Artist 5

This is an image from the "Sensorium" project.  This seems to be a collaborative group based in Japan whose mission it is to "expand the potential of the internet as a circuit for sensing the living world."  This particular image is part of their "Breathing Earth" project which contemplates the Earth as more a living, interactive, relevant entity than we sometimes remember to be aware of.  This image portrays any and all seismic activity in most of the western hemisphere from March 14 1998 to March 27 1998.  The dates or on the bottom of the image.  The bubbles represent the actual incidents, and the sizes of the bubbles indicates severity of the incident.  The information was gathered from the International Database Center or IDC, and two days are represented within each second.  Under the definition that art is the tangible manifestation of a creative process, I don't know if this image would be considered art.  It seems to me to be more documentation than anything.  However, if one goes with the definition that art is something that provides inspiration for the receiver, the art is something that "takes you away from here", then I think this should count as art.  For it calls ones awareness to the power of the Earth and how small we really are.  And we are inspired by this project to become so aware, and therefore it is a creative human being that is inspiring us.  It is on purpose, and so is a work of art.

Scrap Book 8

The primary object in this photograph is the chain mechanism, rotating on the two wheels with protruding teeth.  Most likely this contraption was constructed in a factory, by machines.  The design perhaps, originally, was a work of art, a vision that enabled one man to forever change the world of transportation.  But is a coy of the Mona Lisa printed out on a piece of computer paper a work of art?  Or is it that when we consider the Mona Lisa, and contemplating that computer printout as a work of art, though our language may be understood to refer to the paper in front of us.  However, I believe we are in fact referring to the actual painting itself, and merely using this copy as a reference point, a vantage point.  But in essence, the copy is still just a copy, not in itself a work of art.  In this way I think the bike chain is not a work of art.

Scrap Book 7

This picture should actually be rotated 90 degrees to the right.  It is a crack stretching all the way across the road in front of Montgomery Hall.  It is not the result of any creative process, any force compelling an inspired individual to manifest a sentiment in some tangible medium.  It is the result of years of rain and ice and snow, fluctuations in weather, of hot and cold, stretching the pavement, thinning it, ice freezing and expanding, forcing a gap to form.  It was not on purpose, it is merely the result of passing time.  More likely than not, if a few years the crack will have grown, and then they'll have to replace the pavement.  The crack is only there because we have yet to develop a more effective way of paving roads.   

After Life Reflection

When I think about this film, all I come out with are questions.  Questions like, okay they're here now, but then they leave? Well, where do they go then? And where the heck did all those video tapes come from? And are the camera men and movie production people dead? Where do they come from?  When the girl goes walking in the city, is she invisible to the other "live" citizens?  And what about that sky hole in the hallway?  One day there's snow falling through the open hole, and another day the moon is painted on a hole cover that a weird old man suddenly lifts off, and receives no surprise from the girl?

I thought it was really interesting, and clever in terms of plot line, that those who could not choose a memory, or chose not to choose a memory, were the ones who facilitated the recording of the memories for the newly dead.  

I also really admired the way so much was said without any dialogue, or even music (brooding music when something bad is about to happen; swells of strings when you're supposed to cry) that are such cues in western movies.  So much was said simply through body language, in subtle facial expressions, and in the girl's anger on the snow covered roof.  This was especially prominent in the relationship between the girl and the guy who ends up leaving at the end, having chosen his memory.

And that brought up another interesting thing: well, one has memories after one dies?  And if that memory is all that one has afterwards, can one also remember all of their lives up to that point, for back when they were alive, at that moment, they could recall most of their lives surely?  Or is it merely that one instant and nothing more?  

That seems like it would be a bleak heaven, if that's in fact where they are going.  Although, if one is like that one gentleman, to be able to forget truly would be heaven.

