Week 13: The Final Weeks

Craig Holbrook – Seascapes 2015

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.

Well done.

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 mat@eidoscape.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.

This week…

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

Brooke,
Maddie
Kris,
Tess,
Ben
Aristo,
Tyler,
Mel, (well if she was here)
Cass,
Khalif,
Sarah..

The rest…

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.

 

 

 

Week 12 – Post Internet and Project Work

Artie Vierkant – Image Object Sunday 17th June

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.

See Below;

_____________________________

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 rideandshinebicycle@gmail.com 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.

 

Mirko

_____________________________

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’:

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How do those three points defining ‘the contemporary moment’ mark a distinction for the era of Conceptualism and New Media Art?

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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?)

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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’;

Conceptualism?
New Media Art?
Critical Media Art?
Post-Internet Art?

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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;

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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;

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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

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Does this notion of a shift away form the image as spectacle ring true for you?

and finally;

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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….

Week 11 : Critical Media Art, Post Internet Art And You.

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?

Some discussion…

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

Image Objects – Artie 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.

http://www.critical-art.net/books/mp/MPIntro.pdf

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’

http://jstchillin.org/artie/pdfThe_Image_Object_Post-Internet_us.pdf

http://9-eyes.com Jon Rafman

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

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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?

Week 10 : Projection Mapping, Consultations and Workshopping

Austin Kleon’s ‘The Life of a Project’ from the book ‘Steal Like an Artist’

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.

Videographers

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.

Committee Meetings

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).

Curatorial

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 –

Tech

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

https://www.dropbox.com/sh/ckjtnshnbb9nlkm/AACAeRV38wlyESImfyKnE4eOa?dl=0

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.

Assessment 3: 

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.

Consultations:

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.

Workshop:

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.

 

Week 9: Projection Mapping and Drones

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.

Projection Mapping.

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),

Gary Hill’s Viewers (1996)

http://www.sfmoma.org/explore/multimedia/videos/222

or Circular Breathing (1994);

http://www.sfmoma.org/explore/multimedia/videos/219

or perhaps James Turrell’s projection pieces…

Turrell Raethro Green 1968

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

Mécaniques Discursives
An installation by Fred Penelle and Yannick Jacquet

Lightfactory.fr

Week 8 – Droning and Cutting

Untitled (Predator Drone) – Terry Paglen

Preamble:

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.

Process Diaries:

http://medadada.net/meda302-workshop-groups/

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. 

In Times of Peace..Drone Selfies by iocose

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?

Anna Munster: Transmateriality

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.


Screen Shot 2015-09-14 at 1.27.54 pm


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:

http://denisbeaubois.com/The%20Fall%20From%20Raiatea/The%20Fall%20from%20Raiatea%20Long%20copy.html

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.

Critical Drones:

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.”

Untitled (Reaper Drone) – Terry Paglen

“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.

Screen Shot 2015-09-14 at 2.43.07 pm

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..

http://waterside-contemporary.com/images/media/700×550/344.jpg

https://vimeo.com/90317997

MQ-9/ Guardian by Mahwish Chishty

MQ-9/ Guardian by Mahwish Chishty

http://www.mahachishty.com

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.

 

Week 6 – Making and Making

Mycelium Chair – Eric Clarenbeek 2014

This week we begin our dedicated time in the gallery become studio space. We’ll begin with a lecture that tries to connect some of the dots and prepare you for our CNC Lab week we’ll look a selective grab-bag of ‘art machines’ in contemporary practice. Next week is post-graduate week – which means no teaching or classes this will give me some time to spend on developing the CNC code and gathering materials for cutting or experimenting with when we get to the CNC. Those who are nominated that week should get in early and throw as many ideas around as possible and I’ll do my best to make them happen.

After the first hour this week we will head into the Gallery space. If your nominated for this weeks making session you don’t need to install anything – everyone else will be doing so and documenting the process in your diaries.

Remember I have stipulated that your process diary include three elements for each of these weeks.

1) A piece of academic reading or research that informs the work you are doing.
2) Some research on a contemporary work or artist that informs the work you are doing.
3) A experiment or iteration of the work/techniques/or practice that you are engaged in.

These three elements should be described and ‘thought through’ in relation to each other as part of that weeks entry(ies) in your process diaries. I’ll be checking this work randomly and in week eleven when you hand this work in.

