Hyperallergic - Hrag Vartanian

flexible and versatile artists

Into

blogasphere

being critical of the art world and market and the practicality of it

editor in chief of Hyperallergic

work on contemporary 

how tumblr is a artistic medium 

visual culture is what he is passionate about

• graphic design
• fine arts 

categories of art are blurred, and they are blurred in their own different way in every generation

After college he got out of art and went into no profit communications

came to NYC and did nonprofit communication and then art brought him back in

How do you make a living?

he wanted to write a book.. 

• who is going to buy it?
• how you ever thought about building an audience?
• start a blog, in 2006
• no one really knew what it was, not a lot 
• started a personal blog, and he discovered his voice
• even though he is a writer images are important to him
• Conversational tone

The online world.. you get a lot of letters to the editor, different conversations and different comments

• his desire to interact with people
• conversations are two ways
• even though we are taught that it is very one way

Business with his husband

Try building a site online about art

• no one was making a living out of that
• Hyperallergc - sensitive to art & its Discontent 
• a very different field, how to get an income
• founding idea, we need to get paid for our work, paid writers.. 

Create something not jst for themselves 

they started a forum that helped people write on art- 12 different sites

• 5 full time employees 

The role of the artists in society

• how do i fit in?
• what can i do with my voice
• we would all love to do one thing at a time but reality we cannot do that

he writes outside of hyperallergic and presentations 

we dont have to mandate ourselfs to make a living 

Social practice- not about selling project

• just to be outside the art market
• the art market dominates the conversation even though its not all that useful

Reality of what being a creative person, you wont just make work, making sure you have contracts and invoices 

• sometimes there are things that you dont know
• things that will impact you

Activists- Shepard Ferry - starting from stickers- used graphic sensibility and used street art as a way to raise awareness. Voice to a whole movement. Concentrate frustration in a poster. poeple took it on as an image. 

Asthete- art for art sake, beautify. Amy Sillman.  

poller Scher- artist and designer- map paintings.  Redesigned beach signs that transformed the urban environment of New York. Type face and color and typeface

Educator/Historian- Hans Hacke - 1993 german pavilion. Destroyed the marble floor, that was installed by the Nazis'. 

Lauren Monk- look at locations of where people live, where were people studios, eat, and hang out

bring in knowledge and color.

Explorer- what you can and cant do, perception, and exploration of space. Scientist like Mark Deion- contemporary. no one did this before him. He has a character, 19th century expedition, to just show how dumb they were and the issues involved with them. Educate the public.

Inspiration- Milton Glazers. I <3 NY. a feeling of loving NY. He was able to create something that people were able to own.  "The famous blue marble" people saw how finite the world is. The example of an image has a viral affect to change the world perception. Luis Hines-labor laws awareness, these categories blur

The Provocateur - Poster Boy- cut outs on posters and changed it. Alternative advertisement, aka culture jam. Feeling like you have a voice, not waiting for permission. Guerrilla Girls- text art- activists and created a conversation. Called out art critics, galleries even owned by women weren't showing women

Philosopher- Fuller - tried to re imagine the world and try to understand it .  Andre- minimalist, take out the traditional language 

Satirist- Banksy- makes fun of things, but it hits people. Feeing into mass conscienceless. Language that many people understand. Hennacy Youngman- comedian and artist. Painter, rapper, comedian and he has a youtube channel. Side projects get you the traction 

Spiritual Guide- Bronson- exploring the gay cruse of Fire Island, group and solo show. mentoring and helping younger artists and get them their voice. 

The prayer rug.. 

Zeitgeist

Jeff Koons- idea of the emerging clas of the wealthy and objects that aren't touched by the human hand. Barbra Kruger- text- I shop therefore I am. Language people were able to appropriate.

What is your roll- so that you are not just assigned a roll. How to use these categories? 

sharing is a reality of what we do, 67% when they shared them online it helped them understand better. Be part of a conversation with your work. 

Chapter 10

The Global Flow of Visual Culture

Globalization of communication technologies over the past few decades has shown that global image flows may allow an increased circulation of concepts, ideas, politics, and images, but this also helps to foster the growth of multinational corporations and the expansion if political influence by powerful nations over distant dominance with fewer resources.

but the ideal of a global world without boarders does not match the social reality of trying to forge such a world in the twenty-first century.  the reality is that national boarders have tightened since 2001.

The Global Subject and the Global Gaze

The declaration of being one. The idea that we are all one on this earth and Earth Day in 1970 solidified the unity of this "globe".  The picture of the earth was released in 1972 by NASA, the image is called "the blue marble.

after this no one would ever be able to perceive things in the same way.  "In an image such as this, the globe connotes and knowledges as within the reach of the next generation, thanks to the new communications technologies offered by companies like IBM".  Satellites are a key reason the changed perceptions of the earth and how we understand them.

During the 1960s and 1970s people were infatuated with the idea of satellite transmission.  Some artists projects during this time involved performers situated in different places but performing together through broadcast feeds.  And interconnectivity was a theme in ads like that of BBC.

The ability to use the web and find exact gps data mapping out entire towns and locations, The ability to both render this and get exact pinpoints of anything in anywhere in the world has only been possible with the help of satellites and things like NASA. 

Cultural Imperialism and Beyond

It is a paradox of globalization in the early twenty-first century that the new liberalization and policies of open media flow have not created a more democratic flow of information for the people. Some things like CNN have become more of a opinion changing point because they have the ability to be broadcasted globally and this gives them a chance to change things to help them win if favor.

Global and national are in constant battle, because the global is what shapes opinions of the entire world but they still must regulate in the laws of the nation-state they are broadcasting from.

Global Brands

The domination of commodity logos. But because of these global brands smaller companies have been able to create business by playing off the well known logos.  And on the global Starbucks was able to market "local" to entice consumers that the world is attainable through coffee.  Some of these brands create a subculture or even identity of its consumers because of the heavy influence they have over the global market.

Indigenous and Diasporic Media

programming in the global media environment demonstrates the power of cultural products to reaffirm ethnic and local values over the homogenizing forces of a vast national communication system.  The indigenous and automous practices of looking can not only survive in an era of globalization but can also thrive by using global technologies in a manner that rethinks what local means.

Borders and Franchises: Art and the Global

Globalization impacted distribution, exhibition, and production of art.

Art increasingly form of tourism.

Museums used to create images of urban centers as locus of creative global economies.

“Global sharing” as diasporic distribution of “world-class” culture.

Visual and material globalization of beauty and culture.

Franchise model = forge global network of display.

 Tension is between global and local/national.

Chapter 9

Scientific Looking, Looking at Science

Our interpretation and experiences of images are never that of a singular, discrete events but are informed by a broader set of conditions and factors that have already impacted our way of viewing the world.

Visual Culture is a broad spectrum of facets that make up this being; television, fine arts, popular film and advertising. But this is usually seen as distant from science, law, and medicine; but all of these subjects are impacted by how we look and perceive them.

