get opinions from.
Marking process diaries is still in process I will return some today and email the rest as I complete them this week.
I will be getting round to everyone for consultations – do not leave until you have spoken to me.
I have a list of people I absolutely must see first because i’ve missed you/neglected you/or just want to know your on-track;
So first up is
Mel, (well if she was here)
Grad Show Requirements:
Cass and Sarah??
Events and Catering : Need to see me about quotes and forms required by school and about grog and food. (I’ll see you first).
Tech : I need you guys to have rostered people for the three weeks to come in and check works/and I’ll need you to schedule time to help people bump in (in addition to working on your work) – roster yourselves so somebody will be here on Monday the 16th and Tuesday the 17th and to help clean up and finalise things on Wednesday.
Publicity and Design : We need a plan to market the IC grad show to students at main campus, to get a list of invites together and ensure there is a delegate to look after I guest form TAFE and our Guest Speaker….
Curation – You need to order foam core today. See Glen and ask him for the same order as last time.
My Availability: I am all yours after this week with completion of first year… I will work from here on the Tuesday and Thursday during school hour and of course am available on Monday by appointment if required.
Good Luck Everybody and have wonderful futures – I’ll be watching out for you.
Today we will spend some time interrogating Artie Vierkant’s paper and position statement; The Image Object Post Internet.
I think it is a useful way of addressing a number of things and concepts raised throughout your time in media arts and that are relevant to your future as media arts practitioners.
It gets back to that old chestnut …what is media art and what is it good for? It does so in a way that places the whole pursuit of making art and media under question in an age where there is not only no original, but no ‘original copy’. An age in which the notion of the producers as ‘they’ gives way to a ‘we’ due to the fact that we all have access to means of production and reproduction and so writing about an original, investing it with an aura, no longer appears a logical strategy…
Also give Ben Read a big Hurrah…. his work Waves (2015) has been selected as part of dlux Media Art’s Is This Art? screenings at the Artereal Gallery in Rozelle. I’m sure Ben would be very happy to see you there on November 11.
Ben Read Waves (2015)
For those interested there is another opportunity for screening works being supported by wollongong council. Its a great exercise in ‘letting go’ – submitting work for such projects….and provides useful fodder for resumes and grant submissions.
Let me introduce myself.
My name is Mirko Sossai.
Through a cultural grant from Wollongong Council, I have built a multimedia projector bicycle, that is totally self sufficient and is fully mobile.
Its aim is to expose local art, film, digital media, graphics etc and project this content onto the urban buildings of the city of wollongong, the lighthouse or buildings through the mall, etc.
I have a projector mounted at the front of my cargo bicycle with a battery and laptop.
I will be performing at this years Viva la gong and in the Mall leading up to Viva. In addition the Markets around town, festivals and “Ride Nights” all
giving local artists to expose their work.
So if you have or know of or could forward this information to relevant contacts, Students and teachers who might be interested in submitting work to firstname.lastname@example.org feel free to do so.
If you know of any other contacts that you think this could suit please, let me know.
I thank you for your time.
The second half of the workshop will be given over to consultations, project work and exhibition planning.
Thinking through ‘art post-internet’:
What is ‘post-internet’:
How do those three points defining ‘the contemporary moment’ mark a distinction for the era of Conceptualism and New Media Art?
This sounds quite techno-determinist to me – particularly given the critique of ‘new media art’ as ‘tech support’ – is it? what is the relationship between this for of determinism and that critiqued as New Media Art?
There is a point regarding the becoming infrastructural of the internet and new media tech. What is the relationship between the digital/internet as infrastructure and a) Critical Media Art? b) New Media Art? c) Post-Internet Art? (as far as its proposed) what does each produce? What do they add in hard concrete terms?)
What do you think this means.. ‘to match and excuse itself with the social conditions of its production’?
Think through the genres depicted here – how does each ‘match and excuse itself’;
New Media Art?
Critical Media Art?
