Proposal:
Water: This idea is chosen as a part of being under the theme of "Natural Elements" within the Ecology project. I decided to think up of that. Water is vital for hydration, living, and it's essential to our planet & for operable purposes.
Air: A necessity just as crucial; it allows us to breathe, have plants breathe, and sense both smell and temperature.
Electricity: This can also be generally interpreted for light and fire/heat on a functioning perspective. It gives us warmth, the ability to see things, and operate on both mechanics and electronic devices.
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Ecology Idea 1: Water, its transports, and concentrations; water is an ever natural of Earth, life forms, and even outside of the planet. An important and essential necessity composed as H20, and it's needed for survival. Even its forms of matter are also misted in the sky as clouds. That's fascinating.
(Note that this can be in most forms of matter; solid (ice), liquid (water), or gas (condensation & mist), the 1st, 2nd, and/or 3rd stages of physical matter)
>>Possible materials & physical examples for idea 1: Water fan, humidifier, pictures of lake (requires camera), industrial waterworks of any kind (picture images), pipelines with visible flow, sinks, etc.
Ecology Idea 2: Air, another extremely crucial element to the matters of organic reality. Air by itself is invisible, but it can be detected by various flow of materials being blown from its forceful movements.
(Note that his is in the form of gas matter, the 3rd stage of physical matter)
>>Possible materials & physical examples fro idea 2: Photos of leaves being blown in certain motions, video of tree leaves and organic material moving and swaying, fan operating, industrial machines using air, curtains being blown, etc.
Ecology Idea 3: Electricity; not completely a necessity, but a great helper for operating on machines, modern materials in today's developed life, artificial matter, light / luminescence, maintenance, energy, and much more.
(Note that this is in the form of plasma matter, the 4th stage of physical matter)
>>Possible materials & physical examples for idea 3: Pictures of light, video & captured freeze shot of lightning in the sky, artificial electricity (plasma ball, connecting a plug into the socket (video capture needed), etc. (Sparks of electricity and lightning are extremely swift and brief, so video is vital, not just air motion capture)
Wednesday, September 24, 2014
Thursday, September 18, 2014
ART 21 Responses of TIME
Martin Puryear
The progression of time is represented in an appropriate sense of "prototype"-ism form, in the sense that he uses wood and old material to convey past and present symbolically connected together. It's intriguing and thought-provoking, but the fact that a progression utilized by the Booker T Washington addition was implemented made it all the more great as the finishing polisher of his time-related arts as a whole. It's great if not overly expansive, but in some ways, it doesn't have to be, since execution counts more.
Kara Walker
Referring to specific yet highly notable events of tragedy, hardship, agony, slavery, and brutality, her silhouettes very accurately "shadow" that to the notion of such events by her unique forms of art. Although excessive and emphasized upon intensity, it's to make it easier to understand each core focus of the message by using such exaggeration, for better or worse. It's both realistically controversial and commendable at the same time.
Sally Mann
This is, to me personally, the most immersing entry out of all the artists relating to the idea of time, memory, progression, and preserving things. She uses photos with special, authentic, and arduously executed effects that convey very strongly into the themes of death, phantom-like existence, and "people in place and time" with the children, natural settings, and photo effects explicitly shown. That said, the techniques are very articulate and requires serious energy appliance as it's also location sensitive to where she takes the photos, not just how she does them in the process of using the photograph itself and its physical components set up altogether. The subjects in the field are a necessary finisher to her entire idea and goal in mind, materialized.
The progression of time is represented in an appropriate sense of "prototype"-ism form, in the sense that he uses wood and old material to convey past and present symbolically connected together. It's intriguing and thought-provoking, but the fact that a progression utilized by the Booker T Washington addition was implemented made it all the more great as the finishing polisher of his time-related arts as a whole. It's great if not overly expansive, but in some ways, it doesn't have to be, since execution counts more.
Kara Walker
Referring to specific yet highly notable events of tragedy, hardship, agony, slavery, and brutality, her silhouettes very accurately "shadow" that to the notion of such events by her unique forms of art. Although excessive and emphasized upon intensity, it's to make it easier to understand each core focus of the message by using such exaggeration, for better or worse. It's both realistically controversial and commendable at the same time.