Ever since the invention of photography, scientific roots are what make it up as a means of documentation, even the creation of film was a scientific discovery, not based in the art world. With the rise of digital importance in the 20th century, scientific data is also displayed in a new way using new technologies and advancements.

"seeing the unseen" -- has become even more prevalent in the now because of the technologies like ultrasound, CT, and CAT scan machines that can detect problems that were never visible.

Rose speaks about how we can experience our bodies on the molecular level, even though we cannot see it we understand it through a set of systems and scientific representation

These systems are both literal and metaphorical, where as before anatomy and physiology may have organized our way of seeing the body in terms of structure of tiny units that play off each other, things we cannot see or control.

The Theatre of Science

Leonardo is so prominent as an artist throughout history because of his overlap with science and art. He created a figure around the representation of proportions based on treatise De Architectura by the roman architect Vitruvuous that made reference to geometry and perfect human proportions.

THe sense of understanding the body by physically or virtually cutting through it to expose the organs is something common today. In the past the cutting of the body to see inside was something that was specifically deemed scientific.  In early modern society, many dissections were performed publicly. Anatomy theaters were a type of spectacle through which anatomists attempted to not only educate but also entertain colleagues, students, and spectators. This was the play between life and death.

These theaters were intended to convey messages about the deceased, many of which were criminals. This gave the scientists the justification to do so, the painting by Remberant depicts the doctor opening up a criminal and there is a crowd of onlookers.  A fascination with the dead body and an association of morbidity and crime would become a central feature of visual spectacle of modernity.

The Visual Human project (VHP) was funded by the US government and the University of Colorado. This involved taking two bodies, one male and one female, freezing them and then slicing each and taking digital images of the slices to create a digitally composited images of the entirety of the human body.

The desire to see art and science, or pop culture and science as separate has a long history in western philosophy, yet scientific images almost always beg the question of whether these domains can ever really be kept separate

Photography was a way of documenting offenders and these documentations of identification records were used to convict and fine repeat offenders

The use of electrical shock to make muscles contract to create specific expressions. this was done by Duchenne.

Imagining the Body's interior: Biomedical Personhood

starting from x-ray in the early developments of medical advancements, to the use of ultrasound in the early 1960s that does not expose the patent to deadly waves of radiation to see into the body. The use of the sonogram is something wit ha deep and personal emotion. The first "portrait" of the child to be.

Chapter 6

The Masses and Mass Media

The term masses was coined in the nineteenth century to talk about the changes in the structure of society was undergoing industrialization and he emergence of a massive working class.

The masses were known as having influence on opinion and on social character.

It is the masses response that shapes, classifications, laws, and judgement about actions, and it is this function of the collectivity that characterizes the masses as such

The rise of mass culture is also characterized like modernity; with increased industrialization and mechanization of modern society, populations consolidated around urban centers

From the urban metropolis the cities emptied out in to what were known as the suburbs. These were tight knit communities

The use of film, television, consumerism, and cheap amusements provided the connections among this almost alienated population

Mass media has been a term used since the 1920's to describe the media platform for large audiences that have a shared interest.

Jean Baudrillard used the term "cyberblitz" to describe the escalation of unpredictable and random media forms, images, and information that have bombarded us in postmodern society

Media Forms

A group of communication industries and technologies that come together to produce and spreads public news, entertainment, and information

medium- specific technologies through which public news, entertainment, and information are spread

The way in which someone speaks, inflection, tone, pitch and volume all convey a meaning within a meaning of what is being said.

Media editing work within a specific set of contexts to convey the meaning in which the show is intended to teach to the general audiences

Cross referencing in entertainment has brought a way to make it seem as important ti our lives as are politics and real-life events.

Broadcast, Narrowcast, and Webcast Media

Broadcast- has one central source broadcasting a signal to many venues
Narrowcast- targeted, via cable or other means, to niche audience

Early broadcasting model was narrowcast and has now been replaced with satellite transmission making global communications possible

Stories on the web have helped people to gain access to a greater audience.  The use of youtube has not only helped start careers but also has created a new framework of fame and notoriety

The use of consumer-user production, home entertainment, and web media suggests that the model of broadcasting has lost its dominance

Media and the Public Sphere

A public sphere is a space, a physical space, social setting or media arena in which citizens come together to debate and discuss the pressing issues of their society

But the problem with this set us is that it was just a facade because the average person was not able to keep up with the political issues and events given the chaotic pace of industrial society.

In ideal terms Habermas postulates that this public sphere of genuine debate within civil society.  There is this compromise by other forces in society including consumer culture, the rise of mass media, and the intervention of the state in the private sphere if the family and home.

many publics that can overlap and work in tension with each other; working class publics, religious publics, feminist publics, and so forth.

National and Global Media Events

By airing an issue or event internationally, broadcasters signal global importance and offer a means of connecting affected communities across vast distances.

public viewing of televisions grew in popularity in Japan in 1950s, because most households did not have a television.  After more homes had TVs the outdoor program shifted to entertainment, wrestling, and businesses would capitalize on getting a TV to increase business.

This collective viewing was also a bonding experience for all of those people who were watching it together.

Contemporary Media and Image Flows

The pictures of the flag draped coffins of US military was something that was never shown, but the public refused to let these service men and women go without getting the recognition they deserved for their sacrifices.  Even though the images were released the faces of those carrying the coffins were blacked out, so even with freedom of distribution, there are still restrictions.

In media power is not held by one group or individuals

Pablo Helguerall

Born in Mexico City

based out of NYC

Socially engaged art sculpture drawing photography

Also an author 

Solo show in Kent in NYC

Try to never repeat a presentation.. he never wants to boring 

Education for Socially- Engaged Art

Working in museums and museum education for 20 years

• education is intricate and a way to develop relationships with others 

When he started art he wanted to be a painter

• he could not get his communication across
• through teaching he became a better artist
• art that was not just and object but an experience

last art piece

• a game 50 participants only played once 
• will conclude in 2097 after all are passed away
• Friends, relatives and audience. Also 25 random visitors. All asked to engage in a life time commitment
• 16 envelops, only to be opened on a particular date
• all are doubled 
• the last is to be read on the day he dies
• he wrote a letter for the audience of the event
• each envelope have a series of instructions
• piecing together the past and giving us insight 

address concerns he already has. Time, with memory and relationships with individuals. The more we are connected the less we are in tune with each other. Create bonds with new people. The experience of being alive. See ourselves in the present. 

The Seven Bridges of Konigsberg. 2008

• similar rational 
• friends opened a alternative space in China Town
• Forever and Today
• Palm reading intrigued him, Gypsy 
• created his own set of cards, new and own system 
• Russian seven bridges, a mathematical problem, weather it was possible if you could crass all bridges then passing over one more then once. 
• by creating a proof, it founded systems theory 
• no life had a single path you can never recross a bridge or a time in your life
• the context of the images
• you teach not by giving people information by talking at, but help them articulate things they may know but not totally understand 
• people who would confess personal things and ideas 
• it was an art project, but it didn't matter to people, they felt as if it was real it was no longer a game
• getting out of the conventional environments of galleries and museums. we live in a world where art is an entertainment. Art is not just entertainment, it is supposed to ask questions and change minds and ideas.

