Wednesday, December 21, 2011

Final Project: Second Life

This is an image of a Starbucks employee who isn't limited by the restrictions that Starbucks enforces on appearance. Unlike real Starbucks employees this one is allowed to tattoo her arms, and pierce her face. Instead of natural hair colors, her hair is that of an purple reddish color that here is in too dark of light to properly see. The content of this is relevant to myself, as I do have tattoos that I must hide while at work, and that I once had a lip piercing but no longer have it due to always having to take it out at work. The Starbucks pin she wears on the green jacket is an object that I made, and created using a texture. 

This second image is the 50/50 images of my Realistic Avatar and a photograph of myself. 

And lastly, this is a full image on my Realistic Avatar, this time with the classes I'm always wearing. 

Below are the many pictures I took during the final of the art exhibit, and of other students. Just having fun with screen capture. 

Left: An ants view of all our feet.                       Right: Car Sculpture

 Left: Odyssey Wall and Class                   Right: Eyeball in the Ocean
 Left: Neutral Ground Right:                    Tara's optical Illusion Avatar
Left: Smiley's Good Bye         Right: Neutral Ground wall from Underwater
Left: Lauren's Smug face.           Right: Avatar with two feet (I'm sorry I forgot who 
                                         I'm looking at! Send me this person's name?)
Left: Reflection of Ocean Water          Right: Men Climbing Down

Thursday, December 15, 2011

Lecture #2: April Gerter

Lecture #2
Samantha Sorensen
ART 245

Artist: April Gertler
Oct. 13th 2011

April Gertler is American artist who for the last near decade has been working out of Berlin. She received a BFA in Photography in California and her MFA in photography in New York before taking up a residency in Berlin. She continued to work in Berlin, through more residencies, and with several artist worked to create Picture Berlin, a residency/art academy that opened in 2009.
I found April's '38s' series to be the most relevant to myself. The design of her website was clean and orderly, it wasn't over crowded. The idea of a blog that sells a piece every Friday for 38 dollars is amazing. I'm very fond of blogs and blog art, and hope to create my own blog one day. The '38s' also clever and entertaining pieces of work, though not very big they were still excellently present and executed.

As well, her extension off the blog 'warm-ups' was almost even better than the '38s'. They were filled with humor, stereotypes, and quirky truths about life. My favorite was a 'warm-up' entitled, “Lena being herself.” If I remember correctly, it actually isn't one she showed at the lecture. More clearly I remember the 'warm-ups' “Sandra loved her salami” and “She liked him OK.” being shown. But I liked the 'warm-ups' so much that I looked through her whole collection of them. “She liked him OK” always makes me giggle too though.

What I found very useful and helpful about the lecture was how much she spoke about residency life. I attended the lecture with two classmates, and one of them was rather miffed about how much she talked about her new foundation, Picture Berlin. I was somewhat defensive simply because from her stand point, Picture Berlin is a very big part of her life and the next era of her life. Being a founder she must also feel like it's her baby, and wants to spread the ideology and opportunities that such a residency/academy offers to up-coming artist. Therefore, speaking about it just like she would speak about any of her art work must seem only natural.

For myself, I also found the idea of a residency fascinating. Truthfully, going to school as an art major was the only thing I had considered over this last summer as a 'step' towards being an artist. Other than that, I had no idea what was beyond school in terms of being an 'artist'. My brain had pictured just going out into the world and working some random job while making art and trying to get people to buy it. Not very concrete of a plan right? Hearing her speak about residencies and other options beyond school, and even during school in the summer months, I realized there was much more out there for an artist to do then hope they can sell themselves and make enough commission to survive as an artist.

