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March 3, 2009

how to as a process

This 3 minute video project will focus on a "how to process" that introduces the viewers to a subject of your choice.

The subject of the "how to process" and your approach to conveying the "how to process" may be illustrative, poetic, didactic, inspirational, cynical, political, personal, etc.

Your motivation for the video work will guide your approach.

Describe 3 possible options for the subject matter of your video.

We will discuss these on 3/10, prior to Spring Break.

March 4, 2009

Artist Presentation Guide

Presentation Guide

Chose a contemporary (living) artist or collaborative group of artist as the focus of your presentation.
Select an artist whose work relates to the areas that we are exploring in our course: digital imaging, sound art, video art, interactive art, experimental art.

Include the following in your Artist Presentation:

- Background information about the artist.

- Discuss what attracted you to the work of this artist.

- Highlight two examples of this artist's work and use these to describe the artist's relationship to the ideas that inform this work.

-Describe how these works relate to the artist's larger body of work.

- Relate this artist, via content, process, technology, perspective, etc. to that of another contemporary artist or artists from another time period.

- Discuss how this artist's work informs your own thinking.

>>>>>Following your presentation<<<<<

- enter a post on the blog that includes the information described above

- links to examples of the artist's work

- Statement describing how this artist's work and/or process informs your thinking.

Aritst Presentations

April 1
To reserve this presentation date:

Post your name and the name of the artist/collaborative that will be the focus of your presentation in this category.


1. Heather will be presenting the artist Nathalie Djurberg.

Artist Presentations

April 08
To reserve this presentation date:

Post your name and the name of the artist/collaborative that will be the focus of your presentation in this category.



Artist Presentations

April 22
To reserve this presentation date:

Post your name and the name of the artist/collaborative that will be the focus of your presentation in this category.



Artist Presentations

April 28
To reserve this presentation date:

Post your name and the name of the artist/collaborative that will be the focus of your presentation in this category.



Inspirations for artist presentations

The Art, Technology, and Culture Colloquium

Interactive Architecture.org


Stephen Wilson's links

Amy Young's links



First Floor Regis Hall: music for vending machine, locker and microwave

First Floor Regis Hall: music for vending machine, locker and microwave
Susan Andre

Recording of feet sliding across the smooth cement floor, beeping of the vending machine, constant whoosh of the HVAC system overhead, microwave cooking, and rattling of locks against metal lockers along the 1nd floor of Regis East building. I blended and shaped the clutter of sounds to create an atmosphere of a rhythmic experience. I added in percussion; bongo, drumming, top hat; tingeing of a bell; and a beating heart. I manipulated the 16 tracks sounds by cutting and pasting and the fade in and out, amplify, pitch, reverse, and echo effect tools.

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Bathroom Mirror

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March 5, 2009

Collaborative Portrait - Jon West and David Wollschlager

Jonathan West David Wollschlager.jpg

Look at our faces. Now lick them.

Pandora's Box - Sound Project - Anita Wallace

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Her Dilemma: Pandora's Box - an experimental sound project by Anita Wallace

The title of this project is taken from a poem by Thomas Hardy. Initially I was going to title the piece Pandora's Dilemma, but found a painting and poem that I didn't much care for with the same name, so I changed it. When checking if there was something already titled "Her Dilemma" I found Hardy's poem, but since it pleased me, I decided to keep it.

Her Dilemma (by Thomas Hardy)

The two were silent in a sunless church,
Whose mildewed walls, uneven paving-stones,
And wasted carvings passed antique research;
And nothing broke the clock’s dull monotones.

Leaning against a wormy poppy-head,
So wan and worn that he could scarcely stand,
—For he was soon to die,—he softly said,
“Tell me you love me!”—holding hard her hand.

She would have given a world to breathe “yes” truly,
So much his life seemed hanging on her mind,
And hence she lied, her heart persuaded throughly,
’Twas worth her soul to be a moment kind.

But the sad need thereof, his nearing death,
So mocked humanity that she shamed to prize
A world conditioned thus, or care for breath
Where Nature such dilemmas could devise.

This sound project explores the site of metaphorical space on multiple levels at the opening the mythical Pandora's Box as cultural, historical, social location. In Greek mythology, Pandora is the first woman, created out of revenge for the theft of fire. Like Eve, Pandora is blamed for bringing evil to the world, because of her insatiable curiosity. Many versions of the myth exist with many variable interpretations. In some versions, it is said, that perhaps Pandora did not open the box, that is was a man that opened the box, and that what was released was dreams and not illness and evils. That hope was the only dream left in the box.