If conceptual art produces language. What did/do the other genres listed above produce and why are they different (if they are – we are reading about Post-Internet Art)? Cubitt’s theory of the development of new media might be interesting here.
Two realities ‘that define art after the internet’ :
Break into two groups – Each group will work on teasing out and interrogating one of the two realities. We will will bring them both back an look for resonance between the two.
What are these ‘realities’ – How do they (these ‘realities of art post-internet) shift the practice of making art? effect art as industry and institution? The position and function of the artist?
The second group needs to come to terms with this notion of the avant grade – is the avant garde still ‘all that’ – is there really a shift from ‘they’ to ‘we’…
What do we all make of this section;
what does it means to take ‘iconoclasm itself as a quotidian activity’
what happens to critical media art when we move from ‘they to we’?? does it undermine the project? how do we place critical media art – what does it produce?
discuss this section – struggle with its questions;
Does this argument about ‘the most radical and “progressive” movements of the post-internet era? Where do you perceive the most exciting radical and progressive movements in the art/media space? What excites you as practitioners immersed in the field? What are you most interested in with regard to the possibilities of digital media?
Given the above realities has ‘Art’ rain its course? Remember back to Sennet and the depiction of the artist as a social construct…the division/distinction between the Artist and the Craftsman
Does this notion of a shift away form the image as spectacle ring true for you?
Is this liberating or is it it simply another for of technical determinism – making art to be reproduced? does this reduce the art object to meme….
Insert Grad Show news here…..
It looks like the catalogues will not be completed soon enough to be here for our grad show. A proposal has been made to print a separate booklet on A5 to ready for our exhibition – we will then be included in the catalogue as well.
Today we will spend most time consulting and working on projects. Assignment 2 must be handed in and I will do my best to get around to everybody and discuss your work and progress.
As the grad show catalogue material needs to be locked off and delivered on Friday we need to spend some time checking the content you’ve delivered.
Peer Group Work
In your peer groups go through you catalogue material – get each of your peers to read and amend/edit your statement. Attention to detail is paramount. Check the photo’s are indicative of the person, practice, or work you are figuring. Could the images be improved how? Help each other ensure you are putting your best foot forward as an individual and as a group.
When you have the files open and double checked get me to check and approve them.
Once you’ve done that make sure you group is up to date with you current progress.
The last things I’d like to do is to work with those three groups to brain storm ideas for presenting work in foyer that represents us as a group…..I want each group to come up with an idea and to pitch the group – i want a diagram and as much detail you can give us well discuss them and then work out which ideas we will run with.
Projection Mapping – depending on the requirements of the work – will run through the set of the projection mapping software and let whoever is interested have a play.
Depending on How we go – we will do this Next Week….
Some reflecting on what we do and thinking forward.
At the top of this post you’ll find a bit of New and Digital Media Nostalgia… It is a reminder if we need it (I frequently do) that computational media is nothing new but also a reminder about digital cultures and what makes the computer an interesting medium – is there a media specificity that makes computational media ‘new’? What is that?
How do you see your relation to media art? (future work? passion? for what? and why?)
Why do you work with this particular form?
Has this motivation changed during your studies?
What is the relationship between technology and your practice? (a tool? for what? what is its relation to the body? what does it mediate?)
Has your relationship between technology and your practice changed? (why and how?)
Where do you see yourself taking your practice in the future?
What is this important to you?
This years I added technical ‘workshops’ this year and removed what I thought was anything other than a focus on production and the possibilities for production and experimentation. These workshop focussed pretty heavily on technical architectures and technical experimentation that I thought might add to your creative palette and we’ve looked at many examples that helped me frame the technology we were engaging with.
That said – Somewhere in all my excitement about Numerical Control, Drones, Multichannel Audio and Projection mapping – I forgot (as is the risk with digital media) that the most interesting aspect of media art over the last number of years has perhaps been the rise of ‘critical media art’ and a hint of something called ‘post-internet’ art…based largely on an interesting paper by Artist Arty Vierkant
At the heart of both these contemporary vectors in new media art is a response to the dominance of a type of media art we tend to celebrate in a course like this because – well we like tricky technology…shiny things..