Just as we saw last week with Jo Laws work – documentation is often a very important artefact of a developing practice – so make sure you take some care in committing things to your diary in what ever form it takes. Use the 3 pieces required in the manner that they were prescribed – as food for thought..not as arbitrary requirements.

Week 6 Sound Group.

There has been no contribution to the Etherpad this week… that means we will play with what I have available. A Surround array – some sensors and we will look at what it takes to create a surround sound environment effectively.

CNC Group – I need more interaction than this in order to make the most of the week – thankfully we have a week of ‘spare’ time to get in and throw some ideas around.

Grad Show.

Before we go to much further – we should here from Sarah and Cass regarding the Grad Show preps.Remember we have to get donated works handed in on main campus by Thursday next week.
Assigning groups…

Inspiration for CNC Hacking …
Machines of Art/Printing/Forming.

Klee and Calder and the Futurists.

Paul Klee – Twittering Machine 1922

Tinguely:

http://www.damienhirst.com/exhibitions/solo/1994/making-beautiful-drawings

Making beautiful drawings: an installation Hirst 1994

Fernand Orellana:

Steve Kuypers:

Tim Lewis:

Arthur Ganson:

 

 

Roxy Paine:

http://www.roxypaine.com/machines/

Scumak No. 2, 2000 Roxy Paine

Martin Stiefel

http://www.martinstiefel.de/wasch.html

Lia Cook

Lia Cook – Dark Traces

Peter Flemming: Manual..

http://www.bek.no/~flemming/flemmweb_current/details/manual_norm.html

David Bowen

http://www.dwbowen.com/telepresent-wind/

NC Work

Ted Lawson

http://artbookguy.com/ted-lawson-innovator_432.html

Many more milled and CNC projects here:

http://www.tedlawson.com/artwork/attackdecay-1/

Sabrina Raaf : Grower, Meandering River, Icelandic Rift

https://www.flickr.com/photos/sraaf/

http://raaf.org/projects.php?pcat=2&proj=24

 

3D Prinitng:

Sophie Khan – Lazer Scans and 3D Prinitng

http://www.sophiekahn.net

Sophie Khan http://www.sophiekahn.net

Mitchell Whitelaw’s Weather Bracelet 2009.

http://mtchl.net/weather-bracelet/

 

 

Erik Klarenbeek.

http://www.ericklarenbeek.com/#product

More CNC and Printing;

Daniel Widrig:

http://www.danielwidrig.com/index.php?page=Work&id=CREAM

Shane Hope:

Bandwidth of built beings – Shane Hope 2014

http://shanehope.info

Monika Horčicová

https://monikahorcicova.wordpress.com/prace/

Xia Xiaowan:

Not printing but painting and drawing in 3Dimensions..

Materials, Wearable and Printing:

Benjamin Ducroz:

 

Week 5 – 6 Months of Practice- Jo Law

Jo Law & Redmond Bridgeman – A World of Things 2015

This week we welcome back Jo Law who you all know well and who has been on study leave – researching, writing, exhibiting and making for the last 6 months. Jo joins us after a very successful collaborative show at the Huw Davies Gallery in Canberra  – You can read about the development of this work here  and you can read a review of the show here.

Jo has been engaged in a whole range of very interesting projects over the last six months many of which move between research, making and writing with great fluidity and agility. She is interested in a range of oddly related fields of interest – urban/social architectures and landscapes, maps and documenting(?), soft circuits, ‘wearables’ and materials amongst other things. I’ve asked her back to talk to you as our last of three guest lecturers because – as with our other guests here work demonstrates a range of ongoing practices that are compelled and compelling…

Compelling… its worth thinking through that term …. what does it mean to be compelled by your own practice and are you.  What questions compel your work? What fascinations or passions compel your work. What makes your work compelling to others …. what’s at stake in your work??

Grad Show.

Silent  Art Auction this week and an update from Sarah and Cass re: Grad Show.

Making Workshops.

Your workshop week:

Last week I assigned the maker workshops. If I had your preference at that time I put you in your preferred workshop – if not I assigned you a  workshop based on A) What I needed in terms of skills & interests B) what I thought might be fitting for your skill set and interests based on your work in MEDA301.

If you’re not happy with your group let me know and I’ll see what I can do…but you’ll need a good reason and an idea of what you’d like to do with the workshop you are requesting..