What is interesting to me is the notion that perhaps this story emerged during a period of history in transition from a matriarchal to patriarchal society. I'm particularly interested,in this context, in the idea of Pandora (as the first woman) facing a logical dilemma, a form of argument in which two or more alternatives are presented, each of which is indicated to have consequences, sometimes unfavorable, for the one who must choose.

Journey to the Jazz Man

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Morning Chores - Site Sound Project - Amanda Rasmussen

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What Writers Sound Like

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For my project I dove into conversation, how are conversation different between strangers, people you know, family, friends, lovers etc. I found myself in the middle of realizing how much time I spent caught up with technology of computers, cell phones, text messaging and less time in engaging with people. So, I did this project in the spirit of a lost connection with people....

inspiring how to videos

add a post that links to an example of a "how to video" that inspires you.


Site Sound - The Valve Crossroads - Ed Heyl

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Bringing together two games of the same developer, I wanted to explore the site where their realities fall apart and integrate together. The only sounds used are those extracted from the two games.

Thin Ice

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Pao & Kausigan - Collaborative portrait

 Pao & Kausi.jpg

How to make a painting of a sunset

posted by Anita Wallace

Site Sound - Coffmans - Kausigan

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Pao's Site Sound

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Wilson 4

eye: an experimental collaborative video project - Anita Wallace

Media Mill Video

Pao's sound site


Walker Art Center - International Film Festival

Women With Vision 2009: Dimensions March 6 - 21st

The 16th year of this festival, which recognizes the perspectives women bring to the art of filmmaking, situates us in a world interconnected by politics and global economics. With the series Views from Iran as its centerpiece, Women with Vision also includes new works made in Nepal, Korea, France, Holland, Bosnia and Herzegovina, and Israel—all regional premieres, with the French film God’s Offices making its U.S. debut. The festival also features works by two Minneapolis filmmakers, one who approaches her subject by hurtling to the sun via 3-D, and the other by zeroing in on one small locale in South Minneapolis during a protest movement. Guest filmmakers include So Yong Kim, who opens the festival with her dreamlike Treeless Mountain, and Astra Taylor, who offers the witty, insightful Examined Life. Whether bearing arms in Nepal’s civil war, entering the immigration fray in order to save a child, or reorganizing a village after a war, the characters in these films—and the directors who made them—present a world that is reshaping along human dimensions rather than political geography.

March 6, 2009

Site Sound - Dinner Hour (Kalyn Williams)

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March 8, 2009

How to do a scratch test on a cell phone

How to do a scratch test on a cell phone

Art Department Equipment Checkout

you can reserve equipment at Equipment Checkout

If you have any questions or problems, you can email Karen Haselmann

March 9, 2009

Artists to explore

Thomas M. Allen - photographer (graduated with an MFA from the U in 1996.)
Nathalie Djurberg - video artist

HRJ's Artist Presentation

Heather J. will be presenting on April 1, the artist is Nathalie Djurberg.

How to videos from the 50s

The US government back in the 50's commissioned an entire series of 'how to' videos:
How to be Cool, How to throw a good party etc.

.... Google, educational films 50s.

March 11, 2009

Setting up a project in Final Cut Pro

Here is a guide to setting up a Project in Final Cut Pro.
Download file

Exporting a Video Sequence from Final Cut Pro

Here is a guide to Exporting a Video Sequence from Final Cut Pro

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Uploading your video to Media Mill

Here is a guide to Uploading your video to Media Mill.

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Video clip Archive

Lumen Eclipse has an archive of video clips from an extensive range of contemporary artists that you can view as small format quicktime videos.

March 12, 2009

Cassi Smiley's Artist

Daniel Rozin

Kalyn Williams presentation

I'll be presenting on my favorite artist, John Cage, on April 22 :)

Artist Presentation: Charles Woodman by Anita Wallace

Reserve date of April 28 for Anita Wallace on Charles Woodman.

Anita Wallace will present the electronic work of Charles Woodman. I met Charlie back when we were both freshmen at Ripon College in 1974. His sister was Francesca Woodman, the photographer. His parents are Betty Woodman, the ceramics artist, and George Woodman, the painter.