Sally Mann
This is, to me personally, the most immersing entry out of all the artists relating to the idea of time, memory, progression, and preserving things. She uses photos with special, authentic, and arduously executed effects that convey very strongly into the themes of death, phantom-like existence, and "people in place and time" with the children, natural settings, and photo effects explicitly shown. That said, the techniques are very articulate and requires serious energy appliance as it's also location sensitive to where she takes the photos, not just how she does them in the process of using the photograph itself and its physical components set up altogether. The subjects in the field are a necessary finisher to her entire idea and goal in mind, materialized.
3 Self-Made Questions about Ch. 2, ART 21, Sally Mann, etc. & Answers to the Sally Mann Q & A sheet
Self Made Questions relating to the readings and online readings.
1. What inspires artists and photographers to do their own particular style such as black-and-white, gradient, sepia tone, color, etc.?
2. To what does it mean for an artist to convey the concept of time using their own style? Why do they make their art style the way it is?
3. Why do artists make artwork & make themselves be either of internal inspiration, external inspiration, or both?
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Answers to the Sally Mann sheet from Monday's (9/15/2014) Question Sheet:
1. Places and locations inspire her and the family.
2. Sepia / Black and White embodies nostalgia and old-time.
3. Black and white / These photos of the kids seem natural by framework and photo art, but are also haunting and unnerving.
4. It's appropriate for the nostalgia and the body farm ; The process uses colodian to convey decaying and decaying bodies overtime.
5. She pulls it off under the message of death, passing, and ephemeral-ness.
6. She provokes her work by utilizing disturbing subject matter and the photo proves itself; a haunting theme of death and memory by visual photos.
(The decaying photos is the death of the photos themselves as well); It's even more expanded upon death after all!
1. What inspires artists and photographers to do their own particular style such as black-and-white, gradient, sepia tone, color, etc.?
2. To what does it mean for an artist to convey the concept of time using their own style? Why do they make their art style the way it is?
3. Why do artists make artwork & make themselves be either of internal inspiration, external inspiration, or both?
----------------------------------------------
Answers to the Sally Mann sheet from Monday's (9/15/2014) Question Sheet:
1. Places and locations inspire her and the family.
2. Sepia / Black and White embodies nostalgia and old-time.
3. Black and white / These photos of the kids seem natural by framework and photo art, but are also haunting and unnerving.
4. It's appropriate for the nostalgia and the body farm ; The process uses colodian to convey decaying and decaying bodies overtime.
5. She pulls it off under the message of death, passing, and ephemeral-ness.
6. She provokes her work by utilizing disturbing subject matter and the photo proves itself; a haunting theme of death and memory by visual photos.
(The decaying photos is the death of the photos themselves as well); It's even more expanded upon death after all!
Monday, September 15, 2014
Reading Notes: Ch. 2 (Sourcing Info.) & William Kentridge
Ch 2: Sourcing Inspiration (Whole Set)
The artists involved in this "super-chapter" are --for internal inspiration-- Jan Harrison (for Soul and Genus Fusion), Pippilotti Rist (for Emotion and Rage Against Female Gullibility), Julian LaVerdiere (for Imagination and inspiring Inspiration itself), external inspiration artists such as Scott Grieger (Coporate Hype, Spiritual Cool, Military Heat, Global Warming, etc.), William Kentridge (Apatheid and Redemption), Chris Ofili (for the Kaleidoscope of Black Experience), and Duprat (for early moments in Art History). For both sources of inspiration, Thomas Joshua Cooper covers history, geography, sensuality, and cosmology.
I got a decent gist of the readings and main ideas for each artist and I do appreciate the written variety of artistic topics, message, and conveying themes that each of them and their style were set in role about. Scott Griger's Be Here Now!, for example, was an appealing and heavily symbolic representation that depicted hats laying in an organized fashion in a room on the floor with a red flag to the wall included. The fabrics he used included "swooshtikas," being embalzoned to two pieces of cloth being hung on opposite ends of the gallery. They resemble tankas.