Scrap Book 6

These are divots in the island in front of Dorchester.  I'm pretty sure that they were made by some type of tractor, in order to turn the ground in preparation for the arrival of springtime.  The divots are definitely made in a series of straight lines, and were probably executed systematically.  Again, like the brick laying, there is probably an art, a certain talent that allows one to most efficiently ad effectively turn the earth.  However, these lines of divots, like the brick wall, is not a work of art, because the work was performed in order to execute a job, not the manifestation of a creative process.  Perhaps if the tractor driver had taken the liberty to make some sort of design, abstract or anything, these series of divots could be considered art.  Maybe, my picture, if taken from a more unique angle, and given some poetic name, could be considered art in some circles.  However, still, the actual divots themselves are still just divots, made in order to produce greener grass on the island, made because someone told someone else to make them so that they could get paid.  A job, not a work of art.

Scrap Book 5

Especially here St. Mary's, we have the privilege of seeing bricks everywhere, and they are commonplace and sort of un-extraordinary because of it.  When we observe a good work of art, it is inspiring, as before, it "gets us out of here."  Can overexposure to a medium or a work remove the inspiring force that is present in said work? Yes, as is true of many things in life.  However, does that mean it is not art anymore? No, because the work itself still retains its ability to inspire, even if we are no longer receptive to it.  The difference between this section of brick wall and a work of art is purpose.  Whoever built this wall was working to construct a solid and safe shelter, inside which students at the college might practice their dance steps or something in the dance studio.  In truth, there is most definitely an art to brick laying, and in the act of constructing this strong and safe wall, but the wall in the end, is a wall.

Artist 4

Keith and Mendi Obadike have been creating a certain brand or interactive web-art for a number of years now.  The graphic to the left is an image from their web-game titled "The Pink of Stealth - The Fox Hunt".  According to the description given by the New Media Art link, the work focuses on and investigates issues and questions of race, age, gender, and sexuality.  They do this by weaving simple story lines through a complex combination of the web-based game, hypertext, and an audio mix.  When I visited the site, in order to see actually what it had to offer, I'm not sure I quite understood it.  I think perhaps my computer is not equipped with some of the correct technologies, in order to be able to view some of the aspects of the site.  What I was able to view on the site was the artist's explanation of what they were trying to do through their website, and I was also able to play the game.  Although the description of the game given on New Media Art implied a lot more going on than I saw.  As far as I could tell the trio of the horse and rider, the fox, and the hound progressed right, across the screen endlessly, passing pond, den, pond, den, etc.  If I clicked on the dog, he bit the fox, and the points for "unspeakable" increased by 20.  If I clicked on the fox, he seemed to become invisible, and when he came to a den he went inside, or at the water he was impervious, and "uneatable" gained 20 points.  This seemed to go on endlessly, and I did not see any hypertext floating across the screen as the description implied their would.  I think the idea behind Keith and Mendi Obadike's work is very interesting and important, because the questions raised in these issues is still extremely relevant.  However, I was less than satisfied with what I actually found at the website. link to the website

Reflection on the 20 Lines

It was interesting to think about each individual line communicating a meaning or a sentiment simply through its color and and its "personality." I tried to mix it up and experiment with different colors, and the sentiments of the individual lines by varying the line length and the speed with which I drew these lines.  Even still afterwards it seemed that the lines all seemed rather similar.  I noticed the same thing about quite a few of the other papers on the wall.  A lot of the "B"'s seemed to be congregated around smooth, soft, and mostly thicker lines.  This was interesting because, for me too, these stood out the most usually on the papers - also, these larger, softer lines tended to have brighter, happier colors, which made them more noticeable as well.  The "F"'s seemed to follow the same general guidelines, being attracted to the brighter, more noticeable lines.  However, whereas the "B"s tended to be single direction lines, the "F"s seemed to be more like individual designs within themselves.  i put my "F" next what seemed to be a spider web.  The "NT"s were definitely the most diverse.  It seemed to me that the concept of what was actually traditional was uncertain, at least in regards to this scenario, and so everybody interpreted it differently.  