That love of shiny/tricky things can fool us into thinking that just because its new or digital (or whatever we want to call it) is better or even interesting. We can become absorbed by the affordances of technology and forget to engage critically with the assumptions, the expense, the reality, of ubiquitous networked computers – or to engage with the possibilities for that media beyond the mode determined by governments, programmers, or engineers. Perhaps we might also stop seeing the development of techno-culture that no longer sees novelty in the technical at all…perhaps novelty is not the most interesting aspect of digital culture anymore?
Over the last years we have seen an increasing amount of critique of new and digital media art that was based solely on technical affordance or techno-aesthetic novelty. In part this was due to the fact this form had become quite dominant – making tricky things was modus operandi for digital media for a long time..
But two directions in media art have reacted against this tendency and/or moved beyond it… lets take a look at some of the making and thinking that surrounds them.
The first represents the ‘centering’ of a critical stance with regard to our technologies and the cultures that has developed around an through them. Its not a particularly new form but its is arguably the most interesting vector in digital media arts over the last few years in particular.
Critical Media Art might be described as art that is focussed on an exploration of the power relations that are established via our relationship to media and media technology – it interrogates the assumptions and infrastructures that are embedded in our modes of media engagement and the technologies that present them.
Here is a document form one of the principle and most interesting and influential groups working in this field… have a read (its short and engaging).
Here CAE attack the endless production of fear regarding the threat of Biological weapons as a means for sourcing funding that serves the development of biowarfare.
This kind of research plays directly into their practice which (in this area) has involved a lot of workshops that aim to increase the publics knowledge and engagement with biological engineering.
Notice this is the work of a collective… they make media art that is fundamentally activist form the outset. There aim is to expose the mechanics of power and use media as a vehicle to undermine the status quo.
Here are some other examples of a critical media art;
What do make of this critical approach to media art? How does it make you feel?
What effect do you think practices like this can have.
What is the purpose of your art practice? What are its goals? What does message or effect does it aim to communicate if any? Who’s does your practice serve? How will you know when your own work has been successful?
Spend some time now trying to answer these questions? Concentrate particularly on that final question and come up with three or four very specifics aims and measures for the success of your practice.
The second ‘movement’ (really just a set of ideas at this point) that I think is worth engaging in with regard to the way we engage with technology as artists is this one;
Here is a description and manifesto of the position art might take in what the writer/artist Artis Vierkant calls ‘the post-internet age’
Here is a section worth reading – that might set the tone – although what I propose is that we all read this easy paper throughout and come back next week to engage with it directly and in detail….
I’m interested in reading this with you as equals – I want to know what you as a generation immersed in an internet society think about this set of ideas…..
here are two parts to introduce you;
In the Post-Internet climate, it is assumed that the work of art lies equally in the version of the object one would encounter at a gallery or museum, the images and other representations disseminated through the Internet and print publications, bootleg images of the object or its representations, and variations on any of these as edited and recontextualized by any other author. The less developed stratagem for pointing to a lack of representational fixity is that of taking an object to be represented (to be more direct, presented) as another type of object entirely, without reference to the “original.” For objects after the Internet there can be no “original copy.”
What has remained through each iconoclasm is an inability to fully break the mentality imposed by a one-to-many system of distribution. The continual use of “They” in language: “They should make a second one, They should have done it this way, They should stop doing this,” &c., can be seen as sort of philosophical litmus test in which our method of discussing cultural production continually falls short.