I have also created ‘etherpads’ for each of the workshops. These are here for me to communicate a ‘pallette’ of technical possibilities and to allow you to suggest ways we might execute a work (or get close to it) based on the technology/technique in question. For week One you need to get in and get started – the earlier I can look at the idea the earlier I can get started developing/finding/testing the elements we might need in the gallery space.

I will be presenting a ‘primer’ each week based on the themes/technologies presented in each of the workshops in which I’ll introduce the technology we will be working with and presenting some of the more interesting artists that have shaped and are shaping the field.

We will spend some time today – acclimating to our workshops and brainstorming ideas for the particular technology….

Your non-workshop weeks:

Remember: If you’re not assigned to that weeks workshop you will be installing a work or experiment that extends/parralells/explores/experiments toward your final project.

Your workshop week is your week off… not vice versa….

Look back over the assessment criteria for the process diary and make sure you are ticking each of the required boxes for each week. I will be checking process diaries randomly throughout the period and will be checking work/experiments installed in the gallery. Remember this is an opportunity to put work in the gallery space, to put up a didactic panel and photograph it  – its also a chance for you to discuss work and develop ideas with your tutor and fellow students. The works/experiments don’t have to be finished but they should be ‘presentable’  and planned rathe than haphazard or improvised. You may be asked to present your work or research – so be read and ready to do so.

Workshop Assignments and Etherpads:

Week 6: Sound/Sonification.

Etherpad: https://pad.okfn.org/p/Sound,_Signal,_Data_Workshop
Makers: Matt, Harry, Tyler, Ben, Gerald

Week 8: CNC Machine/Printing/Materials.

Etherpad: https://pad.okfn.org/p/CNC_Hacking,Materials,Printing_Workshop
Makers: Melaina, Maddy, Cass, Brooke.

Week 9: Drones with Ted and Chris

Etherpad: https://pad.okfn.org/p/Drones_Workshop
Makers: Kris, Craig, Zema, Tess, Georgia.

Week 10: Projection Mapping

Etherpad: https://pad.okfn.org/p/Projection_Mapping
Makers: Aristo, Sophie, Khalif, Brittany, Sarah.

Week 6 Maker Workshop primer – Sound, Music, Art.

LeMonteYoung

The Base 9:7:4 Symmetry in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119.

The Well Tuned Piano (1964-73-81-Present):

John Cage : Atlas Eclipticalas

Steve Reich : Pendulum Music 1968

Felix Hess

Christian Marclay: (1998)

Otomo Yoshihide

 

Jodi Rose: Singing Bridges (2001-11 ?)

https://singingbridgesmusic.bandcamp.com/album/under-construction

Lucas Abela/Justic Yeldman:

http://www.messandnoise.com/icons/4224165

Ryoji Ikeda:

Supersymmetry 2010:

Test Pattern (2013)

Ed Osborn: Gain Stage (2015)

Flying Machines (2001)

Janet Cardiff and George Muller

George Khut and Jame Brown:

Marc Fusinato – Empirical Distortion

Metheney’s Orchestrion

…. but is it art?

Chris Willits : Opening 2014(?)

Week 4: Haines and Hinterding Excursion

Found this in my Inbox today (link)- felt relevant to you all (and to me).

This week we travel to Sydney in order to visit the Museum of Contemporary Arts major survey of the work of David Haines and Joyce Hinterding.

Find out more about them here:

http://www.haineshinterding.net

David Haines and Joyce Hinterding practice both together and independently and all three vectors of their practice have marked a significant contribution and intervention to Media Arts generally and within Australia specifically. This is a great opportunity to explore -once again- what Media Arts is good for and to explore a very distinct approach to the relation between art, science and technology…

We will either meet on the foyer steps (inside the door) at 1.30 or 2.30 depending on you availability – I expect you to be there for 2 hours max.

Large Square VLF Loop Antenna, Hinterding, 2015

Rather than a worksheet (which seems a little high school to me) I’ve requested your read Andrew Murphie’s paper ‘Hacking the Aesthetic‘ – I’ve pasted my notes on this paper as a series of questions for you to think about in the context of the exhibit and Haines and Hinterdings work.

This should provide you with enough food for thought to write an ‘analysis’ of a particular work or of the work collectively using the Murphie paper (and the questions I direct you to) as a guide and frame.

I’m particularly interested in your thoughts as to how the ‘signaletic’ and ‘ecological’ approach to media arts that is demonstrated in Haines and Hinterding’s work and discussed by Murphie might inform your own approach to media arts generally and to your medium specifically.