Artist 3

0100101110101101.ORG is an artistic duo made up of Franco Birkut and Eva Mattes.  Their "artwork" all seems to be geared to the goal of removing the need for privacy that is so prevalent in human society.  And they seek to inspire the world to this destination by providing an extreme example in themselves.  From 2000 to 2003, they programmed their computers to display everything that happened on their computers on their website.  They completely exposed themselves and any and all personal or "private" information to the public, for them to take it and use it as they will.  I think this is all a very interesting proposition, and their work asks a few very serious and probing questions that should be answered.  Most likely answers will differ depending on the individual.  However, I don't know if I can consider this art.  Their is no creation here.  What is the actual "work" of art? A three year long progression of information across a computer screen? It seems to me its more of an expression of principle, an experiment of lifestyle.  And like I said these questions it asks are very interesting.  I think though that I would disagree with them again.  I concede that privacy to an extreme will inherently be harmful, because doubt will lead to many misunderstandings if people are not open with each other.  But we are individuals.  Intelligent beings, with unique psyches all our own, and an extreme in this direction, of utter nakedness, I think should lead to problems as well.  As in many things, I think moderation is the best road.

Scrap Book 4

Well at first it drew my attention because it is a bright red neon sign staring me in the face every time I walk down the hall to exit Dorchester.  Then I noticed it because I realized that, well, I don't think I would call it a work of art.  Though it is the tangible manifestation of an individual's hard work, his inspiration to build this object, I do not think it's art.  Every individual is unique, and so this force of inspiration, that compels the individual to create this work, works through each individual in a unique way.  And so an individuals work, to be called art, will be totally and truly his, perhaps with great influence from another source.  But in some way, he will be able claim it as his work, the work of his laboring hands, as well as the work of his creative mind.  

I do not know how many exit signs are in the world, but I know that there are two in my hallway alone, and besides that one is red and one green, they are completely identical.  Such entities have been made in the millions, all alike, so that they are uniform in their message.  The man who built this did not use any originality, and thus it is not art.  Most likely, they are no longer built by men, but rather by machines.  Even if it is not art, these exit signs are actually very important to the safety of individuals in our society.  Though we probably don't notice them half the time, because they are everywhere, it seems that in time of distress or danger they could become extremely helpful to survival, if thats the case.  

Scrap Book 3

I noticed this crack the ceiling while walking down the hall to my dorm, which is in Dorch, second left.  I noticed it because it just seemed so random really, because the people who constructed the dorm and installed the ceiling tiles probably did not intend for there to be a nondescript gash in the ceiling tile.  Rather, if the crack is not the result of time merely wearing away at the building, it was probably the work of an inebriated individual having fun.  I think most people walking down the hall would probably not notice such a trivial thing, and really I mostly noticed it because I was looking for things to photograph.  But I think that unless the crack either got a lot longer, or became dark and convex, as if swelling up with water, people would tend not to notice.  I don't know what the purpose of the little brown lines in the blank white slates are, but as far as I can tell they have no aesthetic value, and are just meant to be plain.  The crack, since it is most likely the result of time, and wear and tear, and is not the creation of any inspired individual, is not art.  

Growing Up Online - in response to

I think that social networking has not actually changed that much since the advent of MySpace and Facebook.  Before such phenomena, social networking, through technology, extended to phone calls and emails and fax machines.  These were used to contact friends and acquaintances, send information, and perform tasks that had previously been carried out all on paper.  Really, MySpace and Facebook could be seen as the next logical step in this progression.  For that is what it is.  It is not a break from the way things were done, it is merely the result of the incorporation of newer, more advanced technology.  This new technology has made these previously difficult process of exchanging information a breeze, extending the possibilities and creating a more immediate experience for those using these technologies.  Thus, we have virtual worlds.

Friend: It gives you a personal web page where you can basically put however much or little information you want about yourself. Mostly its a way to be able to connect with people, especially people you don't see everyday, like friends who went to a different college or something.

Parents: Its just a really convenient way to be able to talk with friends not going to college; to be able to stay somewhat in touch with them, its good.  And its safe, too, you can set it up so that no one can see your information without you accepting their "friend request."  