“They” implies an alienation from production, a continuous deferral to action. It is a vacant critique, either proposal for the perpetuation of the same image unchanged (“They should release this on another platform”) or proposal for an iconoclasm which will never take place, the genesis of the proposition being encased entirely in a passive mode of reception. This deferral is an act which accepts dogma, accepts a dominant image paradigm as an unchanging absolute rather than the result of a complicated history of new approaches. “They” venerates this absoluteness, sanctifies it, while its opposite, “We,” postures towards the creation of an alternative and constitutes an actual schism; Baudrillard writes: “One can see that the iconoclasts, whom one accuses of disdaining and negating images, were those who accorded them their true value, in contrast to the iconolaters who only saw reflections in them and were content to venerate a filigree God.”9
The use of “We” is not to advocate solely for participatory structures of art but to insist on a participatory view of culture at large, and ultimately of taking iconoclasm itself as a quotidian activity. Whereas in previous times it was legitimate to conceive of culture as a greater system with impassible barriers to entry and a finitude of possibilities, culture after the Internet offers a radically different paradigm which our “They” idiom does not allow for. This is not to say that we have entered a fully utopian age of endless possibilities but simply to claim that culture and language are fundamentally changed by the ability for anyone to gain free access to the same image-creation tools used by mass-media workers, utilize the same or better structures to disseminate those images, and gain free access to the majority of canonical writings and concepts offered by institutions of higher learning.
How do these conceptions of the Artist and the Image alter the position of the Artist in a post-internet world? Does this point to quite a different media art?
How might we think back to Andrew Murphie’s use of Alfred North Whiteheads conception of ‘World as Media’ :
The medium is the message indeed, but the medium is also the world. So the very complex signal mixing that is world is the message. In Whitehead’s media philosophy, there is no “bifurcation” between different types of signal (technical or natural, for example). It is all world(s) as medium. All the world is not a stage, as Shakespeare remarked. It is rather signal processing. Within this, individual signals (themselves a mix of previously formed signals) become “vectors of transmission” for the feeling that is central to his process philosophy. Signals gather other signals. They form vectors of transmission that are felt, or that we might say are feelings in and of themselves.
It seems to me there is something worth digging for between these two idea – what happens when we take the implications of a post-internet art back to the world as medium?
Today we will begin with a brief meeting with Teo Treloar who is the academic in charge of the Graduate Exhibition (please welcome him and thank him for making the time to come over). I have learnt during the break that the exhibition will run for an two weeks into the first and second week of the December.
This will mean;
1) our tech committee will have to organise for an extra week of rostered morning exhibition checks.
2) that people planning on presenting using their own equipment will need to make sure there are plans to do so for the whole three weeks of install and two weeks following the launch.
Today I need the committee work requested last week to posted to google docs and an invite sent to me (only one group has done that). At the top of this document I need the contact details for a representative of that committee. Under this I need clear documentation of who is doing what by when – this needs actual names and dates so that I can contact the person involved if needed and see who is available to do other jobs.
We also need to ask any questions regarding funding and purchasing and the requirements for the print catalogue while Teo’s here – we should also find out if we can organise music for the garden space- and anything else the groups can think of as pressing.
We have also (just) decided that we’ll put together a video presentation of the install and final exhibition – if I could have some volunteers to help put that together -that’d be grand – it’ll be another credit for your portfolio.
We will meet in committees and ensure that we know exactly who is doing what and by when – document this in the document you share with me. Please make sure you are aware of what your role and responsibilities are. If you feel you haven’t been given responsibility for something please register your contact details with me as someone willing to operate as a ‘runner’ when we find the need (and we will).
Today we’ll try and spend some time locking in exhibition spaces and making some curatorial decisions – it will help in development of your work to commit to a space and shape your project to it over the coming weeks. Curatorial can spend some time interviewing discussions this with people now –
An element not really very well worked out in the mid year exhibition was attention to detail in installation – if you need plinths make sure they are the right height and they are well presented (check to see if they are the right colour and well finished.) Cords and cables need to be hidden or neatly presented. As we saw last term tv’s on a plinth don’t really provide the ‘ethos’ that we are looking for and undermine the work. What creative solutions can we come up with. Screen works really need to consider their context and presentation not just their completion. Screens should have brand names and LEDS blacked out. If you need to hang a screen (or have some other requirement) we need to know well ahead of the week of install – most things are achievable given time to organise.