Forum of Cultural Purification, Mexico City. 2003

• he wrote six papers and had actors learn them 
• organized a conference at a hotel and conference in a neutral zone.
• not one person knew it was a performance piece
• invited people who actually their papers next to the actors 
• the debates were strong and people were reacting in crazy ways
• the second panel he was the moderator
• final meeting- his friend ryan hill
• Ryan Hill for Rudy Gulianni 
• next day there was a press uproar, someone asked him if it was a performance... he told them nothing 
• does it matter if it a performance or not?
• Forcing a conversation that needed to be said

The Juvenal Players, 2009

• blurring the beginning and end
• For the art makers
• he wanted to do a play
• retrospective of a fictional artist
• died seven years ago 
• famous latin poet who is the father of satire
• he hated everything
• on the day of the opening there was a symposium there was a panel 
• all actors they knew nothing about art
• they can be more real then the real person
• no one knew it was fake
• be able to maintain the fiction till the very end
• at the end the characters confess their insecurities, how their lives are out of sorts
• moment of them questioning themselves
• they all leave except the one young woman
• she delivers a monolog
• she was a real artist
• how art is a very difficult thing  
• economic downturn

The BOy Inside the Letter

• diary, things everyday
• had to write even if it was stupid
• started writing to himself but in the future
• found a box and found his old diaries
• it was a younger but older him
• when he read it it made sense 
• Novel 
• confront that moment of a transition 
• we finally know who we are
• going from an art student to an artist
• child to adult
• from Mexico to U.S.
• showed it like an archeology museum

Wakefield 2010

• portrait of him and his daughter
• personal biography
• be brutally honest about the moment you are in
• not just confessional piece
• why do we need to share thins
• why does anyone care
• difficult to be a parent 
• Wakefield Nathaniel Hawthorne 
• feel completely contemporary
• changes his path, lease a room across the street from his house, what happens when he is not there
• still watching through the window, he finally leaves the room and goes across the street and walks right through the door.
• the possibility of breaking patterns 
• the social commitments 

Jordan Rathus

Non fiction that blends in narrative devices, Jordan uses these themes
Lives in Brooklyn

Questions..
1)about her work
2) lifestyle question

unusual trajectory to becoming an artist.
theater- writing and acting
16 got her first camcorder
went to paris for her film class
Went to NYU for film
production assistant job right away and worked for tv production
She wasn't making art or film the way she wanted to
and went back to school
Columbia MFA program
Writing a little, making work, teaching, exhibiting, gallery space. Mix and mach of art and life

--Video based, attacking the image, but it can be entertaining and she pulls from entertainment shows and humor. And she bleieves that is the best way to attack the system. Lightness to work.

--Real work/ the game show

• video piece
• surreal and insane 
•  like the real world and its a blur of reality and fiction
• how to create on camera persona "reality" 
• so much consideration on a person's performance
• adjusting and editing while things are happening
• who is really in control?

Relation with reality tv

• using the skill set that she worked for tv and applying it to working with artists. 
• help these people that don't know how to make a full production

Shipping container

red carpet

cut out

and 8x8 step and repeat 

Celeb culture 

hired a friend to be a paparazzi with her and took a picture with "her"

Create work from work

Have an evolution

After graduation- residency in Michigan 

• Ox bow
• documentation of landscape and her experience 
• persona- when you are in the middle of no where
• NY persona in the wilderness

--Offseason

recycled story boards scripts and notes all put together in a grid

reduced each frame from each scene and lay it back onto the paper

narrative disjointedness. people not being able to communicate reasonable, obscured and inspired by the plays in high school

story within the story, showing the production side. No fake name, persona of the artist. Extreme versions of herself. What is right and what is fair when it comes to using a culture and showing it in a piece. 

20 min short film Double Agency 

appropriating different sources- copy and pasted sounds bites from breaking bad and double identity in a critical context using humor 

stretching the idea of artwork

Marx

Section 1

Marx speaks of use-value and exchange-value of a commodity, this commodity is something that meets a human want or need. The exchange value is how the object is acquired, he uses the examples of iron and corn.  There will always be an equation for how much to exchange corn for iron. These two aspects of commodities are separate but also always connected and will always be intertwined.  The exchange value of a commodity is merely an expression of its value, this is what connects all commodities so that they can all be exchanged with each other.  Marx also explains that the value of a commodity does not remain consistent as it evolves, advances or varies in labor productivity.  But the value of the object must meet the requirement of the need for use value or the commodity will be worthless.  So as long as an object holds use vale therefore it, produced in quantity, will hold a value within society.

Section 2

There is a relationship between the labor to create the commodity and the value of it. There is a correlation between the labor and the value, so if the labor is increased to create something the value will then have to increase to meet the labor cost. Different types of labor create different kinds of use values.

Section 4

In a capitalist society the values of commodities are studied by political economists, they take information and see how much money was generated by a specific commodity. These people do not look at the value as something completely independent from the social labor that originally determined the value of the object.  This process is called fetishism, where objects are imagined to dictate the social activities that produce them. Marx compared the creation of these products as a manufacturing of something to fill a void.  These objects are seen like a deity that fulfill a desire within their lives that is not filled by a sense of community or family. It is not until commodities enter into an exchange do thy create a relation to another commodity.  Once in an exchange, commodities values are determined by the amount of the socially useful labor-time put into them.  In the reading the example of diamonds and quarts, it is harder and takes more time to mine a diamond then it does to mind quartz, so in this relationship diamonds cost more then quartz.  when the worker no longer owns the means to production they no longer have access to the knowledge of how much work was taken to produce the product.  So now the value is changed to something off of a mystical value rather then a labor related value.


Chapter 3
Section 1

There are two sides to the process of labor. On the first side is the the buyer and on the other is the worker or producer.  The buyer purchases from the worker, and the worker receives a wage for his labors.  Labor has become one in the object, the worker who has put effort to create the object had been transferred to the object, giving it value. The capitalist owns everything in the production process they are free to sell for their own profit.  The goal is not to sell only use value products but a commidity.

Surplus
The goal is to create surplus to create a  profit from the commodity.  

Chapter 8

Postmodernism, Indie Media, and Popular Culture

We have lost sight of the real. In disneyland and Disney World, there are replicas from around the world, cities and small towns, and this can satisfy people longing for the world.

We live in a world where most modernism, modernism and the ideas of pre modernism are all combined.  Many ideas from modernism technology, science and progress remained dominant in post modern culture.

This chapter shows how the underlying meanings of post modernism translates to postmodern styles in art, media, and advertising.

Postmodernism and its Visual Culture

Postmodernity is referring to changes in the social and economic conditions that help to produce these styles and ways of being a subject.

Appropriation, parody, pastiche, and self conscience nostalgic play are just some of the approaches associated with postmodernism.  This and the rise of remix of culture is a result of shifting postmodern sensibilities coupled with the emergence of a set of technological practices enabled by the Web and digital technology.

