June 2011 Archives
Consider the sound portrait broadly.
This sonic portrait may be a self-portrait, a portrait of a physical location, an event, a community. It may be a portrayal of an emotion, a psychological state, an imagined place, a site that you encounter everyday or one that dwells in your memory.
I encourage you to experiment and perhaps select an idea that requires you to make several versions in the process - perhaps a project concept with some uncertainty. one that allows you the opportunity to discover something new in the process.
Guides:
• Create a sound portrait that is 3 minutes in duration.
• Export your file in the .wav format [which does not require lame]
• Post your file on our blog prior to 6pm Thursday July 7th
http://www.yhchang.com/
Here is the Korean artist I mentioned in class today.
~Aaron
Here is the manual for the Marantz PMD 620.
Transom.org has a critique and review of Marantz PMD 620
1.) "Letter K" by Peter Cho
This was a fun processing sketch because it was interesting to manipulate and change the character. He used the float, vertex, translate and color scheme to create his sketch.
2.) "RunAmuck" by Ira Greenberg.
This was interesting because it was very colorful. inventive and time-consuming. I also enjoyed it because it was partially participatory, in that the characters were invading your space as you watched. It seems vertex, float and speed settings were utilized the most to create this sketch.
1. We Feel Fine
I selected this example because of all the colors. When I got to the site, the title's description was 'An exploration of human emotion, in six movements.'
So it is an interactive example in many ways because not only could you choose which way you wanted to look at emotion, each movement also had different ways to interact with the words.
In the first movement, called madness, it almost feels as though you are flying through space. Tons of colorful circles and squares are flying around and wherever your mouse goes, those colorful shapes accumulate in that general area. when you click you'll either hit a shape causing a statement about emotion to appear, or you will hit the black background and the shapes in that area seem to blow up. I really liked how much fun you could have by clicking in different areas to see what comes up. The next movement was called murmurs that had less interactivity but was still interesting in how the statements appeared. Montage was the third one which had a grid-like collage of pictures what represented different emotions. These you could select to view larger. It was very visually appealing to me because of the image display. I love when pictures that mean something are organized in a way that makes you want to look at all of them. Mobs was the forth movement. This was a way to arrange the words into different columns which symbolized mobs. In this one you could also select how you wanted to view it, and that interactivity is great. In the next, they had some statistics of who feels these emotions and again you could choose how you wanted to view this information with what variables to include. It was called Metrics. And the last one also used statistics but gave the information in a more unique way. Overall I was attracted to this entire example because of the different ways to present the information while getting the view involved and by using bright colors.
I think the creator may have used Mouse1D, Milliseconds, Letters and Words, Animator, Follow, Bounce, Circle Collision, Mulitple Particle Systems, and maybe flocking as well.
2. Portrait in Landscape
I selected this because it's a photograph. I really wanted to watch the Presidential discombobulator because I thought it would be funny how they matched up the different presidents faces to create something new. However, this one wasn't loading so I found Portrait in Landscape which seemed to be similar. I was drawn to it because it was almost a challenge to put the pieces back together to create the original. I like doing puzzles and that type of thing, but here you have no control over where the pieces go. I like how if you watch long enough, the pieces reveal more and more of the original picture and you feel like you've seen the whole thing at some point or another.
I think the original is probably a simple picture of the character who is a woman smoking a cigarette and looking down, maybe coughing. Its interesting to think of the different narratives you can come put with because the pieces are moving all around.
I think the creator may have used create image in some way? Also, linear, scroll bar and maybe rollover. I can see how the artist would have done this but I am having a hard time deciding which tools they used.
I was very surprised when I walked into Nash. I wasn't expecting anything like what was there. The creativity demonstrated in the first few pieces, raised the bar for the rest. The massive size of Tim Harding's Shrouds were overwhelming, in the best way. As I walked through the rest of the exhibit I noticed how meticulous the work was. Not only did most of these pieces have to be painted or died, they then had to be assembled and stitched in just the perfect way. By using different kinds of fabrics, different artists achieved a wide variety of looks. Being able to fold over your materials can be a great way to look at it in a whole new way. Then by stitching (and I believe most, if not all were hand stitched) to combine the fabric created an entirely different thing. For some, this was a bigger picture of a landscape or something, while others simply used it to create quilt-like patchwork.