Some are already planning on using black boxes – so we need to be sure we have the right spaces for each of you and that we can commit to those spaces. I’d like us to lock in equipment as much as possible so that projects can be developed accordingly (native resolution of projectors and etc, sound and driver requirements).
Events and Catering:
The Events and Catering will need to start planning in order to ensure foam-core is ordered and delivered well in advance of the date (see Glen – order spare as you will mess the odd one up and need to try again). Sushi was good but there wasn’t enough and it was very expensive – I would suggest ordering individual rolls from a supermarket style supplier and slicing ourselves. Dips, Fruit, Carrots, Celery was great and we could go with more of that.
Events and catering will also need to have a close read of this document : 2015 Exhibition guidelines
These are the guidelines for staging an exhibition in the School of English, Media and the Arts. They have been carefully developed to ensure the legal, safety, and intellectual property requirements are met and publicity is approached in a coherent and organised fashion. Its the responsibility of the events and catering committee (with my help) to ensure these requirements are communicated and met appropriately.
Publicity and Design:
Program of launch event: will there be a program for the launch evening? (Yes – please and A$ map and hand out with programme)
Advertising copy? Invites? (Use list from last term)
Signage of exhibition: Where will this be posted? You will probably need to liaise with the exhibition managers and the main campus exhibition committees
Style and formatting for didactic panels: How will the exhibition identity be incorporated into these panels?
Catalogue Website Development: (Publicity and Design with help from Aristo and Harry)
Everyone needs to submit the following at the end of this class:
(requirements for print catalogue?)
A. Name, website, email, contact
Your name (what you would like to be known as)
Any contact details you would like to provide such as website address (optional)
B. 85 word statement
This can be edited from your profile statement assignment. Please use first person and titles of works are to be italicised. Mat will copy-edit and proof your statement.
C. 1 – 4 images (One 300 dpi, CMYK, 150*150 mm- width (tiff) & 72dpi, 3 * RGB, 600 pixel width,maximum – images for width )
You have the option of how many images to include on your page.
Captions for the images are required and need to set out as follows (no commas):
Title of work year of production (medium)
D. portrait shots
We will be using the photographs shot by Aristo in week 2 for the profile statement. If you were absent that week or for some reason do not like your photograph, you will need to have ones done in the same style.
Dropbox for files:
Please make a new folder within the dropbox with naming format: Surname_Firstname
and a p word for access is media arts uow without any spaces.
this dropbox will expire in 3 days please ensure you’ve uploaded all we need by then.
Lets read through assessment three an ensure we are ready to hand in our process diaries in whatever form they take next week. This assessment is designed to ensure the work is done over the previous weeks and no extra burden is imposed other than working on your ideas – very happy to see quite a few of you in during the holiday working on projects. We need to see more of this.
While this is going on on I will expect a briefing from each of you on the process of your project and a run through of your work to date.
Please book a time in 10 minute blocks to sit down and go through this with me – I want you to tell me about your academic research, your creative research and your experiments to date. At this point I expect 2-3 weeks of research and development completed.
In addition find I will assign you two people who you will present your ideas and project development too sometime during the workshop. I want these people to be your harshest critic and confidante. To be the people you go to when you need an honest opinion and second opinion. These two people are as responsible for your final project as you are – They are not you friends. They are your mentors. Swap emails with them commit to weekly shoutouts from now until exhibition. In part this is a process of caring for each other, taking responsibility for each other, and ensuring the exhibit is running smoothly.
Today in the workshop I’d like us to come up with an impressive installation that might be installed in the foyer space. The people assigned to the projection mapping workshop will work with me on this after a brief consultation with the group. In fact I’d like this work to be as ‘self directed’ so that I can get around to each of you for consultation.
At the beginning of the workshop you can gather in the foyer and discuss what face you’d like to present as a group….how can you best use your collective talents to provide an impressive entrance to the gallery space? Should this work be functional/informing/aestheti. Who will we pursue this work as a group to ensure a good (how will will divide up responsibilities)? What equipment will we require? Are there ways of incorporating the different tech – pure data, cnc, projection mapping, drones into one coherent work that demonstrates what we do and what the possibilities are? How do we blow there collective minds?
