Week 12: Project Work, Check List

This week, you decide which day you will install, and where. Installation choices are:

  1. Wednesday Week 13, between 9am and 2pm
  2. Thursday Week 13, between 9am and 2pm

Tear down must occur on Friday afternoon after 2pm.

You must consider how your work will be installed:

  1. Artist statement (printed on A4 / A5 paper, pinned to wall?),
  2. attachments to wall: pins, nails, other,
  3. lighting (down lights, flood light, spot light, etc.),
  4. plinths (may need to be repainted),
  5. placement of computers / laptops on ceiling grid,
  6. hanging devices (from ceiling),
  7. video projection material. etc.

Please make sure that you have booked your equipment requirements with Glenn.

If you are working with digital files (video, audio, etc.) you must use the appropriate format (and provide Glenn with a USB or SD card .. he can lend you one):

  1. VIDEO: H264 (MKV or MP4). any resolution up to Full HD
  2. AUDIO: MP# or Vorbis

For (int i = 0; i <10,000; i = i +1) ... how many repetitions?

This week we continue with research and development of your final project. We have seen that using loops is a fundamental part of the materiality of computational media, and we ask you to consider this one very important question: If you are using a repeated process (or a ‘loop’) then how many repetitions will you need to achieve an aesthetic effect?

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

 

 

 

 

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 question if the references are sufficiently reputable and adequate.
  2. What is the basic rule or process that the work engages in. In other words, are you sure that it is a computational media work? What is being abstracted into instructions?
  3. What new insight or aesthetic is exposed with your rule or process? Peer should identify whether the work actually does this for someone who hasn’t heard the verbal argument.
  4. 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.

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)

 

Week 11: Finding Forms to Abstract

This week focus on analysing computational works by asking ourselves:

  1. What has been abstracted?
  2. What do the procedures/instructions look like?
  3. What final form has those instructions given rise to?
  4. What is the fit between the source of the abstraction, and the result of the abstraction?

Analysis

Analyse the work of:

  1. Richard Long27.-Richard-Long
  2. Antony Gormley
  3. BREATHING ROOM II[Antony Gormley, [1]Breathing Room III, 2010]
    https://vimeo.com/25774260
  4. [Maya Lin, Systematic Landscapes, 2009]

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

  6. [Andy Warhol, Campbell’s Soup Cans, 1968] 54

 

 

Week 10: Abstract over video, or sound

This week we continue our exploration of what is possible by writing instructions to create works. This time, we use video, or sound. And we start thinking and documenting ideas for the final MEDA102 project.

As we have already seen, Sol LeWitt abstracts a visual idea into instructions.

Abstracting an aesthetic idea is only one way to use instructions to create art works. Another way is to abstract a process into instructions. The artwork is then created using this process. The process itself is generative of the work’s material, but may not abstract (or capture) any aesthetic judgement.

Maria Merz’s work: A Real Sum is a Sum of People (1972) in which a series of photos is taken following the order of the Fibonacci series is one example of a work in which the instructions define a process, not an aesthetic. If a group of people were to execute one of LeWitt’s wall drawings, each work would be very similar. If a group of people were to execute Merz’s rules they may come up with very different works.

The question we ask today, is what works might be possible if we use instructions to define a process that involves video or sound?

One example of such a work is Erica Scourti’s ‘My Life in Adwords’, already discussed in lectures. What is the realm of meaning of Scourti’s work?

Are there possibilities for new and exciting works in the video-rich social media platforms we use everyday?

What is the relationship between the instructions that Scourti has generated and the resultant realm of meaning of her work?

Analysis 1

What is Erica Scourti doing in the below work? What is her process? What is the realm of meaning that she is addressing?

Analysis 2

Discussion: how might the execution of a set of instructions hold meaning in a work?

One way that instruction-based processes have been used in art is through iteratively copying a work. The below works explore this process. That is, copies are made of the original work over and over again. Each time a copy is made, it is degraded. Here, what is being abstracted is a process that iteratively changes a work.

  • What are the effects?
  • What thoughts do they inspire in the audience?
  • What do these processes say about the technologies used and our relationship to them?

Alvin Lucier, I am sing in a room, 1969

Canzona, I am sing in a room, 2010

William Raben, 2’45”, 1973

http://www.rewind.ac.uk/expanded/Narrative/Media/Raban%20422.mov

Exercises

These exercises are designed to help you explore possibilities for your final assignment. As you go through them, document your research as a blog post. Post the URL to the blog post as a comment to this page.

Exercise 1: Instagram feed.