Look for those questions that speak directly to those questions of a relation to your own practice/medium.

This is not an exercise in verbose academic formalism – I’m more interested in a active thinking-through of the work in the context of your own… What excites you, what crazy ideas are invoked between the theory and the work? How might you engage with ‘cross-signal processing’ or ‘hacking the aesthetic’ or employing ‘the body as a complex amplifier’ or becoming ‘transmitter rather than communicator’ in order to animate/enliven your own practice?

Aeriology, Hinterding, 2015

My notes/questions based on Murphie’s paper Hacking the Aesthetic:

Thinking though Murphie’s Hacking the Aesthetic:

Murphie describes Haines and Hinterding’s work as ‘contemplative signal work’ – and writes that in their work signal is ‘no longer only (or sometimes even) a carrier for channeled messages. (Page1)

What is signal outside its use as a carrier? How might it be ‘used’ if not to carry messages? What is signal if we think beyond its capacity to represent? How is it useful to think this way? What potential does it open up.

Is there and analog here with the difference between information and meaning? What is the value of thinking information as distinct from meaning? This was a key strategy in the development and conceptualisation of information and communication theory. (See an extract from chapter seven of The Information by James Gleick here http://faculty.georgetown.edu/irvinem/theory/Gleick-Information-Excerpt-1-7.pdf -around page 29 of this PDF) – I’m not certain there is an analog… but I think its interesting to think through..

Does the notion of ‘hacking the aesthetic’ makes any sense and how….What does/could it mean to tamper with or repurpose and aesthetic from within… (Page 2 – see latter sections of this as well)

For this we need to ask what is an aesthetic? Murphie seems to imply a definition as ‘the often given or assumed organisation of sensation’ -does this help – what value is there in hacking it? how do specific works in this collection do this?

Given the questions above how does this challenge alter the easy division of technics, the human and the natural world? Does it really provide for strange remix/mixing of the forces involved? How? To what End?

How are these works and the ‘hacking of the aesthetic’ and ‘remixing/mixing of forces’ that they are argued to perform different from other modes of media art and communication media forms? How is technology used differently to other cases of media art/interactive art and media? (Page 3 and 4)

Murphie argues that in these works ‘the technical world- both old (analog) and new (digital) – is returned to the world at large? What does this mean for media arts…. In an article I recommended last term we saw media replaced with material to interesting ends …. here we are seeing world as media… whats going on in these redefinitions of media – why is there an imperative to ‘redefine’ media? (Page 4)

Are there implications (of the above imperative/project) for ‘media arts’ and ‘digital media arts’ – if so what might they be?

What is the cost of a media (and media art) theory derived from the mainstream (sender-recieved, signal:noise) model of communication?  What is left out and why? Think back to you encoding/decoding exercises in MEDA102….what is assumed/required in the transmission of information? (Mid Page 4 Column 1)

What does it mean to call the body ‘ a complex amplifier’  – can you find examples in the collection? – what does it amplify and how – how can we use the body within the world as medium…does this make it any different from other types of bodies…how? How does this effect its place in the world as media ‘ecology’…or perhaps its place in our ‘ecology of practices’ (or just practice)? (Second column Page 4).

As you look around the exhibition find examples of ‘cross signal processing’? What signals are being ‘cross-processed’ and to what end or effect? Make a list of these examples. (Page 4 Second Column)

How is this ‘cross processing’ ‘ecological’ and to what end? What are the ecological implications of this work?….think ecology as the sum of interconnecting forces that define our world(s)…rather than in the limited environmental sense… (Page 4-5)

What is the relation between ecology and signal? (Page 5 Column 1)

How does your own work/medium offer potential for ecological ‘scope’ or potential for ‘cross signal processing’ or for using the body as a ‘complex amplifier’?  (Page 5 Column 1 – Bottom of page 6 re: Complex Amplifier)- look particular at bottom of this column for lots of answers/suggestions..

Does this notion of Hacking the Aesthetic work for you? What (the hell) does it mean to you?
Murphie defines this in three parts:

1) hacking opens up the ecology of sensations within experience
2) this hacking questions given models (way of understanding/reasoning/making sense of the world) – syntaxes or orderings of process – with which experience is often conceived (see detail bottom of page 5)
3) this hacking challenges political ecologies that rely on these orders and syntax. (do these works operate on the level of the political and how exactly?) (See mid page 6 and second column page 7 and into 8)

Can you find one work that does these three things and clearly state how?
(Plenty of examples in the text – page 5 column 2)

What’s the result of ‘hacked everything’ in terms of experience (Purple Rain)….?