The workshop group will take control of this initial process and start working out how we might pull the elements together for testing…. What do we require in terms of projection/content ect. How can we start.
If this doesn’t result in a work or agreement then I have another project ready for development, experimentation and will brief the group directly.
The rest of you will continue with you project work/experiments. The walls of the gallery are now freshly painted (although require another coat) – so projection and etc can proceed.
An absolutely stunning combination of Time Lapse and Projection Mapping from Anti-VJ ‘the Visual Label’ and video artist Xavier Chassaing
This week we look introduce the fourth of my chosen technologies/techniques – projection mapping. At 2.30 Ted and Chris will be here and we will play with drones.
I’d like to spend at least 30 minutes before that thinking about what will will do today with the drones and why. We need a plan.
Reflecting on the last weeks – I’m not sure I want anyone to miss out on playing with the drones if they’d like. The the idea of working in the Gallery on your projects doesn’t seemed to have really worked – although I thanks those who have indeed made the effort – suggestions on how best to use the workshop times are greatly appreciated.
Please feel free to take part with the drone ‘workshop’ if you like – I’ll let you catch up with the practical experiment component over the break – or you are free to continue working on things here in the gallery spaces and black boxes. I don’t mind how you use the time as long as your use it.
I will get to most of your process diaries and over the next weeks and provide project feedback.
All the CNC material are still here and you are welcome to play with that as well if you’re game and I’m happy to step through the code with you.
Last Weeks CNC Lab
Last week we had a nervous (I was nervous) play with the CNC machine and we did some test with my first iteration of the image rendering code. We did the first cut of copper circuit board material and one large and unsuccessful image in timber. I wanted to feedback what I’d learnt..
Firstly its clear that even after many late nights of coding getting the router moving was not the end I had hoped for and there is much more work to be done. But we also learned enough to work out it was probably worth the effort. This was a first iteration…it was going to need many more.
We discovered that the most interesting things about the CNC was the textured surfaces and for me at least the anticipation that came from watching an image reveal through the contingencies of the hacked machine. We were never quite sure how things were going to render. The high speed drill and the autonomy of the machine once we pressed go also added to that feeling – it feels a little bit dangerous and filled with possibility when you press go…
This realisation was perhaps echoed through what Melaina had to say about the outcome…and I paraphrase.. ‘that is was interesting to watch it unfold but the actually result is fairly mundane’. Its really just a printer. This seems to echo much of my thought about 3D printing.
This will really shape where I take the CNC project. Rendering images seems not as interesting as rendering textures and topologies – a better 3D than drilled dots needs programming and we worked out that lines and shapes will be more interesting than pixels. This will be the next step in order to render Gerard and Tyler’s face platters.
Then it seems like it might be worth using the machine connected to the network, to sensors and to recording devices as a means of coding the intangible into the tangible…connecting the machine to the network and rendering sound and movement into form seem like worthwhile experiments.
I’m also keen to try rendering 3D forms via stencils – but in order to do that same as mentioned above rather than simple render aesthetic form.
I encourage you all to get in and play with the machine and the code – if you’d like to try something let me know and I’ll work on the codebase to make it happen.
Today we’ll have brief introduction to projection mapping before we play with the technique a little in our first week back. My main intent with introducing this technique to you is that very many of you seemed to be interested in projection works that involved some degree of masking or mapping. Most of you have been doing that in a very haphazard way. Sarah and Ben tried combinations of gaffe tape and video masks and Khalif went through a maniacal to and fro trying to get his three videos to line up on his complex grid.
We will look at the free software VPT7 (for mac and windows) and we’ll also look at Siphon on the mac which allows us to feed live video sources from Processing into VPT7 for mapping.
I’m also going to suggest we commit to a little project to present in the gallery space.