Examine your Instagram account. Choose one of your images which you find particularly engaging (for any reason). Document the process that led up to the creation of the photo. Ask yourself: what would happen if this process was repeated 40 times? What realm of meaning might come out?

Exercise 2: Research scholarly articles

Go to scholar.google.com. Search “rule based art”. Filter through the results for any interesting cues and suggestions about processes. Add additional search terms to refine the search to creative art. Document.

Exercise 3: SnapChat stories.

Examine your SnapChat ‘stories’ feed (if you use SnapChat). Document a video that you feel exposes something personal about the person who submitted it. Translate that video into a set of rules. Execute those rules yourself.

How might you use SnapChat as a video platform to create a work? How would you capture those videos? Does capturing SnapChat videos break the platform?

Exercise 4: LearningToLoveYouMore

Go through the ‘assignments’ on this website: http://www.learningtoloveyoumore.com/

Choose one ‘assignment’ (there are 70 documented), such as “Photograph a scar and write about it.” Execute the assignment yourself, document the results. Explore and document how you might expand this rule to create your own work.

Exercise 5: Iterative destruction (or creation)

In the spirit of the analysis exercise above, define a process that will, iteratively, change or destroy a work. For example:

  1. Choose a photo you took last weekend, write a comment that describes how you felt when it was taken
  2. Ask a friend to replicate the photo as closely as possible
  3. Ask another friend to replicate the replication
  4. Repeat 10 times
  5. Publish the last image on your blog, with your original comment describing how you felt when the original photo was taken.

Exercise 6: Research Erica Scourti’s other works

Explore Erica Scourti’s website: http://www.ericascourti.com/. Examine 3 of her other works. Document whether they can also be considered rule-based-works.

Exercise 7: Document your own ideas

There are various ways that you might start capturing and testing ideas. You might:

  • abstract a particular aesthetic directly,
  • abstract a process that generates a work, without concern to the final aesthetic and without concern with what is produced,
  • abstract a process that generates many possibilities and choose just one of those generated possibilities as your final work (this is how much digital generative art is produced)

Code

To use sound in Processing requires the installation of extra sound processing libraries. Importing Sound libraries is easy on Processing V3, and more involved in Processing V2 (the version supplied in the computer labs). This document pertains to Processing V3 (so you will have to download and run V3 on the lab desktops, or use your own machine).

To install these go to Sketch > Import Library > Library. Search for “Sound” and choose the item that reads “Sound | Sound library based on MethCla for Processing”. Click “Install”.

Next, try the below code to test the sound library installation.

import processing.sound.*;
SinOsc sine;

void setup() {
  size(640, 360);
  background(255);
    
  // Create the sine oscillator.
  sine = new SinOsc(this);
  sine.play();
}

void draw() {
}

Once the sound library installation is working try the following exercises:

  • Use a loop to create a sweeping sine tone (from a low frequency; 20 Hz, to a high frequency; 10000 Hz)
  • correlate the drawing of shapes with specific tones

Explore the examples at https://processing.org/reference/libraries/sound/

Assignment 2: Alanna’s Class

Please submit a link to your Assignment 2 blog entry in the comments below.

Check that your blog entry contains the following:

  1. Your code (which should be formatted in ‘Preformatted’ paragraph font, or similar).
    1. Ensure that your code has adequate comments.
    2. Include all code so that we can test executing it.
  2. A screenshot of the work.
  3. A 150 word statement explaining your aesthetic exploration.

Assignment 2: Mat’s Thur Aft Class

Please submit a link to your Assignment 2 blog entry in the comments below.

Check that your blog entry contains the following:

  1. Your code (which should be formatted in ‘Preformatted’ paragraph font, or similar).
    1. Ensure that your code has adequate comments.
    2. Include all code so that we can test executing it.
  2. A screenshot of the work.
  3. A 150 word statement explaining your aesthetic exploration.

Assignment 2: Mat’s Thur Morn Class

Please submit a link to your Assignment 2 blog entry in the comments below.

Check that your blog entry contains the following:

  1. Your code (which should be formatted in ‘Preformatted’ paragraph font, or similar).
    1. Ensure that your code has adequate comments.
    2. Include all code so that we can test executing it.
  2. A screenshot of the work.
  3. A 150 word statement explaining your aesthetic exploration.

Assignment 2: Etienne’s Thur Class

Please submit a link to your Assignment 2 blog entry in the comments below.

