www.worth1000.com
Wednesday, February 28, 2007
Monday, February 26, 2007
Reading: "The Cut-Up Method of Brion Gysion"
The Burroughs's article about "cut-up" was quite interesting, but at the same time
it is true that the idea of "cut-up" is still experimental.
By cut-up, we can create new work, regardless of any form of works, such as poem, novels,
photographs, drawings, paintings, sound, and so on.
I found Burroughs trying hard to prove his point about "cut-up" method.
He quatates a number of different people, such as poet Tristan Tzara, mathematician John von Neumann, writer and novelist Italo Calvino, particularly writer and painter Brian Gysin.
As Burroughs says, "cut-ups are for everyone. Anybody can make cut-ups."
I also agree with him that cut-ups could produce a creative way in the unconscious state of the method user. However, if everyone the same method too often, then people are not going to try to use their own ways, but become to be dependant on spontanity.
Although we all can make cut-ups, it doesn't much help us to be artistic ultimately.
Brion Gysin
William Burroughs
John von Neumann
Surrealist
Italo Calvino
it is true that the idea of "cut-up" is still experimental.
By cut-up, we can create new work, regardless of any form of works, such as poem, novels,
photographs, drawings, paintings, sound, and so on.
I found Burroughs trying hard to prove his point about "cut-up" method.
He quatates a number of different people, such as poet Tristan Tzara, mathematician John von Neumann, writer and novelist Italo Calvino, particularly writer and painter Brian Gysin.
As Burroughs says, "cut-ups are for everyone. Anybody can make cut-ups."
I also agree with him that cut-ups could produce a creative way in the unconscious state of the method user. However, if everyone the same method too often, then people are not going to try to use their own ways, but become to be dependant on spontanity.
Although we all can make cut-ups, it doesn't much help us to be artistic ultimately.
Brion Gysin
William Burroughs
John von Neumann
Surrealist
Italo Calvino
Thursday, February 22, 2007
Wednesday, February 14, 2007
George Grosz "Der Sträfling" & "Der wildgewordene Spiesser Heartfield "
George Grosz
born 1893 Berlin, Germany
died 1959 Berlin, Germany
"Der Sträfling" Monteur John Heartfield nach Franz Jungs Versuchihn auf die Beine zu stellen ("The Convict" Monteur John Heartfield after Franz Jung's Attempt to Get Him Up on His Feet) (also known as The Engineer Heartfield), 1920 watercolor and pencil on paper with photomontage
This appealing piece of Grosz uses the technique of photomontage on the normal watercolor painting. Frankly my first impression came from the funny face of the person in the work. He looks serious in uniforms, but attaching some other materials on his shoulder and arm parts of the uniforms symbolises the imperfect authority and power of the forces.
More importantly, on his right side of the back, some kind of metal device photograph is attached. It looks like a hug medal for the respectable generals, but it is a metal mass, which I sorrowfully couldn't recognize what it is. I think that it illustrates the unrealistic reason of the armed forces, and furthermore unnecessary war.
The entire atmosphere is made by the dark color. Bluish dark colors has a cold feeling which human eyes have a problem as they send visual signal to the brain. On other hand, red color in the center of the work makes easier to send the signals and to memorize the visual message. It practically helps us to focus on the center of this work.
George Grosz and John Heartfield
German, 1893–1959; German, 1891–1968
Der wildgewordene Spiesser Heartfield (Elektro-mechan. Tatlin-Plastik)
(The Middle-Class Philistine Heartfield Gone Wild [Electro-Mechanical Tatlin Sculpture])
The technique of this piece using is called assemblage. The upper part of this three-dimensional work is formed with a mannequin, an electronic lamp, a gun, a knife, a fork, a letter C and the like. They seem attached in a chaotic way without a rule, but I think the artist must have made it with a purpose.
The first thing that dragged my intention was the tall chair that the mannequin is stepping on and the mannequin without arms, head and a leg. The tall chair emphasizes on the shortages of the mannequin. And the fork and knife are everyday object for civilized human beings. If we consider the letter C as a symbol of a language, the lamp as electricity, the mannequin as people, and the gun as a social, political and traditional force, it is easy to assume the topic of this art work.