Addressing the Postmodern Subject

Through these films, viewers engage with simulated environments with jaded sense that we know what is to come and that our bodies may be physically malleable and changeable through technology and medicine.

Reflexivity and Postmodern Identity 

Reflectivity, in text refers to its own means of production, undermines the illusion or fantasy aspects of the narrative, encouraging the viewer to be critical thinker about the ideology conveyed by the narrative.

the surface is understood to be a crucially meaningful element of social life and not simply the illusion put over the real, like make up almost hiding a blemish underneath.

The body image in postmodernism is something that can be easily changed, through surgery, or buying of makeup and feature alterations.  Sex, eye color, skin tone and facial features are some things that are now a quick fix if someone feels the need to change themselves. This is a sharp contrast to modernity because the body was seen a stable, boundaried and fixed.

Postmodern Space, Geography, and the Built Environment

Marc Auge refers to these as non places, sites in which we are solitary, disconnected and distracted, sites that are defined in a certain sense by the lack of presence they demand from those within them.

Appropriation, pastiche, and bricolage were everywhere apparent in the design of the Vegas strip, not as international expression of a culture of critique but as means through which the postmodern subject communicated and interacted with and through its built environment.

We live in a world were there is a tension between postmodernity and modernity are always conflicting but creating an interesting dynamic in our lives.

Chapter 7

Consumer Societies

In a capitalist economy the overproduction of good is what is depended on, this means that there must be a desire to make this profitable.

It has been debated that in a consumer driven world, the idea of self image and a person's status is driven by the objects they own.  These objects seem to give meaning to their lives because they are lacking the connection to a real community.

As in the ads for body soap, no one was very aware of the need for perfumed body soap until the idea was placed in front of them, the need to fill the gap or even entice women to thinking if they buy the soap they will never be lonely.

The post war economy supported the consumer idea because the United States was in a very good place  . In this association the idea of being a citizen was then adopted to being a consumer, because a good citizen was a consumer.

Envy, Desire, and Belonging

Bourdieu identified different forms of capital, in addition to economic capital, he also expanded on social capital, symbolic capital and lastly cultural capital.

Advertising targets a group of people to appeal to either a connection between family, generation, nation, or community

It is a psychological idea to try and convince people to buy products bcause of a lack or want of something in their life.

Commodity Culture and Commodity Fetishism

Commodities are defined as things that are bought and sold in a social system of exchanges.  "commodity self" is the idea that we as a person are partially defined through our consumption of commodities.

Commodity Fetishism where massed produced goods are emptied of the meaning of their production and then reassociated with a new meaning that mystifies the product and turns it into a fetich object.

Many producers of "made in the United States" are taking parts form overseas and assembling them here.

Brands and Their Meanings

Brands are product names that have meaning attached to them through naming, packaging, advertising, and marketing.

brand meaning is usually established through repetition of a symbol or shape.

Also the replacement of a brand name as an action or object

Marketing of Coolness

Finding that a group could be marked to to be associated with "coolness".

The attachment of "coolness" to products, this would have them seen as unique, distinct and uninfluenced.

The addition of adding philanthropic ideas to ads. Like (RED) it is both pleasing aesthetically and morally makes a consumer feel good about what they are doing and spending their money on.

Third iteration of the uncanny and Ensky

Work of art in the the age of mechanical reproduction

Walter Benjamin
Born July 15, 1892- September 26, 1940

• literary critic
• essayist 
• philosopher
• social critic
• translator
• radio broadcaster 

The original need for replication was for pupils learning under a master trying to learn a skill or replicate their work.  The new method of mechanical reproduction is something very different.

The mass production of replication was the creation of coins, terra-cotta, and bronze.  Etching was added to wood cuts and then followed lithographs. Lithographs was transcendent from the art world to the everyday world by invading the wold of graphic arts.  This allowed large quantities of products and it was also able to be changed quickly.  The art of printing was soon passed by the use of photography. The camera allowed for an image that maybe a hand could not capture.

"even the most perfect reproduction of a work of art is lacking in one element; its presence in time and space, its unique existance at the place where it happens to be."

Most art, its story and its existence includes the changes that it could have encountered on its travels to exhibitions, the owners it was passed to and the physical changes that could have occurred to it over time.

The more an image is reproduced the less its presence is valued.

Showing the perception of time is something that was never done, in doing this you can also see a type of social change. Aura is the special quality that comes from a person, place , or thing.  The desire of contemporary masses to bring things "closer" spatially and humanly.

Photography started as a way of documenting the loved ones and the ones who had passed on, but as we step away from just documentary it starts to show the ritual value. Atget and all of his photographs of the streets of Paris.  Now the need for a caption is necessary to lead the viewer.

Film and performance art are two very different entities, the element of film is to make you see as the camera does, and the film can be manipulated to make the viewer appreciate the acting more because we as an audience do not need to interpret actions.  While a stage actor needs to be aware of how the crowd is viewing him or her as they walk across stage and act.  These people have a presence that is forgotten by the audience and the camera angles in movies are used to create this same effect.

Some actors in Russian films are not actors at all, but are regular people who perform the job on a daily bases and will be filmed to show greater accuracy in a situation.  This is very much unlike the western movie making.

Massive reproduction of art changes how the masses react to art.  The progressive reaction is characterized by the intimate visual and emotional enjoyment. Film is easier to have this reaction to next to a painting or drawing because it is relatable in the situation of things.  These we can take from our everyday life and apply them to what we see.

Dadaism wanted to create something by pictorial and literary means. They applied less importance to the sales value of their work than to its usefulness for contemplative immersion.  They made the works of art the center of scandal, their use to outrage the public.

War has set goals for mass movement on the largest scale. war is ugly but it can somehow strangely be beautiful.  The manifesto dictates the ugliness of war but it somehow brings to light the strange beauty that it contains. Fascism in rendering aesthetic while communism responds by politicizing art.

Chapter 5

Visual Technologies, Image Reproduction, and the copy

The term reproduction is a way to describe a copy of an original work. Im Marxist theory uses the term reproduction to describe the way culture practices and their forms of expression reproduce the ideologies and interests of the ruling class.

Visual Technologies 
Technology itself does not determine social change.

Technology interacts with a society and its facets, when doing so it creates changes not only in the technology but in the culture and society it is in.

Speaking about photography as a technology that was once rarely used to something that is integrated in to our everyday life.

Motion and Sequence 

The introduction of film on the late 1800's corresponded with an increased desire to visualize motion in an increasingly evolving and fast paced society in the late 19th century.

Projection machines were invented in the likeness of the camera obscura, a drum shaped object that had a light source and a strip of images that gave the illusion to a movement occurring.

Cinematic meaning is derived not from the individual film frame or take but through the linking together of images an takes into signifying chains. The combination of the two images to create a third meaning.

Image Reproduction; The Copy
The term negative was used to mean an original from which the image was struck.  A daguerreotype was the sole original if the negative was tilted slightly it can be made to reflect light to make the image appear positive

The term noeme comes from phenomenology, a branch of philosophy devoted to the study of embodied sensory experience, which is regarded as the root of being and knowledge.