One that caught my attention was Mary Edna Fraser's series, Great Barrier Reef, Backwater, and Cooper River. The three went together beautifully and the way she put it together was interesting. It reminded me of using the magic wand or the magnetic lasso tools in Photoshop. Each wave and ripple of the water was shown. They seemed to be cut out and pasted together.
Another work that interested me was Linda Gass's Wetlands Dream Revisited. This piece reminded me of the group in class who for sketch #1 did West Bank Map. It had a cobblestone effect because the fabric was divided into smaller sections by sewing itself... it didn't always have another fabric sewn to it to create this look.
As I mentioned before, Tim Harding's work really had an impact on me. After walking through the gallery, I returned to the front to look more closely at his shrouds and the two pieces he had next to them. Falling Man, Ascending Man, and Vanishing Man were all Huge! the way they were assembled was ridiculous, like putting together a puzzle or something. This was also very meticulous and worth appreciating the time it took him to create these pieces. Next to them were two wall hangings of portraits. One was done with cutouts, similar to one of the shrouds. the edges of the fabric were allowed to flip up and curl creating a more interesting look to the overall portrait. The other one was made from a wire frame in a checkerboard pattern. The fabric was weaved into this to create the portrait. Both were simply amazing.
The use of materials at the Nash gallery relates back to the post-modernism article we read in class... using already made objects and/or creating 'from scratch.' Either way, this exhibit of post modern art proves that art isn't about what you use, its about expressing yourself and your ideas in a way so others can share it.
"mud tub"--
http://tomgerhardt.com/mudtub/
This exhibition involved a user interface made of mud. While the overall project was whimsical and childish, the way the mud brings the physical aspect of using the computer to the forefront (given that the computer/digital is viewed as an abstract space) highlighted the physical element of any user interface--while the keys fall into the background after we get used to using them, the screen is larger and the computer is less present as an object, my chair is ergonomic, etc... the user is still situated in a physical space and interacting with physical objects (that then get abstracted through code onto the screen). I was also interested in the way the user interface (the "mud tub") left the hands of the users soiled. The user doesn't just "use" the computer from a removed perspective--the screen baths the user with all sorts of filthy, digital refuse.
http://tomgerhardt.com/mudtub/imgs/portraits.jpg
"inequality"--
http://www.processing.org/exhibition/works/inequality/index_link.html
While I find the simplicity of the piece (in and of itself) to be lacking ambition in its current context--the visualization of income inequality is clever and poignant; it gets the point across precisely. I can see this being used on the Internet to illustrate articles (or, more likely, be appropriated by corporations who will use the technology to make their advertising "new"). I'm intrigued by the simple elegance of it, and see a lot of possibility therein (both "positive" and "negative").
A) Online exhibitions
1) Example 5-7: Set Thickness on the Fly
2) I really like how the lines are made up of different individual ellipses. The image is very abstract, but can also be used carefully to write different text or create shapes. The size and shading that the image creates is based on the speed of the cursor controlled by your mouse, which I thought was really neat.
3) The float weight = distance was what created this affect. Also you could adjust the stroke weight, which would change the amount of time you need to press down on the mouse to create the smaller ellipses
1) Example Under Images: Titled Extrusion
2) What initially attracted me to this one was that it flips the image your using around so that it looks like you can see through it to the other side. Visually I thought this was amazing.
3) the creator converts a flat image into spatial data points and rotates the points round the center. You can then adjust the image and color ect.... but you can also adjust the angel at which it rotates around the center axis. This creates the dramatic affect.
In visiting Nash I found several very interesting pieces. The 'Apparitions' exhibit looked difficult and tedious to produce, with a very moving result. The concept of life being always in a precarious position between fragility and strength, the idea of immortality and the reality of mortality really attracts me. Life is all about opposites and and the balancing of those opposite elements, having too much of a good thing can become detrimental. I thought his pieces were, in color and texture anyway, warm and relaxing to look at, but slightly melancholic after reading his excerpt on the work. The idea of using the tragic images of the September 11th events is something surprising. The silk impressions of his partner were very cool, the technique of using high UV light and fragile silk to create the human form was in itself very ingenious.
I really enjoyed the 'Merge and Flow' exhibit, with several pieces sticking out particularly in my memory. Several of those include 'Converge/Diverge' which had a very interesting concept and design, 'Biologica II' because it's interpretation of cells and the working bodies that make a cell function, 'Healing Sutra', 'What can I say?', 'Encircle', 'I'm so happy' because that is exactly how I felt while looking at it, and 'Rolled oats cake'-made into an apron using old recipes and labels was very creative. I was also surprised to see the person from West Hollywood, I expected the Midwest with a piece like that-expectations are funny. I would like to visit again and elaborate more on this exhibit.