Grandparents: It allows me to talk with friends far away, to maintain that contact.  Haha, the world is still getting smaller.

Teen from the 50's: Imagine that chick you dig, right, the one from up town, goes away to college in like California or something, k?  Now imagine that you could still talk to her, every night even, if you wanted to, and she wanted to.  You wouldn't be able to hear her voice, but you would send her a note and she'd see it immediately, and then write back! And she would able to read your handwriting too haha. cool eh? 

Obviously Facebook compartmentalizes the way one displays images and/or info on the page, but that because it is basically a template.  I think this is a good thing, personally, just because it makes the exchange of that information more efficient and effective, because everyone's page is constructed the same.  I think if one wished to alter the design of the page then they should probably make their own actual page.  

Marshall McLuhan's statement that "medium is the message", in regards to a Facebook page, is implying, if I understand it correctly, that this phenomena of social networking through the world wide web will have similar consequences, regardless of the information/images that are or aren't displayed.  For the essence of McLuhan's argument is that it is not what you present but how you present it that makes all the difference.  Now, this has also been said in terms of quality: obviously something will have a different impact depending on the level of professionalism that is put into the work.  But McLuhan is referring specifically to the medium, whether it be film, paper, online, as the ultimate decider of the type of influence whatever is being presented will have.  For example, because communication through Facebook is so relatively immediate, language has been adapted to suit that speed, and thus we have btw, lol, brb, etc.  Not only is the actual communication immediate, but so is the accessibility of the information: birthday, school, favorite bands, email, and everything like that.  This makes everything very open.  Which is interesting because, at least in the documentary, many parents feel that as threatening, a sort of nakedness, if taken too far.  I think if these parents have grounds to argue that point, it is in the proliferation of images and pictures.  These are highly accessible, at least to accepted friends, and in some cases document far-reaching details into the individual's life.  However, in my experience, this openness seems to be largely confined to the web, and the traditional western standard of personal space and everything like that is very much still alive. 

Scrap Book 2

Art is the tangible manifestation of a creative force working in a unique way through each individual.  The purpose of art is to take us away from here.  And usually this means by inspiring us through stimulation of the visual and auditory senses.  If these claims are true, then this electrical box and pole are not to be considered art.  

The only purpose of this electrical box, located next to the path behind Dorchester is to allow an electrician access to the underground wires and cables providing Dorchester with electricity.  They are an essential piece to the functionality of the mechanism.  However, if it was not essential, and maintenance of the cables could be performed some other way, then this electrical would probably be done away with.  In essence, it is only there because it needs to be, not because someone was inspired to put it there.  And as far as I can tell the pole serves absolutely no purpose, except possibly to support the box, which seems to be leaning.  They are not meant to attract attention and are supposed to be and stay out of the way.  

They were not the manifestation of any inspiration, but out of necessity.  And they take us nowhere, rather, they try to avoid our awareness.  But their unforeseen inclusion in the frisbee golf course, they would do so very well.

Scrap Book 1

This is a photograph of a piece of gum that is who knows how old, and its been repeatedly smashed into the pavement out behind Dorchester.  I didn't really know what to look for, in order to find something that wasn't art.  Lately we have been talking about what art actually is, and this seems ingenious, to declare what is not art in order to able to more closely analyze what we could consider as art.  However, as we have been discussing what art actually is, I keep being drawn to the idea that anything, really, could be considered art.  Because if art is the tangible manifestation of a creative force working uniquely through each individual... well that covers a lot of ground.  When I saw the piece of gum, I realized that this was a perfect example of what art was not.  This piece of gum had been used to give pleasure to the chewer, and when the sad piece of gum lost its flavor, it was discarded and forgotten.  This thing is not a work of art, but a work of habituation.  You like the taste of gum, you chew it, it loses its flavor, you spit it out, you forget it.  Nobody would notice if that piece of gum just disappeared, because it is meaningless.  And art is not meaningless. 