In Barthes book, Camera Lucida, shows us that the photograph unlike a painting or drawing, has the ability to be copresent. It shares a place and time to which it is representing.

Even though photography was invented in 1839 it wasn't until 1902 that photographs were shown in galleries. And by the end of WWI there was a commercial use for photography.

Walter Benjamin and Mechanical Reproduction

Benjamin saw reproducibility as a potentially revolutionary element because it freed art from it status as a uniquely ritual artifact in traditions of the iconic reverence and exchange.

Benjamin argued that "Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place it happens to be."

Authenticity can refer to seeing or structuring an image as if without the help of the technologies available to us today. It is also applied to the a quality that clings to the idea of classic type within a catagory of people or icons.

Benjamin also noted that the meaning of the original work changes when it is reproduced.

Benjamin's main arguments on reproduction still remain valit today. The meaning of the image is changed when the image is reproduced and the mechanical reproducibility of images changes their relationship to ritualsof meaning, use and value in their respective markets.

Politics of Reproductibility

The photo-collage by Heartfield allows him to make a political statement through reworking images and combining familiar images in new ways. In that sense a drawing may not be able to accomplish the same thing

The reproduction to the portrait of Che shows the relationship to revolution that the people shared with him. Also they speak of him as Che and not his last name, Guevana, this shows an emotional connection that has formed between not only the people viewing these images but also the people creating them.  The relation to reproduction is also the ability to include text, and the ability to immediately associate an image with a word or phrase is something that is extremely powerful.

Copies, Ownership, and Copyright

The term "copyright" means exactly what it says, the right to copy or reproduce an image.  This includes the right to distribute, produce, copy, display,perform, create and control derivative works based on the original.

In trying to understand the terms of copyright in relation to reproductions of a painting, the painting is a unique expression of the painters idea and not in the literal uniqueness of the object itself.



The question of consent is also a big factor when coming into the idea of copyright.  The right to privacy and informed consent.  Because of the film Titicut Follies, which showed life a Massachusetts correctional facility for the criminally insane. The other factors are the consent of the people being filmed and their understanding out how that material obtained will be used.

Reproduction and the Digital Image

Because a digital image has no negative, no original storage medium from which copies are made. Analog images are different from those of a digital image in how they look, generated, stored and distributed.

The digital image is also based on instant pleasure, like the invention of the Polaroid camera invented in the 1960's. The instant image is something that analog cannot do.

The manipulation of digital images is not what revolutionized it, it's the availability of this software to the middle class consumer and their ability to create on a scale that was never possible in the existence of photography.

Tim Rollins and K.O.S.

Studied at the University of maine
MFA at NYU
special ed teacher in new York
Based in NYC

His Story
All works of art are like a time machine. It can take the past to the present and translate to the future.

September 11 2001
in studio in Chelsea

• big beautiful painting about a mid summers night dream
• top to floor windows looking towards the twin towers, see the trade centers are on fire
• collaboration of students, adjacent of the destruction
• now we know what side we are on
• opened the windows, the smell from the south. Smelt like burning garbage but unfamiliar. 

sept 11 1981

• just out of school from MAin and now in NYC
• 24 years old
• just help the school, 52 kelly street south bronx
• just keep going on the train, elevated tracks.mile and miles of devistated empty burnt out buildings, the 9/11 smell. Packs of dogs and druggies and in the middle of the mess was a mother with her kids on the way to school.
• chaos of the school.
• they bet he wouldn't show up
• the school was shut down on two floors, everyone was crammed.
• graffiti tags, ceiling is covered with tags and charcoal 
• the kids were diabolical about being creative
• in the hip hop era because of him being a hero for showing up to this school
• death mask face
• make the best drawing you have ever made in your life, now. 
• favorite word in the universe NOW
• music and drawing
• "will you stay" his whole life passed before his eyes
• listen to the voice
• His hero- Martin luther king Jr
• The strgrenth of love -- anger has roots in grieving. 
• its hard to teach art when they cant even spell paint
• everything was learned through art-- history math english
• Art and knowledge workshop with K.O.S.
• they did works based off of work and literature
• everyone is an artist
• he knew he was going to make art but he felt they were going to make history

1993- just got back from Venice, Emmy and a move and the NY Times

• rick form K.O.S. calls- emergency, St. Valentines Day Massacre 
• Prospect Ave.
• The area was starting to clean up
• chris was killed, he just got accepted to school of art and design
• he flew back to deal with the backlash
• it wasn't sad, but he was still there
• this is why we treat art better then we treat ourselves
• it is a necessary for our lives, and its more of a reason to keep going on

contradiction of graffiti because it is a defacement and a glorification 

Food For Thought

How is collage affected by the industrial advancements, technological advancements and the evolution of literature and education?

Greenberg: Collage

The use of the world "reality" when used in the context of art is something that needs to be addressed within the confines of abstraction.  Even though the term reality would not even come close to trying to describe cubist works. At first the cubist works were taking three demential objects and creating them in a to demential plane.  The imitation of printing was the key to Braques' cubist pieces to give them depth.  The way that the letters are placed they changed planes, because of the tension between surface and depth the eyes are tricked.Cubist paintings started to transform with the help of artists adding different substances to paint.  In doing so the texture was calling attention to the surface of the painting.  This texture contrasted with the printing on the paintings but because of the texture there was only room for the text on the surface.  With the telescoping effect the need to keep concentrating the surface was something of a necessity. Picasso says to have made his first collage in 1911. Braque was using simulated textures, typography and had begun the broaden and simplify the facet-planes in 1910.  Literal flatness is something that is always present, now instead of representing it, a piece of pasted paper becomes that plane. By placing layers on top of drawings and then adding other elements it starts to push back the space and make it seem what is layered in the back is in a visual space reseeding away.  Picasso and Braque opped for the re-representation of space and objects, this is where analytical cubism came to and end, and synthetic cubism started.  "Drawing in space was Picasso's way of taking something flat and reconstructing it out of pieces of paper to inhabit a three demential space. Braque and Picasso never returned to collage after 1914. Gris would start out with abstracted shapes and then place pictures overtop that were recognizable.  Grist uses the juxtaposition to create space and tension even with out fully sketching out depth in his collages.  Gris was the one artist to really stick to synthetic cubism and collage and master it.

The cave part 3 and Uncanny Pt2

I will do another installation of this and rephotograph it.

The Evil eye, repositioned higher and the addition of a hindu prayer

Cut and Paste

The use of collage is something that is rare, but the impact of the images creates an interesting dynamic.  The weight of the images correlating with the dialog it is trying to have with it's viewer.  This is something that I had never been exposed to before, I had known of making it look aesthetically pleasing but there was never the connection to how much was on the page to the weight of the message it is trying to convey.

The use of collage is a modernist idea, to turn to as a new way of rethinking, reworking and repositioning media.

