So I was asleep for much of the week, but hoping to come vaguely to life. I bought a domain name through wordpress- and have been editing the odd drafts of an attempted website. I think my main use of webspace right now is just documenting video/performance? I need to figure out how to work around copywritten material, as I don’t want to alter much- but the sounds are monitored heavily… / my vimeo is no longer active as a result / https://artbysnorkledog.wordpress.com/ this is the page I’m working on so far, older works and newer works… trying to figure out what to express/omit. Also worried it’s just sad and boring/ won’t translate well on non-laptop/computer formats?
Brené Brown is the most famous research psychologist. She also has a lot to say about vulnerability. She even got a Netflix special last year. If you want to go more high-brow, she has a couple books. I imagine some of you have seen this before but just in case you haven’t, watch this (and I know it’s a TED talk, roll your eyes if you will, but I wouldn’t recommend it if I didn’t think you should watch it).
Critical design takes a critical theory based approach to design. This kind of design uses design fiction and speculative design proposals to challenge assumptions, conceptions about the role of objects play in everyday life. Critical design object plays a role of product design, but emphasizes on neither commercial purpose nor physical utility. It is mainly for sharing a critical perspective and carrying debate to the public, to increase awareness on social, cultural, or ethical issues by asking questions to the public.
Survival Research Labs
Sammy and Chris – This is a whole other brand of Old San Francisco Weirdo. SRL builds these giant, purpose-less robots by bolting together other stuff.
Just to warn you about the video below there’s some fascinating images from a surgery in it. If you’re squeamish, prepare to look away. You’ll know when it’s coming because he starts describing an injury.
For Hillary and Sammy
Coyle and Sharpe
Coyle and Sharpe were a United States comedy duo that appeared on the radio during the early 1960s. Composed of Jim Coyle (1932–1993) and Malcolm Sharpe (b. 1936), the duo’s typical format was to satirize the “vox populi” interview, with off-the-wall questions posed to passers-by in a generally deadpan style as though it were a serious interview.
In the year 2000, Sharpe hosted a centennial exhibit at the Whitney Museum called “The American Century“. Coyle and Sharpe were featured in the Soundworks Exhibit for this presentation.
Brooks realized, long before anyone else, that cameras filming real people’s lives would not only affect and change their subjects, but would also affect those making the film. Brooks understood that, in the end, any production was inevitably show biz, and that show biz is a beast which must be fed and whose gravity, like a black hole, sucks up every imaginable cliché and past convention. In other words, this was a subject ripe for the comic intervention of Brooks, whose style was avant-garde and cerebral and rooted in the deconstruction of the creative process and the exploding of classic comedic tropes. Brooks was meta before meta was cool.
“In 1990, thirteen of the museum’s works were stolen; the crime remains unsolved and the works, valued at an estimated $500 million, have not been recovered. A $10 million reward for information leading to the art’s recovery remains in place.”
Twenty-eight-and-a-half years ago, Boston became home to the largest unsolved art heist in history. On March 18, 1990, two thieves, disguised as Boston cops, entered the Isabella Stewart Gardner Museum, tied up the two guards, and stole 13 artworks now valued at half a billion dollars. Not one of those works has been recovered.
a looped 24-hour video supercut (montage of scenes from film and television) that feature clocks or timepieces. The artwork itself functions as a clock: its presentation is synchronized with the real time, resulting in the time shown in a scene being the actual time.
A narrative reflects a shared interpretation of how the world works. Who holds power and how they use it is both embedded in and supported by dominant narratives. Successful narrative change shifts power as well as dominant narratives. Narrative change, writes Brett Davidson, “rests on the premise that reality is socially constructed through narrative, and that in order to bring about change in the world we need to pay attention to the ways in which this takes place.” An ambitious scale is inherent in the strategy of narrative change.
Arnold’s films are intensely cut sequences in which several seconds of old movie clips are taken and stretched out into much longer works. The figures on the screen flip back and forth between frames, as the motion is repeated and reversed, and numerous single frame cuts are made. His intent is to create, or possibly unearth, narratives concealed within the mundane films from which he samples. In films such as Pièce Touchée (1989) and Passage à l’acte (1993) for example he uses several seconds of the films The Human Jungle and To Kill a Mockingbird, the latter to create a bizarre story of aggression and tension within a traditional American family.
This is all analog filmmaking – rephotographing film with an optical printer.
Adam Curtis & Century of the Self
The Century of the Self, written and produced by Adam Curtis, is an exhaustive examination of his theories on human desire, and how they’re applied to platforms such as advertising, consumerism and politics. This four-hour odyssey is divided into four distinct segments.
Quakers, also called Friends, are a historically Christian group whose formal name is the Religious Society of Friends or Friends Church. Members of the various Quaker movements are all generally united by their belief in the ability of each human being to experientially access the light within, or “that of God in every one”.
James Turrell’s immersive light installation Unseen Seen (2017) offers visitors an “other-worldly experience”, says Rawlins. After selecting either the “hard” or “soft” setting, visitors are ushered inside a spherical pod which unleashes a lighting sequence that exploits the shortcomings of the brain’s visual system. Many people have described the experience as “life-changing”, Rawlins says.
Many of the works in the new wing are disorientating, but perhaps none more so than James Turrell’s Event Horizon (2017). Visitors are subjected to a light sequence that gradually shifts in colour and intensity so “you lose your depth perception”, Rawlins says. The work triggers the ganzfeld effect, a visual phenomenon that occurs when the brain is confronted with continuous space.
Write what “the couple” will think, feel, and do after they see your work. Remember, everything has gone better than you expected. This is the best case scenario. You have creative license – you can write dialogue, a journal entry in their voice, or an imagined email sent to their friend, or?
Another good question to ask yourself is “then what?” The couple thinks about your work – then what? They do the thing you’ll hope they do – then what? See where answering a long series of “then what” questions leads you.
Read Lawrence Lessig’s essay, Against Transparency.Lessig is a law professor, fights for integrity in U.S. elections, and a driving force behind Creative Commons which is a more flexible and generous alternative to copyright. Pay special attention to what he calls the Attention Span Problem.
Build a model of your installation. This could be a sketch, but something three dimensional is better. How do people move around it? Looking for inspiration?
Things you said you wanted to keep from past crit classes
Trips to NYC to look at work (but later)
Group Critique ★
Critique from faculty
Tiny assignments to push you forward
Articles to discuss
Check-ins every week – “Snapshots” of what everyone is doing.
Questions that came up
How do you register for the thesis class?
What is the budget for the thesis show?
What’s happening with the NY show
All these have been relayed, but if you have answers, add them to the comments.
Spend time together outside of class. This can be after or before class. It can be both. Make sure you talk to everyone about their work, and research in ways that are meandering, exploratory, honest, and a little challenging.
Read the first 3 chapters of “On Writing Well” (You have 2 weeks for this because you’ll need to get a hold of the book also.) They are very short chapters and it’s easy reading.
Meet with 2 other students and review eachothers research and writing.
Be ready to show your work. We may not have time for everyone, but be ready regardless.
We’ll talk about styles of critique.
We’ll talk about this site and how you can use it.
I will also take a short time to talk about communications models and assign some readings around that.