We will take the foot off the pedal a little. This week I’m not going to spend hours going through projection examples with you. I will put a collection of sample works below and you can peruse them at will and I’ll add more before the projection mapping workshop in week 10. Once again its worth thinking through how projection mapping fits in in terms of media art praxis – how can we contextualise the trend in order to expand the way we engage with it beyond simply flash building projection?
I would like to hear from you … what are the most affecting projection works you’ve seen/experienced/ or learnt of while at uni and what made them interesting /exciting?…
how’d they succeed in making you think/feel?
what was the context of their production/presentation/reception?
How might we think through the kind of work we’ve seen at light festivals like Sydney’s Vivid – large scale building projections for example – in the context of works you’ve learnt about during your studies?
Some historical/influential/interesting examples are below. But what do you recall having an impact?
William Raban and his timelapse film Boardwalk from 1972;
or perhaps Bruce Naumann’s Live Tape Video Corridor (1970)
,Anthony McCall and ‘Between you and I’ (2006-9)
or Line Describing a cone;
, Bill Violas Accpetance (2008) or Pnuema (1994)
Here Bill Viola – is actually speaking about the potential of digital projection mapping in parts…
Jeffrey Shaw, ( ConFIGURING the Cave -here with Hegedues & Lintermann 1996)
or perhaps the most recent iteration of the TVisionarium (III) project
Gary Hill’s Viewers (1996),
or Circular Breathing (1994);
or perhaps James Turrell’s projection pieces…
How would you place the trend in projection mapping – how might you recontextualise the technique to a useful vitalisation of the technology? What is the technique good for?
First lets make sure we all understand what Projection Mapping is… I have an sample over at the Black Boxes – lets head over there and check it out -in order to start thinking what we might do with it.
Some contemporary examples of actual projection mapping;
More technical detail about this project here http://blog.antivj.com/2012/3destruct-scopitone/
Xavier Chassaing for Anti-VJ
Scintallation – Xavier Chassaing
An installation by Fred Penelle and Yannick Jacquet
Drone, Movement, Nature… Media Arts
Grad Show Update… and Groups Sorted…15 minutes of Brain Storming on what worked well or otherwise, work out a series of deadlines and necessary requirements etc. Elect a group coordinator/spokes person. Start a Google Doc for collecting and recording group updates.
Week 6 Drones:
Last week we had an introduction to a vast array of projects that I felt spoke to the idea of Drawing machines as a means of introducing some of the potential I see in hacking the CNC Machine.
Today we’ll do some investigation and testing of the code that I’ve written for the CNC machine… including a new image function that is completely untested to this point…could be interesting… it could all fail to execute as well… I have some different materials to try in order to start testing the aesthetics a numerically controlled router.
I’ve had a couple people interested in using PureData and the CNC machine and a few others interested in arduino based projects…I’d encourage you to think big regarding your projects…. I’ll do my damndest to make sure you have access to the knowledge and tools you’ll need to execute them.
We are in media arts – and so while everything has become digital media to some extent – its here we want to really extend and develop and push the boundaries of what is possible – whether that is in surf documentary or portraiture, or narrative, or installation. For many of you this will be the last chance to try something a bit outside the box….so use the opportunity..
Think through and about Drones.
This week I’d like to spend some time brains storming about how we might use or explore drones in week 9…. While I have designated a group to think about this – I’m happy for anyone with an interest to get involved next week (although the drone group will be first in line)…Typically we only get about 10 minutes actual flying time……in the best cases..this means we need to be very organised less the day become simply about ‘having a go’ …. and that might be OK – but if you have an idea about how we might do something more interesting it’ll need to be planned and executed efficiently.
On #themixtv this week we spend a night at the Opera – A Drone Opera, a production that uses drones and lasers to explore our love of technology
Posted by ABC ARTS on Friday, September 11, 2015
From the little we see here has the artist managed to avoid the work becoming about Drones? Watch the video again carefully – where does the work becoming more than ‘about technology for technologies sake’ – where and what are the aesthetically interesting aspects of the work?