I am interested in Charlie's work because he is an artist who was a colleague when we were 18 years old. He came to my house for Thanksgiving in November 1974 and my family thought he was very strange. He thought my family was very strange. I was jealous of him because both his parents were artists and he grew up surrounded by art. His family went to Europe every summer and had a home in Italy. We shared a house during the following summer and I remember he criticized how I diced carrots into such uniform pieces. He thought I could do it more asymmetrically. Eventually Charlie transferred out of Ripon because he knew that he wanted to work in video and film. He went to Antioch College in Yellow Springs Ohio to complete his undergraduate degree. He later went on to make documentary films and video. I have followed his work over the years and am very drawn to the type of work that he is doing. I will expand upon what this is in my presentation.

Pao's Three Ideas for to do video

First: How to buy fish.

Second: How to set up a start-up fish tank.

Third: How to do a water change for fish tank.

Ed's 3 Ideas

1. How to be a hardcore gamer

2. How to fill out a character sheet - Dungeons and Dragons, 3.5 edition

3. How to draw a fantasy map

Susan's three "How To" video ides

How to fall in love with a tornado
This would be poetic experiment
• A mix of open source footage:
o Weather, gazing, and words
• Black and white images
• Audio: Voice over instructions, tornado roars of some kind

How to roll round things
Tongue and cheek
• A mix of open source footage:
o Bowling, pushing things uphill
• Footage of my daughter and I rolling round things across a table
• Audio: not sure

How to dance
This would be wacky
• A mix of open source footage:
o Variety of dancing
• Still shots of foot positions
• Footage of my daughter's feet (if she is willing)
• Audio: not sure, rumba music perhaps

How to videos: Six ideas Anita Wallace

1. How to sharpen a pencil.
2. How to train your dog to do agility.
3. How to repair a shoe.
4. How to make art.
5. How to become the first woman president (Interview with Tasha Holtman, age 12).
6. How to be a philosopher.

I want to play around with shooting and editing all of these different ideas to see what works the best.


I'll present this day

Artist Presentation

I will be presenting about Rafael Lozanzo-Hemmer on April 22nd.
~Amanda Rasmussen

video camera manuals


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March 13, 2009

Tom Potential Ideas

Sorry for the delay, here they are.

1.How to Improvise Music

2.How to solve a conflict between two campers.

3.How to become Hairbrained.

-I can't wait to share.

Presentation Date

I'm thinking about doing a presentation on Steve Reich.

Thought this would be a good day sense someone else is doing John Cage. Good call.

-Tom W.

Digital Art pg 7 - 137

Referring to our text, Digital Art by Christiane Paul, we will discuss digital technologies as both a tool and a medium during our class on March 25th.

Read and review pages 7 - 137 in preparation for your active participation in the discussion.

Post 3 questions + 3 observations that you have about digital technology as a tool and as a medium.

We will use your observations and questions to guide our discussion.

3 observations + 3 questions

Based on your reading of pg 7 - 137 of Digital Art by Christiane Paul:

Post 3 observations that you have made about digital technologies as a tool and digital technologies as a medium.

Post 3 questions that you have about a particular artistic mode that investigates digital technology as a medium.

We will use your observations and questions to guide an active discussion in class on March 25th.

March 16, 2009

Kausi's Ideas for How to "process"

1) How to find a place
2) How to make a pizza
3) How to make an Asian style chicken curry/cook
4) How to get a good nights sleep.

March 20, 2009

Final Cut Pro Tutorials

The Knight Digital Media Center at the U.C. Berkeley offers very helpful media resources.

Their guide to Final Cut Pro takes you through the process from setting up your scratch disk to exporting your movie.

Other video resources include:

~ a guide to video techniques that introduce a range of helpful techniques.

~ a guide to video on the web

March 24, 2009

pages 7 - 137

In Digtal Art, pages 7 - 137, Christiane Paul discusses digital technologies as both a tool and a medium.

Refer to particular examples in the reading to post 3 observations about the characteristics of digital technology as a tool and digital technology as a medium.

Refer to particular examples in the reading to post 3 questions that you have about the ways that digital technology as a tool and digital technology as a medium influence contemporary artists and/or how future emerging technologies might influence artists in the future.

pgs 139 - 215

In Digtal Art, pages 139 - 215, Christiane Paul explores themes in Digital Art including Artificial Life, Telepresence, Databases, Gamin, Tactical Media and Technologies of the Future.

Post one observations for each of 3 categories of Digtal Art that she describes. You can select the 3 categories that interest you most and comment on what about these areas of Digital Art interest you.