Wednesday, December 14, 2011

Final Paper: Compare and Analysis

Samantha Sorensen
Dec. 14th 2011
Compare and Analysis

In the world, there are thousands of organisms without eyes. Without eyesight. Except most of those organisms are either plants or aquatic animals, the point is that having eyesight or not having it would certainly effect one's 'perspective' of the world. In more complex specimens, eyesight shares perception with the brain. In humans the ability to articulate and record the happenings around them for others to then perceive in their own format is an interesting occurrence. Of this concept as a subject matter in art, two artist approach it very different and from opposite ends of the spectrum. Brian House and Sue Huang collaborate to create a space in which human perspective and natural desire to narrative the things around them to others is explored, while Jeong Han Kim obsesses over mind, memories, and perspective through the much more silent visual and conceptual idea of what an 'eye' would see if it were half human and half bird.
Seeing either work from afar is not exactly a jarring experience, but it is defiantly a confusing and off-putting one. When walking up to Brian and Sue's 5 'til 12 exhibition with no fore-warning, one would wonder what is four black pillars with screens built into them spread erratically in a black, dark room possibly doing or saying? These pillar sit along with the three low to the floor black pillar-boxes that have screens set into the top or them, acting as a sort of table top. To figure out what is going on is this room, one must walk up to any of the four faces displayed on the tall pillar's screens and snap some head-phones over their ears, readying themselves to hear a unique narrative that no one else will hear. As for Kim's exhibition Birdman, one would first question if it's an art exhibition or if they had just walked into a natural history museum. The station is set up to replicate a natural history museum after-all. The skeleton of a bird sits to the left and two screens paired with two camera's sit to the right against a wall. At a closer look, it is evident that the skeleton could not possibly be that of a real bird, for the body is more human than bird, excluding the head, and the bird lacks one wing; instead he is built with one right arm and one left wing. Starring at the screens and camera's, instead of seeing information on the skeleton of any sort, one finds that real-time images are being displayed! Both of these pieces are by intriguing, and their subject matter and concepts are even more so when explained.
“Their friend may feel that their version is completely incorrect and that their version is the correct one, but... Everybody's version is correct to them, in the sense that they experienced it.” Sue Huang may be describing the 'truth' that everyone who sees their exhibit 5 ' til 12 creates for themselves, but essentially she is describing very accurately another trait of human nature. Perspective. Working together with Brain House, Sue and two other sub collaborators create an installation piece at the Beall Center for Art and Technology in Irvine, CA. The concept and central creation is that of Sue and Brian's, but the two other collaborators, Amy Finkel and Nathan Phillips, help to write parts of the script and act as the two other characters within a physical space. The concept is that of non-linear narratives that exist in an open space, for which an audience will listen to and then recreate their own 'truth' about the events of the opening night.
The idea of the piece is influenced by several outside works and concepts. 5 'til 12 carries with it themes of time, personal perspective, and humans' nature to associate everything around them with some sort of narrative. The narratives may implicate self loathing, or egotism, or many other personal reflection as the characters within the space retell their version of events as well. The central plot of 5 'til 12 is based off a very famous Japanese film by Akira Kurosawa, Rashomon. However the stories are changed and applied to the space of the exhibition, and converted to taking place on 'opening night'. Another influence on the piece was that of the Ouilpo literary movement, particularly the works of Raymond Queneau. Raymond create a database that was run by an algorithm that took lines from thousands of poems and created 1 thousand billion new 'potential' poems by randomizing the line order. Brian and Sue built off this idea by asking the question “What if these characters were in the position to retell their stories?” and beyond that, if each person within the exhibit heard a different account of events, what story would they then tell?
Lastly they constructed their idea using a theory called the Prisoner's Dilemma. The theory goes that if two prisoners are given the options to rat their partner out or stay silent on the basis that if you cave, you may go free. However the results follow that if both rat each other out they are given 3 months time each, that if both stay silent they are given 1 month time each, and finally that if one spills and one does not one is given a year's time and the other is free to go. The probability that each rat each other is the highest, where as the probability that both stay silent is the lowest. Brian and Sue took this theory and built a database system that using algorithms that track the four character's stories. It calculates what is being said about each other and readjusts their story's to new visitor. Therefore, the more people within the exhibit the more the characters change.
It is a sad fact that the actually exhibition took place in 2006 and is no longer running, as the few clips that remain are more than just fascinating. They're the remnants of a story that not only would never be told twice the same way, but will never be told again at all. It makes envisioning the whole concept impossible as I can only imagine that when done in practice one walks away with an indescribable feeling. The snip-its that do still exist elude to that conclusion. Watching these clips gives an ominous feeling, that the story is more about each character's ego or shame or attempt to cover up any personal feeling they had that night more than it is to give an accurate statement on the events of that night. While they do give a full chronology of circumstances, one cannot truly believe everything they have heard about the night. Time is a minor theme, but still a theme, to this piece. They major theme is perspective for this exhibit, and more specifically the opinion we hold upon ourselves, and each other when we reflect.
Birdman takes on a much more literal idea on perspective. The exhibition he creates centers on two screens, which display a virtual representation of his concept of how an eye that was part human and part bird would see using an emulator Kim built. The influences on his piece are mainly personal, one being a trauma he underwent at the age of five or six and the second being dreams of a bird man in his adult years. In the dream Kim describes, “I dreamed of a monster with a bird head and a wing on only one side. In the middle of talking with it, my head became its penis. This bird spoke to me in bird language and I learned its language.” Kim is also Buddhist and from there he sees the Birdman as a subconscious understanding of the Buddhist ideology that the 'self' is not so different from the 'other'. Using his knowledge and beliefs of Buddhism Kim interprets his dream. Kim as well is greatly interested in the works of Gilles Deleuze about memory and memory's relationship with time. In these works, Deleuze focuses on the imperfection of human memory.
The system Kim built is much more complex than the algorithmic system used in 5 'til 12, which runs using the one algorithm. The station is purposefully modeled after a natural history museum exhibit and the two screen works with the two camera as well as a 2 PIC-Micro Controller and a Max/MSP/Jitter. The software he uses takes real time images from the installation location taken by the first camera and sends the information into the Jitter. The Jitter then sends movement coordinates for the micro-controller to follow the audience movement with. A second image is sent to the jitter from the cameras that is processed before a composite of moving images, recorded video clips that are Birdman's “memories” and real-time captured video images, are sent to the screen and played in a 'jump-cut' fashion that mimics human perception. The lower screen displays biological information of the Birdman, and the function of the eye of the Birdman.
This exhibition took place from 2005-2006. Unlike 5 'til 12, this piece is more easily understood upon research and images/video clips of the exhibition. It is interesting that such a personally driven artwork is so formally presenting though, as the audience is given the feeling of studying a specimen rather than experiencing how the bird may have felt in reaction to its intake of the world. It's perception seems to be biologically conceptualized instead of emotionally depicted. While we can read from the author his feelings about the dream that provoked such a creature, we do not fully understand how a Birdman might 'see' the world should he be a physical being within it. Instead in Kim's exhibit we learn how this fictional character's eye would function on an educational and scientific level. Although Kim is fascinated with memories as well as time and perception his piece's greatest strength lies in it's realized physical function of the eyeball rather than it's interaction with the installed memories of the Birdman.
Human psychology is fascinating and endlessly expansive. The depth of a human mind, on a conscious and sub-conscious level is just incredible. For myself, the human ability to perceive thousands of expressions, and emotions given off by those around us in less than a second at times is astounding. Memories are something that not only our species has a accomplished either, many species have, though they theorize that fish only have memories three seconds long. However the ability to acquire and store such broad ranges of information, as well as to articulate recalled information as well as we do, is what is truly fascinating to me about humans. These pieces express their take on perception, and delve into the two opposite sides of that perception, the emotional reaction to people and events around us, and the functioning of our bodies that allow that perception. 