What’s this ‘virtual’ that Murphie keeps referring to? Hint – The virtual (according to Deleuze) is real but not actual. Do you experience it in Haines and Hinterding’s work – what is the quality of that experience….why does/how it matter.. (throughout – but bottom column 1 page 8, page 10 -seconf column, and page 4-5)

What does it mean to think these works or our bodies as ‘transmitters rather than communicators’? (Haines on page 10 column 2) – What potential does this perspective/approach offer you own work or medium. (also -what does he mean when he says ‘…thats’s where the sensation field becomes a transmission space’ – think back to the body as complex amplifier).

Pitches/Discussions:

I’ve sent quite detailed notes to most people who presented their pitches last week. If you didn’t receive feedback let me know. If you didn’t get to present (your were away – or we ran out of time) please make and appointment to discuss you plans with me over the next week.

(You can catch me Thursday 12.30 – 2.30 at the IC or friday by appt depending on the surf and my availability)

I expect all this work to be logged in the process diaries which I’ll begin looking progressively form next week.

Making Workshops:

I have received some requests for Making workshops. As the date(s) fast approach(es) I am assigning the rest (feel free to organise a swap and let me know). In each of the weeks listed below you will be either working with me on the theme/tech listed or installing your own experiments/iterations/processings in the gallery space…. don’t be intimidated by the gallery – I’m using as the lab and workshop space we don’t have.

This is a place and time for half developed ideas and experiments. If you can put up a panel and take a photograph of it that will add to you portfolio  – but don’t think of this as the priority... the priority is to experiment and develop your ideas/process. 

That said – contributing something each week is a key part of your second assessment – you can’t pass assignment 2 without that weekly contribution.

For each of the workshops I will be establishing an ‘Etherpad’ for developing ideas prior to the workshop. Anyone (at all) can edit/delete/spam these collaborative writing docs… they are completely open and anonymous (sign/label you contributions).

Contributing to this ahead of the workshop is also part of the assessment and I need to have some idea of technical demands before we get into the space …..(what coding for example I need to have set up).

These are open to changes and if I missed a request please let me know and I’ll recheck my emails.
I can also move people around if they definitely don’t want the workshop I’ve put them in – bare in mind however these are explorations and I’ve thought about who can best benefit from and contribute to a particular workshops. I’d prefer if swaps were organised if you can find them.

Week 6: Surround Sound/Pure Data/Sensing 

Inspiration:

Etherpad: https://pad.okfn.org/p/Sound,_Signal,_Data_Workshop

Makers: Matt, Harry, Tyler, Ben, Gerald

Week 8: CNC Machine/Printing/Materials.

Check out Amy Sands who uses Lazer Cut (a similar process) and has used CNC for print making;

Amy Sands (http://www.amysands.com/#!revolution-series/c1oir)

Etherpad: https://pad.okfn.org/p/CNC_Hacking,Materials,Printing_Workshop

Makers: Melaina, Maddy, Cass, Brooke.

Week 9: Drones with Ted and Chris

Check out Mahwish Chishty’s work for inspirational reimaginings of drone aesthetics http://www.mahachishty.com

Etherpad: https://pad.okfn.org/p/Drones_Workshop

Makers: Kris, Craig, Zema, Tess, Georgia.

Week 10: Projection Mapping

We won’t be achieving this – but check out am-cb.net’s use of projection mapping in dance for inspiration/mind boggling.

Etherpad: https://pad.okfn.org/p/Projection_Mapping

 

Makers: Aristo, Sophie, Khalif, Brittany, Sarah.

 

 

 

 

 

 

 

Week 3: Media Art Making & Research

Please welcome our second of three Guest Lectures for this term Pia Van Gelder.
You can find out more about her research and practice here http://piavangelder.com

Pia is one of those people whose practice is very much grounded in a fascination with the potentialities of media formats and technologies without ever becoming demonstrative or over-determined in the way so much media art can (or tends).

Perhaps this has something to do with being a musician and sound person – Pia seems always looking for the technology to speak back to her (and of her) in interesting ways in the way that any musician treats their instrument. Musical expression always begins (and ends) with an open listening to, and exploration of, the voices and potentialities of an instrument…That is where we find the music – between body and world and never really within either alone.