Select one contemporary art work that Christiane Paul discusses in this section of DIgital Art.
Describe in detail what your response to this work is, what are the characteristics of Digital Technology that influence this work and how you imagine the experience of the art work.

3 observation/3 questions-Tyler Olsen

One observation I have, especially regarding the rapid prototyping and CAD assisted sculpture is the apparent limitlessness of the potential for sculpture. Without the traditional restraints sculpture has historically held, the art form seems to be moving toward completely conceptual, or idea based work. Like the way of looking at, or thinking about art introduced by the Dadaists, anything can be art. With CAD/rapid prototyping the ability of the art to convey the idea seems less difficult, and the importance of the idea itself seems greater.

A related question I have is; what will the future hold for artistic ideas generally? With the apparent limitless capability of digital art, and assuming that the extent of limitlessness continues to expand, where will the art world go in the digital realm, how far from object, and how deep into psyche can it go and still be considered art?

Regarding the installation style pieces that attempt to blend virtual space with real and architectural space, the emphasis on interaction and user input seems to be a strong step toward virtual reality generally. The artworld seems to be exploring displacement and alternate forms of reality through new digital media. The references to digital space as not space as we know it at all, but as a new form of space are intriguing, because that seems to indicate there is a whole new dimension in which artists can explore space issues, as they have historically with sculpture and other visual arts. Again reference to the psychological and the idea seem really important.

If digital space is more like consciousness than real space, as some authors and artists that Paul references suggest, what does that mean for the union of digital and physical? How does the physical world play a role in virtual space, and vice versa? In what ways are these two things likely to merge in the future, are artists just working toward virtual reality, and if/when that happens, will (can) it still be art?

Early on in the book, Paul talks about the limitations of digital art when met with the high speed of technological development. This potential for obsolescence is something that is immediately obvious with digital art. When considering the historical narrative of digital art she provides it is hard to conceive of many of the historically important works as being still valuable or appreciable as art today, except as stepping-stones for what exists now. The aesthetics of digital art must be indefinable in such a rapidly developing medium.

Are all these digital art works doomed from the beginning because they will eventually be seen as outdated? Is it possible for digital art to be timeless in the sense of many traditional forms of art? And finally is there a digital aesthetic that is constant, or is it always changing with the change of technology? Is change, or to be cutting edge, the condition of the aesthetics of digital art? Must it be?

3 observations/3 questions

Working with digital technology has moved the artist from a traditional studio environment into an office-like setting. How will that move from a studio experience to a desk alter an artists relationship to the physicality of art making?

Painting has moved from the slow drying oil paints to fast drying acrylics and spray paints within decades. Technology driven artists must keep up to date with the changing software Adobe CS3 to CS4 for example. How will the effect of fast-paced technologies drive the expression of art making…will pieces of art seem out dated as quickly as the technology used to make it?

Computer art has become increasing easy to use since 1970’s with out-of the box programs, how do artists create a visual vocabulary rich enough to withstand the corporate “fashion of products”?

Experimental and Media Arts

Comment on one of the art works within the Experimental and Media Arts exhibition in the Nash Gallery.

Describe what attracted you to this particular work.

March 25, 2009

Article to Share

I read this article in the NY Times today. I thought it was inspiring....http://www.nytimes.com/2009/03/22/arts/design/22kino.html?ref=design

Questions & Observations

Three General Questions:
1) Should digital art be limited to internet postings only?
2) How does one price the work of a digital art piece? How does the buyer of that particular piece preserve the longevity of that particular piece especially when the technology is continually changing?
3) How do we develop the rhetoric to evaluate forms of digital art especially when digital art is continually changing?
General Observations:
1) The role digital art can potentially play in helping a sculptor make intense and complex pieces that once-upon-a-time in a land far, far away, may have taken artisans years to make. I am referring specifically to, Michael Rees, A Life Series 002, 2002. (PP. 63)

2) I have difficult time accepting some forms of digital art as ‘art.’ Because it seems so scientific and mathematical. Even though the root of art is scientific and mathematical in nature. However, I think the formulas are more used for creating more tactical art such as painting are more organic. For example in such as: Displaced Emperors (Relation Architecture #2) (PP.74)

3) Interesting to know, the Walker Art Center, in the 1990s was the first to recognize and archive digital arts from the web. (PP.113)