Lastly I found the 'Reflections on Water' very attractive and interesting. My favorite pieces were titled 'Homage to Hokusai II' because I found it visually stimulating and familiar, reminding me of something from when I was young.
The last piece that sticks in my mind is the 'California Dreaming' piece. This cloth demonstrating the movement and experiences that clothes and materials go through as they live in conjunction with the wearers. 'Wear to where' is how I would describe this work, the wear that is built into the clothes through our the movement, use and utility. It was created using chemicals to press the leaves and other materials into the cloth to form the silhouettes.
From the online exhibition the two processing examples that were most appealing to em was the 9-10 Interactive Stripe and 17.5 Rotating Text. Both of these examples were simple displayed with a complexity within them. The interactive strip draws me in because it gives off a futuristic feel. I love how you can highlight sections as you place the mouse over it and I love how the stripes are moving. There's intention, precision and creativity all combined into one. The rotating text example is cool because there's the opportunity to add a message to piece. There is a lot of freedom to either create cohesiveness with the text and image or create pure contradiction. I also really enjoyed the fact that the text is moving, it brings the piece to life.
1. Articulate
What initially drew me to this piece was the colors. I was attracted to the combination of orange and pink. It's a dull, cool, gray day, so perhaps I was needing some color to mentally warm it up. This reminds me of a kaleidescope, but rather than having one to physically shake to change the designs one uses the click of a mouse. I like the texture of the lines, as well. I appreciate their delicacy and what happens when you layer them.
What tools do I think the creator used? Size, Line, Hue, Setup and Draw, Loop, Bezier, Ellipse, Pointillism, Mousepress, among many others.
2. Hin und Her
This piece caught my eye because of my familiarity with the language. I went to a German language immersion camp growing up and that is why I felt attached to this. I took some time to read the poem and will my unused German out to translate it. I was able to understand a fair bit. Then I clicked the mouse, and a vibrating explosion of color exuded from the point from which I clicked.
What tools do I think the creator used? Size, Hue, No Loop, Redraw, Load and Display, Words, Noise 3D, Mousepress, among many others.
My process of making media is centered on the product that I intend to create. Personally the "mixed-media" style work I've made thus far has fit relatively neatly into the area of collage, and I haven't focused on developing any particularly unique processes for creating it. Why are we in contemporary culture so infatuated with "the backstory"? The story often can overshadow the headline. Celebrity culture and the perils of a capitalist economy have fueled our innate desire for all the dirty details. Process is auxiliary. The tangible reality that art exists in does not necessarily come with sparknotes. There's a silly saying or quote from a song or something that says "the more I see the less I know". The experience of art as a vessel for exploration enunciates this sensation of not-knowing. Whenever I drag one of my friends to an art museum with me I always force them to read the information about pieces they like because often in this situation I have an urge to understand the work from the perspective of the presumably well informed curator/artist who elaborated about their piece. This dichotomy between the importance of both knowing and not knowing is something of extreme significance in my aspirations to gain a better understanding of art. There's something raw about an honest attempt by someone who could be considered uninformed observing art. And I think that it's important to be careful to not let yourself feel like you understand art too well, because then the experience of the unknown is in effect lost.
At first I would agree that one improtant factor of postmoderism is that many of the art works are made from "ready-made" stuffs, with digital approaches such as photoshop. And this is what we did to make the sketch with photoshop. However, "copy and paste" is not all for postmoderism and making artworks in this kind of ways will not lose the creativity and originality of artwroks.
The first thing is not all "ready-made" sources in a work are from works of other people. Like what's shown in our sketch, we use the map of west bank UMN to be the backgroud, that's just taken form some ready-made sources. Other elements we used in the work are some pictures we taken at westbank, like pictures of flowers and trees, thoes are also ready-made things, but that's also our own works and we did not just take it from elsewhere. This is a common situation in postmodernism artwrok, thus the author can make some works to be the raw materials for the final work, and he/she can use photoshop to work further on these materials. So actually photoshop is just one last step in the whole process of making artwork and everything in this kind of artwork can be original.