From the 60's on we have to begin looking at the art of collage as a consumer- as- creator genealogy.  As the launch of digital editing software, the use of digital media increased the popularity of collage and also the easy access to its creation.

The problem with the easy access of digital media to be formed into collage is the honesty of the picture, and its authenticity. Like the problem with a picture of Bert in a Bin laden propaganda poster, which sparked outrage amongst Americans. but in the end they found the image to have been created by a third party. So the need to know that some images are "fake" need to also be understood.

Introduction of Polyvore; it turns its users into customers. Think of the walls of a teenage girl, the pictures of celebrities, clothing, places, and just things that appeal to that age group. Polyvore take this stand point of what a person, factoring in age, likes. This will be a collage generator that is in mass production, using pictures that are all over the internet.  This is actually an in-genius idea.

Not until the mid 1990's that collage found a new artistic possibility. Larry Clarks' book was the first contemporary step forward in the art of collage. After him many artists followed in the scrapbook styled works.  They were taking popular art and mashing it with classical forms of collage.

then came Jeff Koons. I am not a fan of his work but his referencing to the pop culture and pop art is resonating in his collage 

Collage even if we don't notice it, it is a surrounding art that we experience everyday

Devin Kovach

interested in observation

• the way we see the places we inhabit 
• how we perceive these places
• how we understand that place

How he makes his work

• printmaking is his passion

but photography and instillation is something else that is compelling. different ways of dealing with visual information

The experience of living in the city. Santa Fe, New Mexico. the transition of being in the open. Moved to Scotland.

• the weight to the city the stone, heavy air and complete opposite to where he grew up.

Dealt with the change of atmosphere by drawings, how he showed the intense and chaotic environment and how it was a psychological dealings.  There is a relationship between his drawings and how he moved and saw the city.

• he had to get out of the tight one point perspective.

This work culminated in his thesis exhibition

• map imagery 
• way to keep a connection to that place and maintaining a personal connection

he wanted to change the scale of his work
but also pushing it into the viewers pace

making the formation of a building that is "heavy" and make them light and transform

took a little break before going to grad school

1. expand practice
2. expand the ideas of art that you are making
3. seek out opinions for why to go to grad school
4. choose a program that best fits you not just for the name

Tyler School of art for his MFA

• everything that seemed clear.. it totally changed
• thinking not just making
• expand the ideas that go into your work
• defining conceptual work

constant onslaught of critiques and visits and pieces, shocking of finding that the confidence of making art. so he fell bak on what he knew that he knew well. His solution was to make things more complex.  He came to a new environment but he kept reaching back to undergrad for insperation, something was just off to him.

The use of left overs from old works

• how the paper hung in space and how it made interesting details and perspectives
• depth, perspective, and dynamic space.
• it seemed too easy that it must not be a serious. high lights the importance of play in studio time. Make mistakes 

having a studio to go to all the time

making constructions and instillation sketches

"all the interesting work i have done is against all the ideas I have had.."- william kentradge

-painters tape
-dowel rods
-scrim fabric
>^lines of the scaffolding and the lines of the building that was just a silly sketches and then it became an exercise of a flat space and it started to invade the studio. not just an imaginary place a real place that he had a relationship to. drawing attention to something that may seem mundane and a nuisance. this began to set things in motion and nature and construction was constantly impacting the piece.

Taking pictures of the windows instillation and how these photographs departed from the reality of the space. we are so used to seeing and understanding without really trying and his images make you stop and take a second look. working between photography and the installation.

The experience of travel

• mentally stimulating
• 2nd year in rome
• how was it going to translate in a different context
• you take nothing for granted because you are unfamiliar to the place. and to him this equates to inspiration
• roman architecture added into his work
• impression of spaces, relating to ruins and the memories to a place and a space
• to not invoke structure but to only reference it 
• photography because more prominent, black and white,  the dark room the relationship of process
• impression of the light around you
• light became and element in his work, how light transforms and confuses space
• fabric and light(video projection)
• light phenomena from Rome

Using light made him think about how time affect the pieces, using the little light phenomena
everything was site specific
the layers of architecture and the layers of light that came from the place itself. The element of time is still playing a roll. How night and day translated to different spaces

how people impact the art and space. using residency as an outlet to make more work

the illusion of space and light and making the viewer stand away from his instillation and how it changes the relationship. Seeing and understanding and seeing and believing. Then taking photographs of special spaces.
"..seeing something that isn't visible"- Norman McClean  A River Runs through it

Prints, use of photographs and distorting them.
Associations of what home means, a deep connection a place you have seen in different seasons and seeing it over time. What was the original scene?

last thought
get outside , your country, your town, your social group engage as much as you can. There is so much happening and you have to look at the different views of reality.

Chapter 4

REALISM AND PERSPECTIVE

What are the conventions between realism and abstract?

            How do we deem something to look realistic and another to be abstract?

                        -to be held by ideals to be looking like the actual object.

Pectoral images appear to have served as form of symbolic communications and expression among members of different religions when it was the time of persecutions, these symbols were a way for them to hide the true meaning from outsiders.

In the Renaissance the practice of artists changed because they labored to reproduce the appearance of a scene, as the eye of an observer would see it.

            This does not mean it became more scientific but the space as a replica of what embodied eye would see took on greater symbolic, spiritual and philosophical meaning.

Reproductability in images is not just about the capacity of art works and images to be copied but also the aim to copy, or reproduce, the real.

Cubism- the art of making an object in its simplest form and then these simple shapes are shifted in space due to multiple viewpoints.

VISUAL CODES AND HISTORICAL MEANING

Today an old image is viewed from a different perspective then it was when it was first created.

We take context clues about the style and technique to determine time period.

Neoclassical - art that aims to reproduce aspects of classical fine art.

The Pre-Raphaelite- they were a group of artists who were driven to create non-conventional art in the Victorian era to reference the medieval painter and sculptor.

QUESTIONS OF REALISM

Noticing changes in aesthetics and styles of naturalist or realist images over time, we do more then simply chart taste or progress in the history of art. We also follow the development of different ways of seeing, and different views about value and meaning.

The term realism refers to a set of conventional belief or a style of art or representation. At a given point in a historical moment to accurately represent nature or the real or to convey and interpret accurate or universal meanings about people, objects, and events in the world.

What do the different approaches to realism tell us about the cultural and politics of a given social context. There is no universal standard for realism, and the idea about that constitutes realism can vary drastically.

Soviet Constructivist Realism Manifesto of the 1930s.  The government was telling artists that they must depict art in a specific way be cause that is the “right way” . Limiting the freedom of artists.  Any artist that was outside of the realist style was deemed degenerate.  In 1974 abstract painters Oscar Rabine and Evgeny Rukhin had a public display of unofficial abstract art made by artists who defied the mandate.

Michel Foucault, in his book “The Order of Things”, used the term episteme to describe the way that and inquiry into truth is organized on a given era. An episteme is an accepted dominant mode of acquiring and organizing knowledge in a given period of history.

HISTORY OF PERSPECTIVE

The representation of objects in a space as if seen by an observer through a window or frame. In perspective, the size and detail of the objects depicted corresponds to their relative distance from the m=imaged position of the observer.

