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

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

Part 1: Thinking about count of repetition

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

Vera Molnar, 25 Carrès (25 Squares), 1989

Vera Molnar, 25 Carrès (25 Squares), 1989

 

 

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

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

line-made-by-walking

Richard Long, Line Mae by Walking, 1967

Pavillion-Deutschland-Ai-Weiwei-7

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

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

ai_weiwei

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

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

Triple Elvis 1962 Acrylic silkscreened on canvas

Triple Elvis 1962 Acrylic silkscreened on canvas

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

Part 2: Presenting to Peers

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

Your presentation should follow the assessment guidelines:

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

Part 3: Documenting work development

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

You might include:

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

 

Workshop 10: Back to the Physical World

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

(start at 2:45)

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

PART 1: Research and discuss

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

[Maya Lin, Systematic Landscapes, 2009]

[Sol LeWitt, Five Modular Structure, ]

[Antony Gormley, Quantum Void I, 2009]

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

[Alexander Calder, Nineteen White Discs, 1961]

Questions:

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

PART 2: Physical computing/ Arduino

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

In each case, can you identify:

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

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


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


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

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

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


[An Arduino microcontroller]

[Arduino interface]

Part 3: Research/ Discuss/ Consult: Project work

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

Workshop Week 8: Some code tricks to play with

Consider exploring the below Processing software techniques. These can be used to great effect within your existing Processing experiments.

Choosing Colours

Are you sick of randomising the colour function to get different colours? The example below shows how you can pre-define a particular palette of colours and use them whenever you need to.

Screen Shot 2015-09-16 at 2.52.23 pm

color [] bunchOfColours = {
   color(100,255,35),
   color(220,200,85),
   color(185,65,200),
   color(0,145,35),
   color(245,35,200) };

void draw(){
   for (int i = 0; i < 10 ; i ++) {
     fill( bunchOfColours[(int)random(0,4)] );
     ellipse((int)random(200), (int)random(200), 20, 20);
   }
}

Using Images

Processing actually makes it very simple to include and manipulate images into your sketch. You might try going through the following tutorial: https://processing.org/tutorials/pixels/

Or play with the following code. Note, you’ll need to put this image on your Desktop first:

https://processing.org/tutorials/pixels/imgs/tint1.jpg

Screen Shot 2015-09-16 at 2.51.56 pm

// this next line loads up the image.
// It is a complicated way of saying "get the image from my desktop".
PImage sunflower = loadImage(System.getProperty("user.home") + "/Desktop/tint1.jpg");
  
void setup(){
  size(500,500);
  noLoop();
}

void draw(){
   tint(255,100); // this makes the image transparent
   for (int i = 0; i < 100 ; i ++) {
     image(sunflower,(int)random(300),(int)random(300));
   }
}

Calling drawing functions

Here’s some code that Mat and Etienne have written: https://gist.github.com/meda102/576d5ace9112232e6cee Its code that copies Vera Molnar’s squares, Sol Lewitt’s lines, and Bridget Riley’s dots. Copy and paste the code into the bottom of your Processing window … and you can call it within your own loops!

Screen Shot 2015-09-16 at 2.59.07 pm

void setup(){
  size(400,400);
  noLoop();
  background(255);
}

void draw(){
  for (int x = 0; x < 10 ; x = x + 1 ) {
    for (int y = 0; y < 10 ; y = y + 1) {
      drawVeraMulnarSquare( x*40, y*40, 40) ;
    }
  }
}

Rotating Shapes Example:


 

void setup(){

  size(800,600);
  noLoop();
  noStroke();
  background(255);
  
}


void draw(){
  int a = (width/2);  //   just place it the shape in the middle of screen
  int b = (height/2); // just place it the shape in the middle of screen
  int size = (int)random(1000); //this will be the size of the first rect
  int Iterations = 100; //this will be the number of iterations
  int rate = 10;  //reduce size by rate of pixels stipulated here
  int sumRotate =0; // the cumulating rotation value
  int stepRotate =10; //angle of rotate in each iteration
  rectMode(CENTER);  // this chnages the point at which rect is drawn from - normally form the corner - this changes it to be drawn like ellipse form the centre
  
  for (int x=0; x < Iterations; x++){ //for each iteration do the brackets
   
   fill(random(255),random(255),random(255));
   pushMatrix();   // this is the way we do rotation in processing we push the matrix (x,y) out of the screen coordinates then pop it back in
   translate(a,b); // this moves the registration point of the matrix - that is it moves (0,0) to (a,b) - the point a,b becomes 0,0 unitl we pop the matrix back in
   rotate(radians(sumRotate)); //this rotates the whole matrix by degrees stipulated at the top of void Draw (stepRotate)
   rect(0,0,size,size);// this draws  a rect at the point 0,0 whicc we've moved using translate()
   popMatrix(); //pushes the matrix back in
   sumRotate = sumRotate+stepRotate; // iterates Rotation
   size = size-rate; // reduces size
    
  }
  
  
}

Workshop 01: Projects Introduction/ Working with Analogue Film

Film strips from Stan Brakhage's Mothlight, 1963
[Stan Brakhage, Garden of Earthly Delights, 1981]

Welcome and introduction:
⁃ Subject Coordinator: Jo Law
⁃ Lecturer: Jo Law
⁃ Tutor: Peter Humble (9.30 – 12.30, 13.30 – 16.30 workshops)
⁃ Tutor: Jo Law (9.30 – 12.30 workshop)
⁃ Class structure: 1 weekly lecture, 3 hour weekly workshop on Tuesdays
Continue reading

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’:

Screen Shot 2015-10-20 at 10.31.50 AMScreen Shot 2015-10-20 at 10.32.46 AM

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

Screen Shot 2015-10-20 at 10.32.31 AM

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?)

Screen Shot 2015-10-20 at 10.56.49 AM

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?

Screen Shot 2015-10-20 at 11.05.57 AM

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;

Screen Shot 2015-10-20 at 11.40.46 AM

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;

Screen Shot 2015-10-20 at 12.21.47 PM

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

Screen Shot 2015-10-20 at 12.30.21 PM

Screen Shot 2015-10-20 at 12.31.34 PM

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

and finally;

Screen Shot 2015-10-20 at 12.35.58 PMScreen Shot 2015-10-20 at 12.38.23 PMScreen Shot 2015-10-20 at 12.39.21 PM

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

 Screen Shot 2015-10-13 at 12.36.05 PM

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?

Workshop Week 10: How many repetitions to create significant variation?

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

Part 1: Thinking about count of repetition

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

Vera Molnar, 25 Carrès (25 Squares), 1989

Vera Molnar, 25 Carrès (25 Squares), 1989

 

 

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

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

line-made-by-walking

Richard Long, Line Mae by Walking, 1967

Pavillion-Deutschland-Ai-Weiwei-7

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

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

ai_weiwei

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

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

Triple Elvis 1962 Acrylic silkscreened on canvas

Triple Elvis 1962 Acrylic silkscreened on canvas

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

Part 2: Documenting work development

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

You might include:

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

Etienne’s classes please post a link to your blog posts here.

Mat’s classes please post a link to your blog posts here.