Check that your blog entry contains the following:

  1. Your code (which should be formatted in ‘Preformatted’ paragraph font, or similar).
    1. Ensure that your code has adequate comments.
    2. Include all code so that we can test executing it.
  2. A screenshot of the work.
  3. A 150 word statement explaining your aesthetic exploration.

Assignment 2: Etienne’s Wed Class

Please submit a link to your Assignment 2 blog entry in the comments below.

Check that your blog entry contains the following:

  1. Your code (which should be formatted in ‘Preformatted’ paragraph font, or similar).
    1. Ensure that your code has adequate comments.
    2. Include all code so that we can test executing it.
  2. A screenshot of the work.
  3. A 150 word statement explaining your aesthetic exploration.

Week 9: Abstract over photography

In this week’s workshop, we explore what happens when instructions are used to abstract forms and processes over another medium: photography.

We analyse the work of a few photographers and attempt to break down their work as abstractions expressed in instructions. Again, our primary endeavour is one of abstracting an idea. And this involves 2 things:

  1. Judging what it is that needs to be abstracted; which essential aspect of a photo or the process of taking a photo is responsible for its aesthetic life?
  2. Working out how to capture those essential characteristics into instructions.

For example: observe the below photograph by Bill Henson.

Artist : Bill Henson (Australia, b.1955) Title : Date : 1985-1986 Medium Description: type C photograph Dimensions : Credit Line : Hallmark Cards Australian Photography Collection Fund 1988 Image Credit Line : Accession Number : 70.1988

Artist : Bill Henson (Australia, b.1955)
Date : 1985-1986
Medium Description: type C photograph

Possible abstraction:

Take a photo of an urban context on a bright sunny day. Underexpose the photo so much that it looks like dusk.

‘The Creek’
The Edge, 2013
© Tamara Dean
‘The Edge’ is an exploration of the informal rites of passage created by young people in relationship with the natural world. The initiations, the pushing of physical, spiritual and emotional limits in order to discover one’s sense of self.

Possible abstraction:

In an empty landscape, take a photo of someone walking into a dark bush

Shaun Gladwell

Possible abstraction

Put a human mask on inanimate object. Take a photo of it lying down.  

Exercise 1: To abstract, distil!

Your tutor will provide you with an image by one of two Australian photographers: Jordan Madge and Marcus Andersen. Analyse the image and reduce it to its singular key visual idea. This idea might be:

  • compositional
  • textural
  • spatial
  • tonal
  • etc.

IMPORTANT: Do not try to replicate the photo. Identify the key visual idea, and translate *that* to a 1 sentence instruction.

Once you have written your 1 sentence instruction, swap with another student. Execute each others’ instructions then discuss.

Exercise 2: Choose your own image

Step 1: Explore the photography of these Australian photographers

  • Bill Henson
  • Justien Varga
  • Marcus Andersen
  • Tamara Dean
  • Tracey Moffatt
  • Matthew Abbott
  • Jordan Madge
  • Shaun Gladwell
  • Henri Mallard
  • Michael Riley

Step 2: Choose a single photograph that you think you can abstract into instructions. Write those instructions on a piece of paper.

Step 3: Share those instructions with another student.

Step 4: Document the photos that are the result of the instructions you wrote.

Exercise 3: Analysis

Analyse the below works (some were discussed early on in lectures).

  • Identify the key ‘rule’ that is used to generate each work
  • Research the artists’ intent, describe their thinking
  • How has the presentation of the work augmented the rules defined
  • How do these rules differ from Sol Lewitt’s style rules?
Image result for ed ruscha all blocks on sunset boulevard

Ed Rusha, Every Building on the Sunset Strip (1966)

Image result for Mario Merz Fibonacci 1202

Mario Merz, Fibonacci 1202

 

Image result for Gary Hill’s Conundrum

Gary Hill, Conundrum, 1995

Image result for Mel Bochner’s 36 Photographs and 12 Diagrams

Mel Bochner, 36 Photographs and 12 Diagrams, 1966

Exercise 4: Ad Lib Instructions

Now, invent your own instructions without taking any cues from existing photos. Again, swap with another student, execute and discuss the results.

Examples might be:

  • Take 16 photos that each has a strong horizontal line exactly in the middle of the image. Organise in a 4×4 grid.
  • Take 10 photos, each of a different red car
  • Take a photo of every part of your body that is not clothed
  • Take 10 photos, each separated by a count of minutes defined by the Fibonacci sequence (0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, …)
  • Take a photo of the face of someone you don’t know
  • Turn your exposure up 3 or 5 stops. Take a photo of a shadow.

Coding (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));
   }
}