Three Questions specially related to pages, 3-137
1. In Knowbotic Research’s interdisciplinary project, Dialogue with Knowbotic South (DWTKS; 1994-7), suggests that science relies on the creativity of artists to create 3D worlds, virtual reality and environments, as an attempt to create different realities of communication. Can this be done? Has it been successfully accomplished? (PP.83-87)

2. What is the difference between film and experimental film? For example: Michael Naimark’s, Be Now Here (1995) (pp. 99) is considered a dimensionalized movie whereas, a film like Solaris by Steven Soderbergh is considered a film. To bring another artist to the conversation, Toni Dove, Artificial Changelings, where his project is more of a narrative, the audience is inside the character’s head and the film tells a story. Why is his piece not considered a film and deemed experiemental? Is the name behind the piece? The intention of the artesian behind the work? (PP. 106)

3. How does one create a virtual reality piece such as Charlotte Davies, Osmose? To write a program to product and art piece based on the breath and the movement of the body as it observes the piece? (PP.126)

Questions and Observations of Amanda Rasmussen


Three things that stuck out to me were:

1. I was intrigued by the range for technology, as mentioned on page 29, where it described technology as not only an art medium but an everyday tool. This was in reference to the ability to merge photos to either create an art piece of major actresses or create aged photos of people involved in child abductions, kidnappings, or missing persons crimes.

2. I discovered that the supply of materials to create digital art is endless. An example was found on page 117, where there was discussion about remixing browser pages of CNN to create CNN Interactive Just Got More Interactive, a piece that intertwined music and viewer selection to create the “news” of the piece.

3. One repeating theme that I noticed was the virtual versus physical space. It was first mentioned on page 77, “virtual space would not be visible and accessible, without the screen’s grid of light, which is an essential element of this space’s construction.” The other comment I discovered was interpreting from the viewer’s perspective and its relation to virtual and physical space, “The virtual world that users experience may not physically exist and only part of it may be visible on the screen, but at the same time it always exists as a mathematical construct” (p. 96). This determines that we cannot have virtual space without physical space, and the creation of virtual space is primarily imaginative.

Three things I questioned were:

1. What are the limits of interactivity and participation in digital art? It seems as though some digital artwork has the ability to adjust to any viewer’s desires (p. 67).

2. If digital art is available for free on the internet, what is its actual cost to the viewer? How do you appropriate value a piece of digital art?

3. Where is digital art heading? What are your predictions for the future in terms of prevalence, usage, and possibilities?

~Amanda Rasmussen

observations and questions pp 3- 137

Three observations/questions on the characteristics of digital technology as a tool

One thing that fascinates me is the distinction made between art that uses digital technologies as a tool for the creation of traditional art objects such as photographs, prints, painting, sculpture, and music, and art that employs these technologies as its own medium.

I wonder if traditional arts and crafts will ultimately benefit and be enhanced by the utility of new media or if they will become threatened or extinct? I wonder if more labor-intensive crafts and techniques will become more valued or less valued in an increasingly rapid pace of new media and technology. And, if we value place a value on time and the concept of ‘labor intensity’ how does that transfer over in the new skills and techniques with the new media tools of hardware and software?

The history of the technology based in both the art world and science and technology intrigues me. I was excited to learn that so many examples of work referenced in the text Digital Art are available on YouTube in their entirety. I was impressed first hand with the possibilities provided through documentation and classification viewing the cited work of John Whitney (Catalog, 1961; Permutations, 1967; Arabesque, 1975), Charles Csuri (Hummingbird, 1967; Sinescape, 1967), Billy Kluver and EAT (Experiments in Art and Technology), and Liza Bear. I was very interested in learning more about the connections with OULIPO (Ouvroir de Litterature Potentielle) and Dadist influences, as well as the influence of the ready-mades of Duchamp as a predecessor for the appropriated ‘virtual object’, and the work of Robert Rauschenberg. The ideas and innovations of Vannevar Bush (globally linked database and conceptualization of the world wide web and Wikipedia); Norbert Wiener (cybernetics), Theodor Nelson coining and conceptualizing ‘hypertext’ and ‘hypermedia’, Alan Kay and his team creating the Graphic User Interface (GUI) and desktop metaphor is truly amazing and astounding to me.

How did they come up with this stuff? Clearly some of these people were experimenting with mind-altering recreational drugs.