OPUS - RAQs Media Collective

RAQs Media Collective is not the work of one or even a group of artists, but rather it is a community of artists and critics, all participating in a communal growth project.  As described in the New Media Art Wiki, it is sort of a Utopian experience.  Artists submit their work, and other artists are free to view, critique, and adjust, or appropriate these works in order to further their own works.  The hindrances of licensing and such have been done away with, and everyone is free to everything submitted.  The creators of OPUS describe it in a genetic metaphor, where the original artwork is the parent, and when the original has been adjusted to produce a child, it not a defacement or anything negative, but a new manifestation, its own work, that indeed drew some of its material from the parent.  In truth, I think this pretty much what has been happening in art since the beginning of time, since the beginning of artistic expression in humanity.  But I think this site has great potential, because it provides an outlet for often amateur and less connected artists, and an extremely direct way to be exposed to the work of peers, of fellow artists, creating a community where everyone can benefit from the communal interaction.  If Art is about sharing ones personal vision with the world, then there should be no selfishness inherent in that, for the creation of Art is the ultimate act of sharing oneself with the world.  This is a brilliant example of this principle, and I hope it inspires more forums that perform similar functions. link to the site

The Purpose of Art

Earlier in the semester we were contemplating what art actually is.  It seems that to define the purpose of art is to contemplate the same question, almost.  Yet for some reason, this one does not seem as complicated.  However, if we can adequately identify what the purpose of art is, we could apply that answer to the actual identity, and perhaps move in the direction of finding a definition for art.  In his article "What is Art For?", Mr. Waldemar Januszczak declares that the purpose of art is to "get us out of here", to transport one from his comfortable, habitual state of being.  To ask a question that may not change his outlook on life, but may indeed force him to reconsider his stance on that outlook, thus making him more sure of himself.  I like this definition, however, I would also include what I mentioned in the above entry: that art is a force working through the individual that manifests itself in a tangible subject.  This subject or object, no matter how abstract, asks the viewer a question, tells a story, does something very unexpected, and in doing so "gets us out of here."

Art21 viewings

After watching the mini-documentaries on these varied artists, I came much closer to a conclusion that I think I've been approaching for a while: that everyone is an artist, and art is a force that manifests itself in aesthetic and more or less tangible form; that rather than just the manifestation, it is the force. And this force courses through the individual who creates these pieces.  Thus the extremely varied takes and choices, the myriad works of what we call art.  For example, Vija Celmins is a painter who paints often repetitive scenes, often from nature, and many times over.  In the documentary she claims to have painted a shot of the night sky, with each and every star, about ten times or so.  She finds a challenge in the level of accuracy she can reach in her paintings.  I know that I'd probably soon go mad taking on a piece like that.  But she is compelled to paint these paintings, and this force inspires her.  Elizabeth Murray, also a painter, takes an almost opposite approach.  She begins with a vague sketch in her book, which is then made into a three dimensional composite of shapes.  It seems that the shapes retain their shape for the most part.  However, she seems to have little idea of how the shapes will be painted.  She just keeps painting it, changing it and changing until she reaches some sort of satisfaction and it's done, and the force compelling her to paint is sated.  Anne Hamilton works in the medium of cloth and film.  I really liked the analogy she drew about the cloth, that even when it is a giant woven fabric, you can still pick out each individual thread, and they are united.  I find her work to be especially poetic, as in the Myein installation in 1999 in the US Pavilion for the Venice bicentennial.  Each of her pieces tells a story, and even from piece to piece, this force of inspiration finds a different pathway through her heart.  Bruce Nauman seems to defy any categorization, in the conventional way, for he too seems to do whatever he may feel.  But that in and of itself is an expression of his soul, a manifestation of some unknown force inside.  Matthew Barney works primarily with film, and these films that he's made actually all flow into each other, and are all part of the same master work.  They are extremely strange, and extremely poetic, and an extremely unique vision all his own, that he is sharing with the world, through the manifestation of his art.