More info. I got from the readings was that I realized just how art can me made not only from inspiration, but also that inspiration can also be represented as both an art-in-progress or a conceptual display to directly center towards inspiration itself, and there are multiple types of inspirations sourced: External, internal, both, and even more...
Internal inspiration is the process of being mentally stimulated to do something, especially on creative means, under the origins of being from a person's thoughts, ideas being formulated within, emotions, and other conceptual sensories by a life form itself/himself/herself.
External inspiration is the stimulation of ideas coming from various things around them and outside of others; objects, what people do, the act of something you see, what is moving, what is sounding, etc. anything sensed from the outside world and where you are at can be a form of external inspiration and can then also be accumulated into a combination of ideas to create a work of art, not just a straightforward, single source and/or thought.
The reading for the entire set was rather lengthy, but definitely cerebral and subtle, but invigorating with contemplation and new facts to appreciate upon. I definitely will have to take a closer look and read it again this weekend to sharpen up my concepts, idea, knowledge base, & go well from there.
Sourcing Info Continued: William Kentridge
William Kentridge is a prolonged, experienced artist who does conte drawings, many forms of greyscale visual media, creates prints, drawings, video sculptures, operas, plays, puppet shows that testify the tireless passion. This goes to show that his works not only convey a message clearly and centrally for most of his works, each, but also are explicitly sheer in emotional content and its projections. That being said, some of his works portray the theme of war, discrimination, the dangers in reality, coldness of the lifeless lands, suffering, thought, and much more. The pain and trauma invoked to a good number of his works are well-written in the form of drawing and motion.
It's not entirely my cup of tea but in a way, I do enjoy the visual contrasts and gradients he sets his works upon in order to convey the meaning and atmosphere of the artworks; it's much more than just the visual style and every visible detail being different, but the way the picture is seen by its artistic techniques articulately represent a particular fit theme and purpose. It's like cartoon art is great for timeless, lighthearted quality while harshly shaded realistic art represents a serious and complex story.
Either way, it makes me ponder just what kind of style I can make flexible with than just my own.
The artists involved in this "super-chapter" are --for internal inspiration-- Jan Harrison (for Soul and Genus Fusion), Pippilotti Rist (for Emotion and Rage Against Female Gullibility), Julian LaVerdiere (for Imagination and inspiring Inspiration itself), external inspiration artists such as Scott Grieger (Coporate Hype, Spiritual Cool, Military Heat, Global Warming, etc.), William Kentridge (Apatheid and Redemption), Chris Ofili (for the Kaleidoscope of Black Experience), and Duprat (for early moments in Art History). For both sources of inspiration, Thomas Joshua Cooper covers history, geography, sensuality, and cosmology.
I got a decent gist of the readings and main ideas for each artist and I do appreciate the written variety of artistic topics, message, and conveying themes that each of them and their style were set in role about. Scott Griger's Be Here Now!, for example, was an appealing and heavily symbolic representation that depicted hats laying in an organized fashion in a room on the floor with a red flag to the wall included. The fabrics he used included "swooshtikas," being embalzoned to two pieces of cloth being hung on opposite ends of the gallery. They resemble tankas.
More info. I got from the readings was that I realized just how art can me made not only from inspiration, but also that inspiration can also be represented as both an art-in-progress or a conceptual display to directly center towards inspiration itself, and there are multiple types of inspirations sourced: External, internal, both, and even more...
Internal inspiration is the process of being mentally stimulated to do something, especially on creative means, under the origins of being from a person's thoughts, ideas being formulated within, emotions, and other conceptual sensories by a life form itself/himself/herself.
External inspiration is the stimulation of ideas coming from various things around them and outside of others; objects, what people do, the act of something you see, what is moving, what is sounding, etc. anything sensed from the outside world and where you are at can be a form of external inspiration and can then also be accumulated into a combination of ideas to create a work of art, not just a straightforward, single source and/or thought.
The reading for the entire set was rather lengthy, but definitely cerebral and subtle, but invigorating with contemplation and new facts to appreciate upon. I definitely will have to take a closer look and read it again this weekend to sharpen up my concepts, idea, knowledge base, & go well from there.