So much media and particularly interactive and computational art has been concerned with the ‘use’ of a particular affordance or technological potential. Net Art was perhaps overly concerned with the potential of hypertext in the 90’s. We saw a rash of sensor driven event style works in the late 90’s and 00’s. We saw many large scale immersive works in the mid 00’s many involving the ability to translate and represent data, projection mapping was everywhere around the late 00’s.

Some of this work is interesting…but only when it manages to speak back to us in unexpected ways – to show us a difference that makes a difference – provide us with a new voice, or finds a new way of speaking the relation between body and world…..

Perhaps Pia’s approach tells us something essential about the potential of media and technical art – what its good for- why, when and how it is interesting. For this reason Pia’s work gives us a great entry into a consideration of Haines and Hinterding and to Andrew Murphies paper Hacking the Aesthetic –  I think the two (or three) practices are related in interesting ways – trying to work out how these approaches are related might provide an interesting take on media arts practice.

Pia is also very involved with maker culture and was a founding organiser of Dorkbot Sydney a group of/for people ‘doing strange things with electricity’ – the Sydney chapter of a much larger movement of loosely affiliated maker groups. She is also completing a PhD – researching esoteric musical instruments… and so research/making/and art practice are all curiously and interestingly intermingled as part of a wider practice… Please make her welcome.

Workshop:

Try this – Do an image search on ‘Problem’. Notice problems always lead to solutions – but perhaps we’d be better to look at the problem as frame….

Problem Setting/Pitching/Discussion of major works/practices…

Today we will be pitching/presenting/discussing our initial plans for our major project – or rather plans for pursuing our practices over the next weeks. Projects don’t need to be locked in – but a plan of problem setting, research and making does.

Here is a reblogged extract from the source that Lucas cites (Schön, 1995, p. 310ff) on Problem Setting. From what frame do you approach your work and what does that framing mean in terms of your practice – how does it extend or delimit you practice?

A) Some reflection on work last term.
B) Some problem setting… what is the motivating question/problem driving your work or that you hope to explore and how??
C) a reading/research plan – what are you going to read and why (Be specific..Authors and Texts).
D) Some research of examples/infulences that you might show us –
E) A plan for making and experimentation over the coming weeks leading into the gallery/making weeks.

Preparation for Next Week (Week 4).

Haines & HIinterding Earh Star 2008, at Energies – MCA

We will meet in the foyer of the MCA at with 1.30 or 2.30. I will run two sequences in parallel from 1.30-3.30 or from 2.30-4.30 in the exhibition to allow you some flexibilty. The time not spent in class should be spent work on an between an analysis of a Haines/Hinterding artwork – I’m not interested in long winded analysis but in what you find interesting in the work – what speaks to you and your practice (or maybe what doesn’t – if the work doesn’t engage you tell me why) or what speaks to media  and technical art more generally. Use the Murphie reading as a lens to examine both your approach to media art and that of Haines and/or Hinterding.

Think also of Pia’s work and presentation this week.

You can publish/stick these in your process diary and send them too me via email directly. I will post the best/most interesting ones to the front page of the medadada.net site. I’m keen to make the work we do more open and visible. You can work collaboratively or individually.

Assignment 1:

This is due next week (I’m happy for it to be available for marking on Thursday).
Submit a link via email to me directly. Use the opportunity for me to check your copy before you go live or hand it in. I’m particularly concerned with attention to detail in copy editing and presentations.

Making Workshops:

Week 6: Sound/Data/Sonification – We work with sound and data or signal to create a surround sound installation. We’ll use Pure Data to do so…

Week 8: We’ll talk through and play with my hacking of a CNC machine to work with processing. This might be a way of thinking through the interaction between code and material currently playing out in 3D printing although here we can make things with materials other than plastic.

Week 9: We’ll have Ted Mitew and Chris Moore bring their wonderful flying machines over and we will try and work out what the hell to do we should do with them. Probably not this…but…cool…Drone music..

Week 10: We’ll play with projection mapping and wonder if we can do something interesting with it and what that might look like. We’ll play with projection/processing and data or signal to get beyond mapping shapes onto the opera house…

Choose one and let me know which one your into – first in best dressed.