“Photography, film, and video have always entailed manipulation –for example, of time and place through montage—but in digital media, the potential for manipulation is always heightened to such a degree that the reality of ‘what is’ at any given point is constantly open to question.” p 27

The possibilities of time travel through documentation of human acquisition of knowledge through digital technologies and new media just blows my mind. The boundaries between what is real and imaginary are totally exploded in a certain sense. In seconds we can access data and information that past scholars spent lifetimes accumulating tediously and methodically, recording in notebooks in dusty libraries. My worry is that loss of actual physical place and the sensory experience and tactile nature that brings. Aesthetically and philosophically the world becomes a veritable tabula rasa of experience, creative discourse and applied whatever. Through the use of virtual reality the traditional boundaries of space and time become blurred and multiple worlds become possible. History is transformed, while past, present, and future become morphed together into a simultaneous abstract experience within a present yet disembodied self. Social networking tools such as Face book allow us to transcend traditional restrictions and boundaries separating our friends and families geographically. We are able to chat to each other in real time from expansive distances across time zones. It raises the old question from Fireside Theater’s album title “How can you be in two places at once when you’re not anywhere at all?” Transcendance of traditional planes of space and time and of the physical body open the way for multiple new explorations of art through experience. Cognition, empathy, and all our senses are called into question and redefined with a new order.

Ephemeral nature

Increased opportunities emerge to preserve ideas and human knowledge through the collection, documentation and preservation of documents and accumulated images, texts, and sounds. One thing that worries me about the rapid change of technologies in software and hardware is the waste and lack of intentional recycling of materials. It seems that built in obsolescence must stop somewhere and we should be able to reuse materials that become outdated.

Digital technology tools: digital imaging, photography and print, sculpture: CAD (computer aided design) in models and digital animation.

Physical/virtual world

Body/mind paradox

(4) Japanese artist Toshio Iwai’s interactive audio-visual installation Piano-as image media (1995) is a virtual score used to trigger the keys of a piano which in turn induce the projection of computer-generated images on a screen. The score is “written” by the visitors who can position dots on a moving grid projected in front of the piano. This reminds me of a piece called “Scale” that I did in my multimedia senior project in 1978. But the difference in the approach and use of medium is profound. I cut color strips of paper in various ‘bars’ increasing and decreasing in size and the color spectrum and hues. I physically cut many strips on the paper cutter. It took hours. Then more hours were consumed when I used a copy camera to create each 35 mm slide. I created many, many slides manually and then choreographed a projection on a curved wall that used five slide projectors. My audio track was the basic piano scales that would be played by a beginning piano student which I recorded with an audio cassette player. These were overlapped and I danced or played the strips across the wall in both harmonic and non-harmonic fashion.

Digital technology medium: Forms of digital art, Installation, Film, video, animation, internet art and nomadic networks, Software art, virtual reality and augmented reality, sound and music.

Is there anywhere on campus where we could experience virtual reality technology? I know that they have been using it more to train surgery students. What are the possibilities here at the U? Are there any? When can we go?


March 26, 2009


There are 2 components of digital art: the back end code and the visual user interface.

Digital media not only create art but allows art to be created within the presentation of the art peace

Two programs for animation, video, and computer driven content are Flash and Director. They allow artists to create a fully unique, customizable, experience that can be interacted with or manipulated to the desire of the artist.

What is more artistic the back end code or the visual user interface?

How do separate technical aspects from artistic aspects of art or do they need to be seen as equally important?

What constitutes art vs function or are they as well intertwined?

~Cassi Smiley

Presenting on....

I'll do my presentation on april 28th. I've chosen Drew, from toothpastefordinner.com


Digital Art Reading


1.- Digital Art is a positive tool that creates abstract pictures, collages, arts, but in a sense of its negativity, it could also mess with realism in the history of photography. Can this negativity be made in a positive sense that it brings history back, not changing what it speaks, but telling it in a better way?

2.- Digital Art has its way of not just advancing and improving the art work itself but combining with originality, making it better and new. Like on page 56, Chris Finley combines his painting with digital templates. Because digital arts is advancing, so as technology, will the originality of the first style of creating arts wear away?

3.Video seems to be the medium that can capture and show more realism than any other digital technology. What are the advantages of video, compared to other medium, that it has in the future as technology advances, and will there ever be another medium that can top it?