Sarcastically the artists convey the meaningless and hollow notion of civilization and materialism with the number on the chest part. Nowadays, more and more people are not recognized by their names but by the numbers. The number 27 on the chest is showing this bitter social fact.
Grosz was a communist and dadaist. In order to understand Grosz's work, I had to understand what Dadaism is and what it seeks for. According to Wikipedia, my favorite encyclopedia site, Dada is a cultural movement that began in neutral Zürich, Switzerland, during
WWI and peaked from 1916 to 1920.
As I looked through the list of dadaist artists' techniques, works and bibliographies, I found myself liking photomontage most. Maybe it was because it has the most familiar artistic look that I'm used to. The notion of Dadaism is fascinating.
"The normal state of man is Dada."
- First International Dada Fair poster, 1919
"One can shout out through refuse."
- Kurt Schwitters, 1919
"Dada has never claimed to have anything to do with art."
- Max Ernst, 1920
Dada is not art, but at the same time, it is. I know I sound confusing, however, when we look closely at the concept of art, we might be able to get closer to the actual definition of art.
died 1959 Berlin, Germany
"Der Sträfling" Monteur John Heartfield nach Franz Jungs Versuchihn auf die Beine zu stellen ("The Convict" Monteur John Heartfield after Franz Jung's Attempt to Get Him Up on His Feet) (also known as The Engineer Heartfield), 1920 watercolor and pencil on paper with photomontage
This appealing piece of Grosz uses the technique of photomontage on the normal watercolor painting. Frankly my first impression came from the funny face of the person in the work. He looks serious in uniforms, but attaching some other materials on his shoulder and arm parts of the uniforms symbolises the imperfect authority and power of the forces.
More importantly, on his right side of the back, some kind of metal device photograph is attached. It looks like a hug medal for the respectable generals, but it is a metal mass, which I sorrowfully couldn't recognize what it is. I think that it illustrates the unrealistic reason of the armed forces, and furthermore unnecessary war.
The entire atmosphere is made by the dark color. Bluish dark colors has a cold feeling which human eyes have a problem as they send visual signal to the brain. On other hand, red color in the center of the work makes easier to send the signals and to memorize the visual message. It practically helps us to focus on the center of this work.
George Grosz and John HeartfieldGerman, 1893–1959; German, 1891–1968
Der wildgewordene Spiesser Heartfield (Elektro-mechan. Tatlin-Plastik)
(The Middle-Class Philistine Heartfield Gone Wild [Electro-Mechanical Tatlin Sculpture])
The technique of this piece using is called assemblage. The upper part of this three-dimensional work is formed with a mannequin, an electronic lamp, a gun, a knife, a fork, a letter C and the like. They seem attached in a chaotic way without a rule, but I think the artist must have made it with a purpose.
The first thing that dragged my intention was the tall chair that the mannequin is stepping on and the mannequin without arms, head and a leg. The tall chair emphasizes on the shortages of the mannequin. And the fork and knife are everyday object for civilized human beings. If we consider the letter C as a symbol of a language, the lamp as electricity, the mannequin as people, and the gun as a social, political and traditional force, it is easy to assume the topic of this art work.
Sarcastically the artists convey the meaningless and hollow notion of civilization and materialism with the number on the chest part. Nowadays, more and more people are not recognized by their names but by the numbers. The number 27 on the chest is showing this bitter social fact.
Grosz was a communist and dadaist. In order to understand Grosz's work, I had to understand what Dadaism is and what it seeks for. According to Wikipedia, my favorite encyclopedia site, Dada is a cultural movement that began in neutral Zürich, Switzerland, during
WWI and peaked from 1916 to 1920.
As I looked through the list of dadaist artists' techniques, works and bibliographies, I found myself liking photomontage most. Maybe it was because it has the most familiar artistic look that I'm used to. The notion of Dadaism is fascinating.
"The normal state of man is Dada."
- First International Dada Fair poster, 1919
"One can shout out through refuse."
- Kurt Schwitters, 1919
"Dada has never claimed to have anything to do with art."
- Max Ernst, 1920
Dada is not art, but at the same time, it is. I know I sound confusing, however, when we look closely at the concept of art, we might be able to get closer to the actual definition of art.