Beall Center of Art and Technology:

           100 thousand billion Sonnets:

Tuesday, December 13, 2011

Lecture #1: Morgan McAuslan

Lecture #1
Morgan McAuslan
“The View Without”
Oct. 6th 2011
Morgan McAuslan is a recent graduate from the Eastern Oregon University (EOU) with a fondness for found objects. He is a painter, sculptor, and video artist whose fascination lies on objects often overlooked by many people, although now he works less with painting as he no longer feels engaged by it. He makes it his hobby, or more accurately obsession, to find interesting things to use in his video, photography, and sculpture projects. These projects range from a windmill entirely out of paper to a music box in which he examines and focus on the innards and working of.

His windmill, a recreation of an old destroyed windmill he found within his hometown, is recreated entirely of paper products and glue. He became interested in the mill due to it being abandoned, much like the objects he finds and keeps now. For me I see the piece as something that those who pass by simply miss. The piece focuses on the fact that the mill has been left to live in the world alone, untouched. This is because he did not just replicate the windmill in shape or form, but in detail, down to each screw. He looked closely at the windmill, not just at a glance, or from afar, but took in every aspect of it.

The piece that interested me the most of Morgan’s was a piece entitled “Burn Board”. The piece was first exhibited in Oregon as a part of the “Recent Graduates” Exhibition in the Blackfish Gallery. The piece is made from found materials of aluminum, acrylic, glass, and more. As well, he built the piece using electrical materials and springs to pull back the corks that hit the bottles, producing a wind-like chime. The piece is certainly nothing in image like wind chimes on your porch; in fact it has a quirky colorful presentation. The platforms are raised off of the walls as well, and the sound produced by the piece is relaxing and gentle. The piece is reminiscent of domino courses, long contraptions in which one object sets after the motion of another. For example, when looking at “Burn Board” I couldn’t help thinking of the music video for An Honest Mistake by the Bravery. However, it is only similar in the colors and the way the spring move to slowly re-hit the bottles with corks. The difference ends there as each bottle and cork are individual, and do not touch nor affect each other’s existence.