The Enlightenment promised the power of human reason would overcome superstition, end ignorance through the development of scientific knowledge, bring prosperity through the technical mastery of nature, and introduce justice and order to human affairs.

The system introduced by Brunelleschi involved the concept of regarding the picture as kind of a mirror or window frame through which one sees the world.

Architectural drawing relies on the precision of a representational system that emphasizes the measurability of basic structures of forms in space

PERSPECTIVE AND THE BODY

Mantegna adjusted the drawing so it most important feature, the head, would not look too tiny. The compression makes Christ’s feet and chest cage loom and his face appears squished.

Durer, realism is achieved by making a composite of views and parts from a varety of observed forms. Realism in this case, is achieved not by seeing one scene from the fixed perspective of an imagines spectator but by combining parts views sketched at different times of different bodies in different places and merging them into composite whole.

Da Vinci’s technique is called perspective anamorphous.

THE CAMERA OBSCURA

Today, perspective is recognized as one among a number of possible means of realism among others; it no longer characterizes our era’s episteme in a totalizing way.

CHALLENGES TO PERSPECTIVE

Perspective in its traditional forms has remained tied to the idea of an objective depiction of reality.

Impressionism was an art movement of the late 19^th century that featured work that used visible brushstrokes and impressionistic depictions of light to capture a sense of human vision differently.

Monet examined the process of looking by painting different works of the same scene to show subtle changes due to shifting light and color over time

In 1907 two painters, Braque and Picasso, became interested in depicting objects from several different points of view simultaneously.

Cubism was a style that deliberately challenged the dominant model of perspective through an analytic system that broke up the perspectival space of the conventional painterly style

Action painting drew from the surrealist interest in automatism, a technique of writing, drawing, and painting in which the producer marks the surface with spontaneous gestures, giving little or no attention to the aesthetic from that results.  It is an uncensored release of the inner feelings of the artist and that the marks on the canvas would express these feelings without direct pictorial symbolism

Greg Thielker

Sites and non-sites

Lived all over the world. Making work where ever you are.

Read an image, the feeling the story behind the image.

How we process an image

Abstract

• pushed ideas not technique
• after graduation he moved to colorado to paint
• Landscape, physical that is a memory of the place

Portable materials

•  going out and not letting materials stop you

St Louis 

• Grad school

Boston

• Studio group 

Through the Windshield 

• oil painting 
• what you would see as you were driving
• separated from the outside world while totally immersed in it
• a balance of realism and abstraction
• 5-6 years working in this 

Experiences abroad- teaching, volunteering, projects

• "do the marco polo route"
• American Vertigo by Bernard - Henri Levy and Rory Steward
• the double narrative
• Residency in India
• don't come with materials or a plan
• nothing to lose but not knowing how it would work
• temple sites from 1000 ad, describe their journey to the temple. Made an installation next to the temple.
• month long experience
• many different people, musicians writers musicians. Keeping the conversation alive.
• Larger project about India
• there is no single truth
• be a channel about many views for one single place
• from Kolkata to Dehli
• went to paint but he did drawings instead, more flexible
• drawing every 76 km
• made it more democratic 
• small drawings 
• the similarities within the small drawing
• moment between old and new, and did interviews. Reinforcing and learning about the place
• collision of old and new
• Drew the road, no nonsense approach

Interview Quotes

• drivers - "brother this is the oldest one, this shrine is from my grandfathers time, and no one knows hold old this is,... one person makes money and the rest surfers.. "
• the frustration and grim acceptance of reality

Downtown DC

• arrange the millage stops along the road, all done with pencils 
• biggest is 10.5 -11 feet long
• all to fit into the carryon 
• quotes and pictures
• receipt from Calcutta - the journey as much as the stops
• the rose petals 

Afghanistan

• support of funding agencies, but mostly on their own.
• unfiltered access to people and communities
• overlap of history, Quadram, military base is there. 
• Crystal vase
• grave yard of tanks
• THe citadel and covered by an Afghan military base 
• more about history rather then military
• mud compound , it makes people safe, they feel sheltered
• every time he thought he understood something, another thing came up and changed his view
• simply documenting the place
• what can he learn and how can he display that history in an image
• drawing on Afghan newspaper. two flags tied together.
• scarves, the afghan dark striped older generation, young men the pixelated scarf
• air space, and interviews 
• the multiple picture of the space, the snow to spring or rebirth 

Alan Brooks

Professor at TCNJ

Brief Bio

• first place in an art contest
• SVA- School of VIsual arts, high school never gave him a lot of direction
• he was at first intimidated, but stuck through and was named best graphic design student
• advertising, not a fan, but he didn't know why.  Then he found graphic design, because it was art and not just business sketches.
• not just creating a concept
• all marker drawn.
• envelopes 

CBS TV

• typographic titles
• age 22 using all different services
• vendors were then catering to his needs. Lots of staff when working for a big company
• Movie ads, only a few hours to complete.
• training to work on your toes, work faster.

SHOWTIME

• literally the art department
• freedom and open to his ideas
• left after a short time, quit

FREELANCE WORK

• networking with other channels and old bosses
• took an office in mid town, with a person from showtime and a person from CBS

BROOKS CHAMPION INC.

• dont have 3 designers start a business, needed more diversity i.e. accounting or business
• computers were beginning to come into play
• Transition to the first macintosh 
• tutortials for his computer to learn how to use software.
• TV shows 

MOVES TO NJ

• Princeton NJ
• Allen Brooks Design
• different cliental 
• Transition to corporate, get in the middle so it looks different and not like ever other pharmaceutical annual report 
• Expand the business- partner who knows marketing and sales
• VERGE180
• every company is on the verge of something, failure, success, change. Help these people see the new marketing and advertising ideas.
• never to specialize in any area of design or any industry- because he never wanted to be pigeonholed.
• Branding Company
• What is a brand identity? Outward impression of the brand

register the brands and logos that we see everyday

When logos change.. the branding changes

CASE STUDY

• Tower Water Management
• new logo
• protects pipes and heating and cooling infrastructure through proper treatment of water
• Cut out management.. first
• every competitor uses blue
• Pipes and water make the best element
• not just the logo, give it an environment 
• 3- 6 logo designs

CREATIVE PROCESS

• Laborers 55
• green materials for old homes
• sketch 
• keep sketching because the ideas come out and just keep going. there is a lot of nothing but the more you work it out the better ideas can come
• look at references
• sketch more
• then hang on a wall and do further development
• you need a sense of where you want to go

DISCOVERY

• Do your research
• the project almost designs itself, so you learn what they like and what they dont want
• MESSAGE?
• BENEFITS?
• AUDIENCE?
• PERSONALITY?

McGraw- HIll Federal Credit Union

• Credit union, like a bank 
• financial services
• most ambitious of their logo

How do you build your cliental?

• word of moth or referrals, weekly networking group. events.
• cold calls- least effective 
• Linkedin- effective but tedious 

How to rework a logo without totally changing it, keep it new but referencing the old?