Sourcing Info Continued: William Kentridge
William Kentridge is a prolonged, experienced artist who does conte drawings, many forms of greyscale visual media, creates prints, drawings, video sculptures, operas, plays, puppet shows that testify the tireless passion. This goes to show that his works not only convey a message clearly and centrally for most of his works, each, but also are explicitly sheer in emotional content and its projections. That being said, some of his works portray the theme of war, discrimination, the dangers in reality, coldness of the lifeless lands, suffering, thought, and much more. The pain and trauma invoked to a good number of his works are well-written in the form of drawing and motion.
It's not entirely my cup of tea but in a way, I do enjoy the visual contrasts and gradients he sets his works upon in order to convey the meaning and atmosphere of the artworks; it's much more than just the visual style and every visible detail being different, but the way the picture is seen by its artistic techniques articulately represent a particular fit theme and purpose. It's like cartoon art is great for timeless, lighthearted quality while harshly shaded realistic art represents a serious and complex story.
Either way, it makes me ponder just what kind of style I can make flexible with than just my own.
My concepts, thoughts/theories, and log so far of the TIME Animation Project:
The working TIME Animation project's idea is a combination of #2 & #3: A sharded sunset coming together flowing down.
Idea 1: Formation of the Clockwork Planet (Unedited Images)
Idea 2: The 100-Window Glassed Person (Unedited Images)
Idea 3:
Idea 1: Formation of the Clockwork Planet (Unedited Images)
Idea 2: The 100-Window Glassed Person (Unedited Images)
Idea 3:
Retrospective Recall from September 8 & 10, 2014:
On Monday, September 8, 2014, our class topic was about discussing and sharing thoughts about the videos we saw and read about for ART 21. One of the artists involved in its contents was Kara Walker, in which she portrayed time and the effects seen throughout its progression. She utilizes silhouettes and does her best to invoke the feeling that the audience really is actually there. As a result, our homework was to think up and show (both by drawing and writing) three ideas for our TIME Animation project, with our particular homework assignment being in the form of storyboards to start with.
On Wednesday, September 10, 2014, we also took a good gaze of the video entitled "Sugar Baby" by Kara Walker. It's applaudable that she manages to completely work on a very large piece on her own, since typically most people would either not do it on their own entirely or have a collaboration of people help out in the physical regime of creating it in any amount.
Note: The animation project needs to have a sense of fluidity; an actual movement in the final product no more than 60 seconds as you watch in real-time. CANNOT be cliché either.
Retrospective Recall from Wednesday, September 10, 2014: Showing our TIME concepts
That day was a different procedure, but nonetheless, nearly everyone brought out their 3+ storyboards (although not always on that number, for less or more from other students). Each person had to go to another's set of conceptual entries for the TIME Animation project storyboards, and a good number
of them were pretty amusing even by their individual concepts for each student. We each had to comment down each of every student's entries, so I went in and managed it rather swiftly and in a rather non-sequential manner, but rather, finding an entry based on the closest proximity from me while being currently vacant to gaze and write on at that time.
I might have to consider really making more of my ideas come true using animation of any sort in the long run of the future; it would help with my job options, career, and enjoyment of doing animations for fun, both in-job and out there freelancing for fun.
Given the time constraints, I'm gonna have to come up with something efficient for this project's idea of mine that I combined and selected in particular. (the idea is a combo of Concept #2 and #3 for my animation storyboards, just so it doesn't become overly time consuming upon jeopardizing my mark)
of them were pretty amusing even by their individual concepts for each student. We each had to comment down each of every student's entries, so I went in and managed it rather swiftly and in a rather non-sequential manner, but rather, finding an entry based on the closest proximity from me while being currently vacant to gaze and write on at that time.
I might have to consider really making more of my ideas come true using animation of any sort in the long run of the future; it would help with my job options, career, and enjoyment of doing animations for fun, both in-job and out there freelancing for fun.
Given the time constraints, I'm gonna have to come up with something efficient for this project's idea of mine that I combined and selected in particular. (the idea is a combo of Concept #2 and #3 for my animation storyboards, just so it doesn't become overly time consuming upon jeopardizing my mark)
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