Another thing is using photoshop is not just "copy and paste" kind of work. In our work, we did that because we only know little about photoshop, so we can only do very primery kind of operation to the materials we used to bulid the final work, such as copy and paste, and filters. But even in this kind of process we can have some creativity. Just like the famous pope art picture of Marilyn Monroe, the process of making that kind of work can be really simple, but it can also be considered to be a great artwork with great creativity. So the key is not your raw materials are original, but the way you bulid the work. If you put your own throught into your work and ket people realize it through your work, then people will appreciate your work just like those traditional art works. This is also what we did when we creating our sketch, we used some pictures taken and some form internet, but we combine and arrange them in our own way. If you look at our work you can figure out our thought when we creating this, and the thought while creating your own work is creativity. The traditional art works can be created form nothing, just like a paint, but postmodernism atrworks may be created from ready-made materials. Nevertheless, a postmodernism artwork can show same kind of creativity as a traditional artwork, because both of them can make audiance see the author's thought while creating it.
Due Thursday • June 23rd:
A. Revisit the Getting Started tutorial
Browse through some of the other tutorials so that you have a sense of what is possible to do with Processing/
B. Select two examples from the online Exhibition and describe:
1) why you selected each of these examples
2) what attracted you to each of them
3) how do you think the artist or designer created this work
Processing has a large community of people using, developing, and teaching with this open source software.
• We will begin with some of the initial explorations in the Getting Started tutorial
• We will continue with selected examples developed by Dan Shiffman. Dan Shiffman has created some introductory tutorials - interesting and playful examples to help you to get a feel for what is possible with Processing.
Your assignment for Sketch #2 is to personalize one of the examples listed below. If you find yourself attracted to another idea in processing, propose that to me as an alternative.
• We will experiment with:
3-5 mouse pressed key pressed
Postmodernism, seems to have a unique way of evaluating an already existing source to create something new. It is a media that focuses on the combinations or alterations of existing images, sounds, or other digital expressions to make art. The computer has had a massive impact on our ability to change the electrical (hence visual if in photoshop) signals that allow for the manipulation of millions of elements, all of which are possible because of the binary computer language, and the new advances we have made in software (allowing for more math in less space). This opens up doors for many artists, whether they are photographers, musicians, or web and graphic designers. Because the source of the object has become a digital signal (it could have been originally a picture taken outside), it is so easy to change, and is thus it is often the case that many different versions of the same thing exist so that they can be accessed or understood through different ways. (Ex. different versions of a website for different capabilities of an individual's computer)
One thing that really interested me was the suggestion that primitive forms of postmodernism have existed throughout time, such as the old analog television sets. They would take a source object, transform it into a signal. One would receive this signal on their television and would have the option of adjusting the darkness or lightness of the image. All this was doing was manually changing what part of the signal the television received. I look to electric guitars as a great example of postmodern media. First you place a pick up on a guitar, which transforms the noise into a signal. The amplifier picks up the signal much like a tv does and makes noise. It is an analog system in which one could manually tweak the noise output and change the signal/object in different ways. With the onset of digital technology, not only is the signal from the guitar run through an analog system, but it is now also run through digital systems, such as mixers, offering exponentially greater possibilities for signal manipulation. Programs such as garage band also fall into this postmodernism because they are taking an already preexisting signal (some prerecorded guitar riff) and allowing the user to manipulate it artistically. In this sense I would argue that 70% of all the pop music that we listen to today, could be considered postmodern art, because much of it is the manipulation of already prerecorded tracks.
This was an interesting excerpt on parallels of social conventions and modern day art and creativity. The notion of authorship being creation of something new from things that have already been created. This postmodern form of art and creation is new in the sense that artists take bits of media they find interesting and form something different or transcendent. This is made possible through technology and the immediacy and ease of which it is created, shared and found.
The notion of using other artist's work is not a new concept as inspiration and influence has been around since art was created by human beings. Creation of better and more efficient technology, pharmacology, medical practices and processes, architecture etc has always been built upon from former methodologies. Looking at research procedures such as in the field of biochemistry, these postmodern photoshop practices have total overlaps in utilizing natural proteins and the creation of synthetic materials. It is really interesting because it seems to be the first photoshop in a sense. The 'copy' and 'paste' of new media is exactly like the 'copy' and 'paste' of proteins, hormones, chemicals and other biological materials. Researchers are inspired by past theories and create new theories using old biological materials, or new synthetic materials that are created using borrowed practices. These similarities came to the surface for me while reading this excerpt.
"This mutability of electronic media is just one step away from "variability" of new media", is a great summation of the article. This is an articulate way to describe new ways of creation in both biological and technological arenas in society. This type of creation is only going to become more simple and prolific for artists and lay people alike.