Monday, November 21, 2011

Assignment #8 Part 2: Crowd Sourcing Website Concept.

DareME Project: The concept is a collaborate site of photos, journal entries, and videos.

The site would be centered on mostly videos, literally 'dares'. Each day, a topic is posted such as, "I dare you to skydive today." People are then encouraged to post videos or photos of them skydiving, or even perhaps short stories about a skydive, either fictional or non-fictional. The entries of each day are either posted that day or the next. [As some entries may be submitted very late that day, since the closing of each dare would be at midnight each night.] Then the dares and stories would be archived,  and would be attached to a list on the sidebar. One could either participate by doing a dare, or by submitting a dare suggestion to be used for a day. When one submits their first entry, they are asked to create a profile. A simple profile would be made to which they can log into and link to each submission there-after, but the profile wouldn't be very interactive, other than some basic information that you can provide. [Meaning nothing extensive like facebook, no streaming status, no my "favorite everything is...".] However, when you attach your profile to a submission, that submission will go into a sidebar on your profile that is linked to the dare you sent it in for and your specific submission. When people view other peoples profiles, they can go through the list of submissions, and watch/view what you have submitted in. Submission of the day's will be posted on the homepage, as well as a 'browse' section along the bottom. 

Thursday, November 17, 2011

Dragon Video Extended [Assignment #5]

I found the extra film clips to my Project #5, so here is the reedited version. 

I like the timing to most of it, but I may yet work on it more because I feel the music speed could match the video speed a bit better. 

Sam Kade

Tuesday, November 15, 2011

Assignment #8 Part 1: Contributions to Crowd Sources

Crowd Source #1: Young Me/Now Me

These were my two images for Young Me/Now Me. They differ slightly, but for having no one to take the picture of me, I did surprisingly well at capturing a rather close expression. I attempted to wear a lighter shirt, similar to the one on the left, luckily my hair length is very close to when the picture on the left was taken!

Crowd Source #2: The Johnny Cash Project 

These are the screen shots during the making of my submission:

I really like the Johnny Cash Project. I made a few but this was the only one I submitted, however I think I might do another one. 

Crowd Source #3: Man with a Movie Camera: The Global Remake

A screen shot mid-completed of the video I submitted for The Global Remake and a screenshot of my submission. I choose to do an eye clip from the project, however though I tried to get the same angle and distance as the original I decided to shoot the opposite eye from the original. To spice things up.  

Samantha Kade

Reading #5: Crowd Sourcing

The art of a crowd: There is a great debate on the merit of crowdsourcing, in this article it is voiced that "some might see wiki-art as outsourcing the artist's unique vision to a mob of amateurs" Mr. Szotts argues that such projects provoke something more than a craft-driven piece, but something that "speaks to you intellectual." As well Grover states that a crowdsourcing is a tool that depends on intelligence, that "without a strong structure, the result can be chaotic, mediocre, or trivial." However while Ramona Austin doesn't debunk crowdsourcing, he describes it more as creator becoming curator, which questions the merit of crowdsourcing being an "art" then. Crowdsourcing goes beyond the idea of a collaborative piece, it as strangers, not just a few, but thousands to put in to create more over a larger idea or theme, rather than a physical picture. Does something like Tunisian painting, which demands collaborative partner to meet face to face, to stand side-by-side, and create a physical work have more merit than an internet crowdsource which asks strangers to contribute and support an idea almost more than any single part or piece.

Participative Systems:
In chapter 5 of Participative Systems, the Graham and Cook define the differences between Interactive art, Participative Art, and Collaborative Art. Knowing the differences can help in creating the structure of one's own projects, and is useful in how one approaches their idea. It is largely debated on if the audience is the participants, than who is the audience? As Jacob states, "As socially minded artist work to make their projects more inclusionary and bring those usually outside are institutions into their work-- through subject matter, non-institutional locations, or actual involvement by nonarts participants-- many from the art world audience flee; a substitution rather than expansion of audience occurs." However is it not possible to be both? Would it not be more likely that a participant of a large online project would continue to observe the project as it progresses and changes.

Samantha Kade