Nash Gallery exhibition of New Media

Jana Larson
Axolotl No. 7

The piece I was most drawn to in the exhibition was the a black and white video transferred from 16 mm film by Jana Larson. She completed the piece over an eight year period, filming one segment at least on location at the Jardin des Plantes in Paris, France. The piece layers images, sounds, and ideas and covers a lot of ground through exploration of visual and literary theory through psychological, metaphorical, philosophical and aesthetic planes. The audio is narration that moves back and forth between first and third person. The text takes the form of a diary with the first date of December 2 but no indicated year. A few more entries are cited. The purpose of the project seems to both delight and instruct. Didactic components are there, mixed in with more spontaneous automated segments, it is both documentary and lyrical poetry. Questions and ideas proposed and mulled over are some of the big philosophical questions about how do we live our lives, how do we find meaning in our identity, how do we relate to others in the world, human and animal, how do we see through time/space, what is eternity?

Some of the approaches explored through the traditional media of 16 mm film transferred to new media format of video are the concepts of morphology, perception, hybridization, embodiment/disembodiment, metamorphosis, personal identity, larva, salamanders, gender, becoming, form...

The layering of the visuals, autobiographical interspersed with observation of the axolotl, and observation of herself by the axolotl, respectively, are cross layered with the audio.

I've watched this video about five times now and each time I come away with new insights. It is rich in execution and ideas.

March 29, 2009

portrait of tasha: how to be 12 by Anita Wallace

Media Mill Video

Nash Gallery Insights

Meng Tang
Quian Kun, 2009
Mixed Media

The piece I was most interested in was Meng Tang’s; Quian Kun ‘s captivated my attention. From a material perspective what appealed to me was: the use of rice paper and how Photoshop was utilized to create multi-dimensional images.

I’d be interested in speaking with the artist about s/he acquired the materials for the piece. And how they decided which imagines to use and how they layered them on top of each other.

Also, the other element that interested me was the thought process behind the piece: about seeing life beyond the five senses: the use of Chinese Astrology, mathematics, science etc. How all these elements combined created the out come of the piece.

Readings Part II

Body & Identity
“Is the cyber space your window or mirror,” is the question asked in Re:mote_corp@Realities, 2001. (p.165) What a profound question! This is a paradox question considering that individuals are continually looking for ways to define ourselves in the physical realm. The cyber space is an essentially another extension of who we are exploring to be in the physical. In Tina LaPorta’s (above mentioned) piece she explores examines the effect of technologies on relationships. The experience of her artwork must be like logging on to an on-line dating service. Where people can create profiles of themselves. More often then not, the profiles and pictures are misleading. In this case, cyberspace is acting like a mirror, even the though the mirror is reflecting an alternate reality. As for the window effect of cyber space, well that is simple, it every time anyone logs into the Internet. What do they Google? What it is they are looking for?

Beyond the Book: text and narrative environments
The publishing industry is running around trying to figure out what the next evolution of the book look like. Massaju Fujihata, has been exploring this question through his various pieces of his work, specifically, Beyond Pages, 1995. I have a feeling that experiencing this piece: sitting at an desk, activating the book with a light pen which animates the objects & text in the book is not too far off in the future. The publishing industry should pay attention to digital artists because they provide insights into feature of where the evolution of the book may go. (p.190)

Mobile and locative media
Mobile and locative media is where art is going.
In Jenny Maretou’s piece, Flying Spy Potatoes, 2005. In this piece, various portable media devices set up to record actions and interactions between the art and external world. The piece also raises questions about being a “spectator, surveillance and the contemporary society of spectacle.” (p.224) Important questions to ask over selves especially when technology is at our figure tips.

March 30, 2009

April 15

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Nash Gallery exhibition - Experimental and Media Art

2009 Katinka Galanos

Katinka’s conceptually inverted use of the technology, and subject matter, drew me into her world where a landscape is projected (actually miniaturized) onto an intimate 3” x5” screen. The petite illuminated landscape is perceived as precious and refined. The motorized “cha-chunk” of the projector introduces each slide and creates an auditory drama. The landscapes seem to be from vintage postcards or movie stills of 1940 Tarzan movie sets-pseudo/ stylized jungle.

Some of the slides appeared to have technical difficulties but were actually cropped in quadrants making the images appear to be falling out of the slide holder. Whereas some technologies are designed for obsolescence, Katinka’s slides are designed with an aesthetic malfunction.

I found myself feeling impatient while waiting for the shuffle of slides to make their way around the carousel and I wanted to advance the projector myself. The technology of the projector slowed me down. This slow-down is in complete contrast to technology typically being used to make things in our life go faster.