The mode of painting I generally work in involves both the "ready-made" in the form of digitally collaged images and the "from scratch" in the form of tactile painting. This can further be extended to my process of making poetry since the act of constructing a poem generally is a slow, hand-written process--but within that process I tend to appropriate bits and pieces of text from a cacophony of sources.
That said, it is hard to say if anything is "from scratch" with mystic "sense of place" and bodily mode of production that such a concept implies. The physical act of painting involves paint which likely has pigments that were produced in Asian factories, mechanical tools to cut wood or stretch canvass, a workspace with various accoutrements, and so on and so forth.
I can even extend this to the act of making goat cheese (something that is generally viewed as "from scratch" to even greater degree). I milk a goat that is from a line of goats raised and bred in Montana, I then use various milking implements (buckets, strainers, etc) produced in various places before inoculating the milk with a culture that was shipped from California, and then put the finished product in a electric run refrigerator.
The mode of production on the computer (or any other form of new media) only further extends this complex system into an abstracted space of interconnections (that is built on the foundation of the industrially produced hardware).
Of course, much of the above was associated (like the article) with a single 'I' producing a product (even if the final product can be mechanically reproduced in various versions). When much of the above requires a strange level of unacknowledged collaboration--who made the paint, paper, canvass, computer, etc? Is the interaction with the goat collaboration? Who exactly makes a film? A film may have a point where it is sent off to be viewed (but even then they are often spliced together at theaters). The "magic lantern" technology likely echoes the computer more via the one-to-one relationship the "author" has with a mode of production.
If we turn this towards the abstracted space of the web we get a space where concepts are leveled and everything is "game" for the hyper-creative 'I' that collages and reorganizes information out of a field of information where all authorship has been stripped away from the previous owners--while this may serve to level the biases and assumptions of the authors that created the original images, it also creates a new form of selectivity where the newly created "texts" are subject to the biases and predilections of a singular 'I' who is abstracted into an egotism by a lack of connection to the other authors.
The process of making media from scratch, such as walking around campus taking photographs was very enjoyable to me. It was interesting to work with other classmates and be able to see their different perspectives. The group collaboration using the photographs was a little bit trickier, but enjoyable just the same. I am always amazed at how advanced our technologies have become, so that we can now so easily put together pictures and art from a variety of locations. My group did a simple web search for fairy wings and found multiple pairs that could be manipulated to fit our photo in photoshop. Related to this, I really liked reading about post modernism because it show me the larger significance of choosing artistic means such as photoshop and the impact this style of art has on our culture. Jobs wit in the various electronic media technologies and use of these, have sky rocketed in the last couple of generations, and I think more people are beginning to appreciate them.
Thus far the digital art I have created has been minimal, so I'd prefer to draw upon the stories I've written and my process in piecing them together.
As referenced in the reading, the "naturalization" process of creation in the digital realm has foundations in pre-selection. The user might choose their materials from a pre-selected group that they did not create from scratch. My process in creating stories draws from this selection process in that I am able to select pre-existing pieces of information to include in my stories. However, in the final product -- the story -- there is a combination of a pre-selected collection of information (such as online research) and information that wouldn't exist had I not created it (such as an interview). How I, as a writer, choose to weave together a story is where I can use creativity. I can choose how to organize and flow the elements of information, and sequence them using transitions to glue them together. Stories are much like the evolution of media, in that one story is often times built off of another, and refocused and tweaked to further grow and evolve.
One comparison to note, however, is that while the web is essentially a library of information for these stories, the next step in writing is to use due diligence in what information you use by way of fact checking. So there is an extra step in the story creation process that might hinder a writer from using certain pieces of already existing information.
Regis Center for Art building hours
I thought the section on postmodernism and photoshop was interesting. I had always thought about art as a way to make something original to express your creativity. This can be done by altering something already made or creating something completely new. So when the article talked about how computer software has 'naturalized the model of authorship as selection from libraries of pre-defined objects' i thought about it more closely. I am new to computer software such as photoshop, so I never really thought about how the choices the artist makes when altering a photo via photoshop are limited. They may seem endless and there are tons of opportunities to modify the image, but everything you can do, has already been thought about and planned by the creators of the software. Their algorithms allow these transformations so in a way it is limited. The great thing about art though, is that by combining different 'filters' you can create something completely original. I think that photoshop is just this era's tool to express... the way hand colorization of silent films was a way to make something unique in a different era.