Wednesday, February 7, 2007
My Journey - ART sound project
My train trip _ from Chicago to Los Angeles
My motivation for making this sound project of the train trip is based on my traveling experience from last winter break when I went to Chicago to LA by train all by myself.
I wanted to record this experience in a form of art what I heard from the train and how I felt from different places. It was interesting to realize that in the train car is almost every kind of sound that you can hear from the earth.
Sound credits (according to time order) :
Car
Train bell
This is Chicago
Door closing
Footsteps
Noisy on the train
Train sound
Announcement
Eating an apple (recorded by Shinae Kim):
DSCN0002
WAV file
Toilet flash (recorded by Shinae Kim):
DSCN0008
WAV file
Snoring 1
Snoring 2
Let’s go home.
Footsteps
Arrived in L.A.
My motivation for making this sound project of the train trip is based on my traveling experience from last winter break when I went to Chicago to LA by train all by myself.
I wanted to record this experience in a form of art what I heard from the train and how I felt from different places. It was interesting to realize that in the train car is almost every kind of sound that you can hear from the earth.
Sound credits (according to time order) :
Car
dude3966 (http://freesound.iua.upf.edu/usersViewSingle.php?id=191680)
Cars.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=29558)
Train bell
Corsica_S (http://freesound.iua.upf.edu/usersViewSingle.php?id=7037)
STE-013 train and bell.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=28777)
This is Chicago
By fonogeno (http://freesound.iua.upf.edu/usersViewSingle.php?id=5190)
this is chicago.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=20145)
Door closing
doors closing 03.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=20143)
Footsteps
bondegi (http://freesound.iua.upf.edu/usersViewSingle.php?id=235387)
substep.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=30203)
Noisy on the train
Heigh-hoo (http://freesound.iua.upf.edu/usersViewSingle.php?id=21830)
ueno_station.aiff (http://freesound.iua.upf.edu/samplesViewSingle.php?id=29657)
Train sound
Heigh-hoo (http://freesound.iua.upf.edu/usersViewSingle.php?id=21830)
tin_sign.aiff (http://freesound.iua.upf.edu/samplesViewSingle.php?id=29984)
Announcement
lonemonk (http://freesound.iua.upf.edu/usersViewSingle.php?id=230160)
ViaRail_Announcement.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=30168)
Eating an apple (recorded by Shinae Kim):
DSCN0002
WAV file
Toilet flash (recorded by Shinae Kim):
DSCN0008
WAV file
Snoring 1
linako (http://freesound.iua.upf.edu/usersViewSingle.php?id=63088)
sleepsnort.aif (http://freesound.iua.upf.edu/samplesViewSingle.php?id=17483)
Snoring 2
jppi_Stu (http://freesound.iua.upf.edu/usersViewSingle.php?id=56518)
snoring_sample.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=16755)
Let’s go home.
let go home.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=20144)
Footsteps
bondegi (http://freesound.iua.upf.edu/usersViewSingle.php?id=235387)
substep.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=30203)
Arrived in L.A.
Police sirens.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=24347)Heigh-hoo (http://freesound.iua.upf.edu/usersViewSingle.php?id=21830)
tin_sign.aiff (http://freesound.iua.upf.edu/samplesViewSingle.php?id=29984)
Monday, February 5, 2007
Visual Perception and Imaging
Thursday, February 1, 2007
Perception-Guided Image Editing
Reynold Bailey, Washington University in St. Louis
Practically, the lecture was focusing on the human eye
more than image editing that what I expected to learn from it.
Still it is true that the knowledge about human eye system and its functions is helpful
to do art, especially to edit images.
Reynold talked about our two visual sub-systems:
Peripheral vision subsystem and Foveal vision system.
The first system has low visual acuity but fast and sensitive, and the later system has high vsivual acuity but slower. It was interesting for me because before I heard his lecture I did not know visual acuity actually affect how fast our human eyes accept the visual signals.
Since most of art works deal with visions - things that we can see through our eyes - it is important to acknowledge the different results you can make from varying your visual acuity.
One physical fact that surprised me was that things we believe we see every moments
when we open our eyes to receive visual signals
are just occupied only 2 percent of the vision field.