Lets have a brief look at Anna Munster’s excellent repositioning of the digital as ‘signaletic material’ in which she begins by talking about drones and their curious aesthetic potential.
Remember Andrew Murphie’s discussion about The World As Media … How might we think about the Drone in those contexts – The body of the drone as a complex amplifier? What are its amplifications…what signals is it modulating and transmitting and to what effect?
For Anna these tools (digital tools generally but drones specifically) as embodying the hope of disembodied control that is often performed by and through digital media (she speaks of it as if the drone is the FPV of gaming – with its seek and destroy logic – transposed to the real world) alongside the fact of its constant disruption and the emergence onto which it opens. This emergence is always about signal…and so we should rethink the digital in those terms rather than the terms of ‘code’/codification as the source of and definition of a digital aesthetic.
Richard Johnson , Marconi Union – Weightless.
Eric Sterman … Something Interesting? What is it?
Entering Wildfire – Turpin, Smith and Harmon (not drones – but drone like – what is the connection)
Denis Beaubois’ Terminal Vision Project:
Interesting notes on the formulation of The Terminal Vision Project.
What led me to the physical in regards to video was a distrust of the (unblemished) optical. This was partially driven by a frustration with a homogenous aesthetic enforced by the medium of video itself, where everything was slick and displayed in higher resolution. News, tragedy, advertisements, comedy, art, all in my head seemed united under the same “optically correct” screen surface (Virilio, 2002). It was an aesthetic limited to, and to a certain extent defined by, technology and the tools associated with the medium. Furthermore the medium’s nightly association with the factual through the broadcast news, inspired a questioning of video’s capability to depict experience.
On an ethical level I did not like the way the video camera silently consumed everything in its path. A technology with an insatiable appetite to indiscriminately capture was reminiscent of earlier concerns in my work about video and its links to surveillance. In essence (if at all possible) I did not want my camera to function like a surveillance camera.
What is my camera?
(The camera’s state of being)
In response to such issues with the medium I decided to implement a series of simple points outlining what I wanted the video camera to do;
* I wanted the camera not to consume everything that traversed its lens.
* I wanted the event recorded by the camera to mark or change the camera in some way.
* I wanted the camera to physically experience its surroundings (reinstate a sense of distance and geography)
* I wanted the camera to shed its status of passive observer by making its presence felt.
In order to achieve these objectives I experimented with the video camera as a projectile. To record a subject or landscape with the video camera would now entail throwing the camera at that subject or landscape.
Drone 2000: Nicolas Maigret
Superflux: Done Aviary
“Look at Turner, who was living in a moment where perception itself was changing dramatically through telegraph and railroads. Seeing itself was changing. With Rain, Steam and Speed – The Great Western Railway he was trying to paint something that was faster than the eye can see – that was new, right? We’re now living in a moment where perception is changing, very literally.”
“If you were driving through Nevada you would sometimes see them. I was thinking about the colonisation and transformation of the sky as an aesthetic thing, but also a political thing….. To photograph something is to insist on one’s right to photograph it,” he says. “It’s an act that is very embodied – it’s a performance, in a way. It’s very creepy because you’ll look at a drone and see it turn and come straight at you. You can almost see a camera looking at you.”
Terry Paglen http://www.paglen.com cited in (please have a look at some of his amazing works) http://www.dazeddigital.com/artsandculture/article/16183/1/art-in-the-drone-age
This video is constructed via intercepted satellite footage gathered by an amateur satellite hacker. Signal form UAV’s are often sent unencrypted to avoid lagging response.
vimeo.com/groups/80611/videos/47723379 (private video open in own window)
What is interesting about this work and why? What makes it interesting in terms of an ethico-aesthetic …. the ethics of ways of seeing?
Jame Bridle on Dronestigram and Drone Shadows:
George Barber’s Freestone Drone Film..
The Iocose Collective’s (http://www.iocose.org/) – Drones In Times of Peace Project incorporating DRONE+ and Drone Selfies.
Omar Fast: 5000 Ft is the Best.