They also talk about postmodernism and how it all began in the 80's with new developments. I think just as other art periods progressed with influences from all the new and exciting things at the time, so has postmodernism with it's influence from computers. The web is only going to continue to develop and we are going to be able to do so many more things. This means art will also develop. I think the new technology has helped me personally to think of new ways to put things together. I am inspired by seeing other's works. And although I haven't done much of my art on the computer, seeing what others have come up with makes me want to try new ideas and concepts in my work. It's always fun to play around. Like can you draw something as if it were two images overlapped with different opacities made in photoshop? Can you paint the water to also reflect the sky like you see in so many photos? I think by using technology we can create a lot of new and exciting art, from scratch, that we may not have even dreamed about before.
As for working with already made materials, I do this a lot. I love going to craft stores and picking up items to paint and then put together. I think a lot of art is made this way. You put yourself into these already made objects by altering them in whatever way you choose. And in my opinion, they look like they are from scratch. The difference in making things from scratch and making something from other objects isn't what's significant. It's the fact that you had and idea and displayed your thoughts for others to see and enjoy. That's art.
I really enjoyed the process of making art from scratch. It gave our group the freedom and control to create our own path and direction for our walk that day. In my eyes art from scratch gives you the opportunity to explore and create anything. There are endless possibilities when an image is created from scratch. As the artist you are in total control of every. It was really fun because we got to pick the scenery and position our selves to create our own unique image.
In contrast mixing "ready-made" media elements is just as fun. "ready-made" images are a template for the final product. The "author as selection" process still enables creativity but from an inspired source. This type of art allows for multiple sources to be incorporated into one piece. Since the Internet is the primary source for mixed art there are so many possibilities and directions that can be taken with separate pieces of art. Mixed art for me is all about being inspired from different sources and making something new.
Making art from scratch and mixing of art both come from separate origins. However they both utilize creativity and create a wide range of possibilities for the final product.
Thus far the digital art I have created has been minimal, so I'd prefer to draw upon the stories I've written and my process in piecing them together.
As referenced in the reading, the "naturalization" process of creation in the digital realm has foundations in pre-selection. The user might choose their materials from a pre-selected group that they did not create from scratch. My process in creating stories draws from this selection process in that I am able to select pre-existing pieces of information to include in my stories. However, in the final product -- the story -- there is a combination of a pre-selected collection of information (such as online research) and information that wouldn't exist had I not created it (such as an interview). How I, as a writer, choose to weave together a story is where I can use creativity. I can choose how to organize and flow the elements of information, and sequence them using transitions to glue them together. Stories are much like the evolution of media, in that one story is often times built off of another, and refocused and tweaked to further grow and evolve.
One comparison to note, however, is that while the web is essentially a library of information for these stories, the next step in writing is to use due diligence in what information you use by way of fact checking. So there is an extra step in the story creation process that might hinder a writer from using certain pieces of already existing information.
GIMP :: digital images
AUDACITY :: digital sound
INKSCAPE :: digital drawing
PROCESSING :: electronic sketchbook, dynamic drawing
Read the section "postmodernism and photoshop" pages 124 - 129. Post a reflection about your process of making media "from scratch" and / or mixing "ready-made" media elements.
Access the Art Dept Equipment Checkout online.
All of the equipment available to you will be visible. You can reserve equipment for up to 48 hours per week.
You can also access equipment located in CLA TV studios on the 5th floor of Rarig Center. You can view available equipment and make reservations to use equipment for 24 hours.
CLA also has loaner equipment available here.
New Media theorist Lev Manovich makes the text of his book, The Language of New Media available online.
Read the section "postmodernism and photoshop" pages 124 - 129. Post a reflection about your process of making media "from scratch" and / or mixing "ready-made" media elements.
digital imagery
Michelle Turre
Learning to Love You More
new media ::
Camille Utterbach : her early interactive installation Text Rain and a public installation, Aurora Organ, that you can experience in St Louis Park, MN.
Golan Levin and his projects: Messa di Vocce, eye code, and Dialtones (A Telesymphony)
This photoshop tutorial from the Knight Digital Media Center provides a basic introduction to photoshop.
Other resources:
http://www.brusheezy.com/Brushes
http://abduzeedo.com/tags/photoshop
http://www.blog.spoongraphics.co.uk/category/tutorials
http://psd.tutsplus.com/category/tutorials/photo-effects-tutorials/
Recent Comments