•  present it in a way that everyone is on the same page, then you expose it to the customers 
• nothing bad happened, its not that things are changed just an upgrade.

Uncanny projects beginnings

still more layers to do but im liking the diea, I took three photos of eyes filtered them then photoshopped them all on top of each other with different opacities.  The shading is ghost images underneath and the darkest portions are overlaps. 

status update on the cave.. third iteration

Tom Gebauer

Graduate of the Class of 2007 with a BFA in Graphic Design and Visual Communication

Sr. Director of User Experience & Design at Advanced Digital/ Advanced Publication Inc.

• How a person interacts with a given system --> Scientific -->quantitative measurement (User Experience.. Analytical side).
• How Something Looks--> part emotional --> artistic and visual communication (Design)

Making Life style brands, how to use areas of business, art and design, software engineering and cognitive technology. This all adds up to what User Experience is, how people interact and have a "connection" to what they use either digitally and physically.

User Experience is based on measurement 

• tangible business- profit or loss
• design
• bond

Exists Everywhere 

• Human Factors/ Human Computer Interactions (HCI)
• grounding interactions

All of the factors that help create a business to be more customer focused.  How the people or consumers interact with products and the company, making it more user friendly.

Agencies today are both in Traditional and Digital media, there is not limit to who needs help with consumer design and how they interact with the company.

Advanced Publications Inc.

• Largest privately owned company in the world- Owned by S.I Newhouse
• Highly diversified 
• Lots to do and improve on in this sector, because some view the company as "evil" for taking away jobs or limiting services or just having a bad experience with a website or telephone operators.  With the used of new technologies and new design to appease the public and get back on the good side of consumers by offering services that are user friendly.

His more current work has been for the NJ.com website, taking a confusing and poorly designed website and breaking it down to its most simple components.

1. Starting with the original website, heat trackers were focused on what was getting used the most on the site
2. A simple sketch of a new site was drawn up
3. Digital blue print- wire frame design
4. Then a test site is put up for the public to use and interact with
5. Second launchings to fix any bugs or tweaking of buttons.
6. Final website.

Never stop getting inspired, and dont be scared to work in different sectors, the more you learn the more possibilities you have.

Over all I thought the talk was great. Tim started off with telling us who he was and what he likes to do, its a departure from what we normally see and it made it easier to connect with him as he spoke to us.  Digital isn't my discipline but he made it exciting for me to listen to and understand.  He has a wealth of knowledge and highly engaging.

Uncanny

The theory of uncanny is based on a feeling, an uneasy and fearful feeling.  It is not just the aesthetics of beauty.

What excites fear; how to use these fears to put people into this state of feeling. using peoples experiences and memories (using what it familiar) to excite a feeling.

But we want to move past the notion of the uncanny as unfamiliar, because in a definition stand point; it is seen as gloomy, scary, ghastly, daemonic, or gruesome. These things are something that is visible and known to us.

Manifestation of insanity

We know from psycho-analytic experience, however, that the fear of damaging or losing one’s eyes is a terrible one in children. Many adults retain their apprehensiveness in this respect, and no physical injury is so much dreaded by them as an injury to the eye. We are accustomed to say, too, that we will treasure a thing as the apple of our eye. A study of dreams, phantasies and myths has taught us that anxiety about one’s eyes, the fear of going blind, is often enough a substitute for the dread of being castrated. 

The notion of the double, the fascination with another. A shadow, mirrors, with guardian spirits, the soul.

The double has become a thing of terror, the notion of gods being turned into demons.

Uncanny- the feeling of helplessness experienced in dream states, like nightmares or repetitive dreams, you know what is going to happen but you cannot stop it.

Superstitions make us have the feeling of uncanny because we have been taught to know how coincidences could have negative connotation. Like repetition, of a number or name or event.

The fairy tales, how wishes could become true. or if they are just a coincidences. How magic is viewed, how is it translated? Is it baised off of belief that just believing in something and it happens, so then its magic? How does reality play a role in this happening.

Something familiar that has been repressed

The evil eye- the feeling of not only being watched but being disliked and despised and looked down upon for some reason.

Something that should have remained hidden but had come to light, like a myth or legend. Speaking of evil brings about evil?

Humans will never be free from this feeling

Modernity

The gaze- the look of affection, awe, wonder, or fascination.  How do artists use this in their works to draw the viewer into a dialog with the piece.

The gaze plays a central role in theories of looking and spectatorship in modernity

The Subject in Modernity

Modernity- historical, cultural, political, and economic conditions related to the Enlightenment; the rise of industrial society and scientific rationalism; and to the idea of controlling nature through technology science and rationalism.

Each culture has its own ideology when it comes to progress in economy, the United States views it much differently then someone in Russia or someone in China.

Marx speaking out against industrial capitalism and exploitation of and social alienation of workers.

There were major changes made in the early twentieth century, radical political and technological change began to generate significant cultural anxiety.

Spectatorship

1. The roles of the unconscious and desire in viewing practices.
2. the role of looking in the formation of the human subject as such
3. the ways that looking is always a relational activity and not simply a mental activity engaged in by someone who forms internal mental representation that stand for a passive image object "out there"

Meaning of the individual human subject is not universal but is both historically and culturally contingent.

When we describe the gaze as a field rather then an individual act of looking.

Discourse and Power

Foucault's concept of discourse is helpful to understanding how power systems work to define how things are understood and spoken about( and, by implication, represented in images) in a given society.

Discourse- usually used to talk about passages of writing or speech, the act of talking about something.

Foucault was interested in the rules and practices that produce meaningful statements and regulate what can be spoken in different historical periods

Discourse is a body of knowledge that both defines and limits what can be said about something.

The relation of image and power: panopticism (everything visible in one view), power/knowledge, and biopower (A term originally coined by French philosopher Michel Foucault to refer to the practice of modern states and their regulation of their subjects through "an explosion of numerous and diverse techniques for achieving the subjugations of bodies and the control of populations).

The Gaze and the Other

The gaze helps establish relationships of power.  the act of looking is awarding more power to the person who is looking then to who is the object of the look.

All function to varying degrees to represent codes of dominance and subjection, difference and otherness.

the appropriation of the figure to fit into new contexts of today, in an ad, and also by the Guerilla Girls.

The Gaze in Psychoanalysis

There are fantasy structures that are set up when viewing a movie. The camera position to the actors and how the audience views them in the situation, this creates a relationship. 

the concept of the unconscious is crucial in the theories of cinematic spectatorship.

Gender and the Gaze

The understanding of the female nude as the project and possession by the male artist. 

• the woman is posed as objects of an active or "male" gaze.

"Rear Window" (1954)- is a movie that focuses on the gaze and how the possession of the gaze is valuable.

• when he gets caught looking he becomes vulnerable and trapped; the murder comes looking for him. Clearly, male looking is not without limitations and its consequences 

Changing Concepts of the Gaze

Changing the traditional gender codes

changing the way the masculinity is viewed in consumer culture