Thinking though Murphie’s Hacking the Aesthetic:

Murphie describes Haines and Hinterding’s work ascontemplative signal work’ – and writes that in their work signal is ‘no longer only (or sometimes even) a carrier for channeled messages. (Page1)

What is signal outside its use as a carrier? How might it be ‘used’ if not to carry messages? What is signal if we think beyond its capacity to represent? How is it useful to think this way? What potential does it open up.

Is there and analog here with the difference between information and meaning? What is the value of thinking information as distinct from meaning? This was a key strategy in the development and conceptualisation of information and communication theory. (See an extract from chapter seven of The Information by James Gleick here http://faculty.georgetown.edu/irvinem/theory/Gleick-Information-Excerpt-1-7.pdf -around page 29 of this PDF) – I’m not certain there is an analog… but I thinks interesting to think through..

Does the notion of ‘hacking the aesthetic’ makes any sense and how….What does/could it mean to tamper with or repurpose and aesthetic from within… (Page 2)

For this we need to ask what is an aesthetic? Murphie seems to imply a definition as ‘the often given or assumed organisation of sensation’ -does this help – what value is there in hacking it?

Given the questions above how does this challenge alter the easy division of technics, the human and the natural world? Does it really provide for strange remix/mixing of the forces involved? How? To what End?

How are these works and the ‘hacking of the aesthetic’ and ‘remixing/mixing of forces’ that they are argued to perform different from other modes of media art and communication media forms? How is technology used differently to other cases of media art/interactive art and media? (Page 3 and 4)

Murphie argues that in these works ‘the technical world- both old (analog) and new (digital) – is returned to the world at large? What does this mean for media arts…. In a \\an article I recommended last term we saw media replaced with material to interesting ends …. here we are seeing world as media… whats going on in these redefinitions of media – why is there an imperative to ‘redefine’ media? (Page 4)

Are there implications (of the above imperative/project) for ‘media arts’ and ‘digital media arts’ – if so what might they be?

What is the cost of a media (and media art) theory derived from the mainstream (sender-recieved, signal:noise) model of communication?  What is left out and why? Think back to you encoding/decoding exercises in MEDA102….what is assumed/required in the transmission of information? (Mid Page 4 Column 1)

What does it mean to call the body ‘ a complex amplifier’ – what does it amplify and how – how can we use the body within the world as medium…does this make it any different from other types of bodies…how? How does this effect its place in the world as media ‘ecology’…or perhaps its place in our ‘ecology of practices’ (or just practice)? (Second column Page 4).

As you look around the exhibition find examples of ‘cross signal processing’? What signals are being ‘cross-processed’ and to what end or effect? Make a list of these examples. (Page 4 Second Column)

How is this ‘cross processing’ ‘ecological’ and to what end? What are the ecological implications of this work?….think ecology as the sum of interconnecting forces that define our world(s)…rather than in the limited environmental sense… (Page 4-5)

What is the relation between ecology and signal? (Page 5 Column 1)

How does your own work/medium offer potential for ecological ‘scope’ or potential for ‘cross signal processing’ or for using the body as a ‘complex amplifier’?  (Page 5 Column 1 – Bottom of page 6 re: Complex Amplifier)- look particular at bottom of this column for lots of answers/suggestions..

Does this notion of Hacking the Aesthetic work for you? What (the hell) does it mean to you?
Murphie defines this in three parts:

1) hacking opens up the ecology of sensations within experience
2) this hacking questions given models (way of understanding/reasoning/making sense of the world) – syntaxes or orderings of process – with which experience is often conceived (see detail bottom of page 5)
3) this hacking challenges political ecologies that rely on these orders and syntax. (do these works operate on the level of the political and how exactly?) (See mid page 6 and second column page 7 and into 8)

Can you find one work that does these three things and clearly state how?
(Plenty of examples in the text – page 5 column 2)

What’s the result of ‘hacked everything’ in terms of experience (Purple Rain)….?

What’s this ‘virtual’ that Murphie keeps referring to? Hint – The virtual (according to Deleuze) is real but not actual. Do you experience it in Haines and Hinterding’s work – what is the quality of that experience….why does/how it matter.. (throughout – but bottom column 1 page 8, page 10 -seconf column, and page 4-5)

What does it mean to think these works or our bodies as ‘transmitters rather than communicators’? (Haines on page 10 column 2) – What potential does this perspective/approach offer you own work or medium. (also -what does he mean when he says ‘…thats’s where the sensation field becomes a transmission space’ – think back to the body as complex amplifier)