The rest 98 percent of the vision field that we see is just a production of your memory from your brain. It was important for implying in the field of image manucripition.
For example, in non perspective cues, like color and luminance, you can control the audience.
It is inaccurate to say you can "control" the audience, but it is true that you can change what they feel about it.
Perception-Guided Image Editing
Reynold Bailey, Washington University in St. Louis
Practically, the lecture was focusing on the human eye
more than image editing that what I expected to learn from it.
Still it is true that the knowledge about human eye system and its functions is helpful
to do art, especially to edit images.
Reynold talked about our two visual sub-systems:
Peripheral vision subsystem and Foveal vision system.
The first system has low visual acuity but fast and sensitive, and the later system has high vsivual acuity but slower. It was interesting for me because before I heard his lecture I did not know visual acuity actually affect how fast our human eyes accept the visual signals.
Since most of art works deal with visions - things that we can see through our eyes - it is important to acknowledge the different results you can make from varying your visual acuity.
One physical fact that surprised me was that things we believe we see every moments
when we open our eyes to receive visual signals
are just occupied only 2 percent of the vision field.
The rest 98 percent of the vision field that we see is just a production of your memory from your brain. It was important for implying in the field of image manucripition.
For example, in non perspective cues, like color and luminance, you can control the audience.
It is inaccurate to say you can "control" the audience, but it is true that you can change what they feel about it.
Thursday, February 1, 2007
Janet Cardiff sound file
Janet CardiffA Canadian installation artist.
Her audio project for Whitechapel Gallery in London
was an interesting work for me.
This work was audio-based, called "audio walk."
I have never heard that this kind of audio art work exists.
As we see from the picture on the left side, in her gallery at London there was no visible image around the hall, but long chairs and bunch of standing speakers on the same height as the audience.
What you are asked to do is just to listen to the audio and follow where Cardiff is taking us to.
The foreground of her audio would be the sound of footsteps and her voice.
They were the loudest, clearest, and the least reverberating sound. Her whispering voice keeps her flat tone, but these two sounds lead the whole audio walk.
The sound of dogs barking, accordion, helicopter passing by and guy speaking to her would belong to the middle ground. And the background sound would be sound of see waves, birds singing, water, and stepping on dried leaves. These sounds have less volume, compared to the foreground and they do not demand what to do to audience, which means it has less importance than the foreground sounds. What the audience needs to concentrate is not the sound of waves, or birds but, the voice of the woman who is speaking to the audience who are supposed to imagine themselves following her.
I was surprised by realisingthe demanding force in her work.
Unconsciously, as we listen to her work, we can find ourselves doing what her voice is
telling us to do. That helps to prove the possibility that artists and audience can interact together. Art becomes more interactive.
Her flat tone voice keeps telling us what we are about to do, like-
"Let's walk to the garden...
try walk to the sound of my footsteps so that
we can stay together... I want to bring you here...
keep walking... Let's continue...
stop... listen... close your eyes, trust me... "
But also, I think showing no visible image but only letting people to listen to her audio
has a strong positive influence, which makes the audience enable to choose what they want to
see, not the artist shows. Although she is a stranger for us, but by listening to her voice and her private detail stories, such as about her grandmother, things that she hears, smells, sees on the path as she walks and her kiss near the sea shore, we feel closer to the artist.
My link
baby_guy.mp3
I found some audio files from a website. This file is a mixture of
baby laughing and guy sneezing sound files.
I think they go in a fuuny way.
I hope you enjoy~ ^^
Credits:
January 25, 2007
I found some audio files from a website. This file is a mixture of
baby laughing and guy sneezing sound files.
I think they go in a fuuny way.
I hope you enjoy~ ^^
Credits:
January 25, 2007
By Anton (http://freesound.iua.upf.edu/usersViewSingle.php?id=58)
man cleaning nose.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=347) By nicStage (http://freesound.iua.upf.edu/usersViewSingle.php?id=1198) stevenClayLaughLoop2.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=1792)By WIM (http://freesound.iua.upf.edu/usersViewSingle.php?id=22241) sd_boyshout08 imfinethankyouandyou.wav (http://freesound.iua.upf.edu/samplesViewSingle.php?id=26163)
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