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[slowartday-blog]

Roman Ondak - Room of Heights 

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Michael Vincent Manalo

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Yuken Teruya

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Dawn Clements

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Fountain by Duchamp

Fountain, 1917

Duchamp's most famous work, from discussion between Duchamp and his American friend the collector Walter Arensburg and Joseph Stella.

Later in life Duchamp commented on the name of the alter ego he created for this work: 'Mutt comes from Mott Works, the name of a large sanitary equipment manufacturer. But Mott was too close so I altered it to Mutt, after the daily cartoon strip 'Mutt and Jeff' which appeared at the time, and with which everyone was familiar. Thus, from the start, there was an interplay of Mutt: a fat little funny man, and Jeff: a tall thin man ... I wanted any old name, And I added Richard [French slang for moneybags]. That's not a bad name for a pissotière. Get it? The opposite of poverty. But not even that much, just R. MUTT.' (quoted in Schwarz, p.649.) Duchamp's use of a false signature, 'R. Mutt', anticipates his adoption of the alter ego Rrose Sélavy a few years later (indeed, in a letter of the period Duchamp referred to Mutt as a woman). Some commentators have noted how the inverted urinal resembles a female body, and see this as reflecting the play with gender boundaries which was an important leitmotif of Duchamp's career.

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thoughts on IPS

its a good way to write down some thoughts.

talking about the conflicts between conceptual art and traditional art and the despise and ignorance of the aesthetic tastes, as a student who have been trained with traditional drawing skills for years, i tend to think that great art works are formed by aesthetic tastes should not be despise. 

In order to get to know something, the best thing to do is practise. Therefore, in order to find the possibilities existence of pure aesthetic art in contemporary art world, the first thing i should do is to get to know the main trend of contemporary art world nowadays-conceptual art. As the first stage of practise, i would like to work in a conceptual way, create art works by initial ideas and regardless of the materials. the second stage would be develop the art works further with my own aesthetic taste, kind of like a recreation by combining them both. Then the possible outcome could be either the works i create themselves, or a book documenting the processes of this exploration.

Next Step

research on artists' works (conceptual artists, traditional artists)

Jay DeFeo ( American painter and sculptor, famous for 'The Rose', which the artist had spent eight years painting and eventually became a sculpture. )

Steven Asseal (realism)

LiJun Fang

MinJun Yue

Ai Weiwei

Marina Abramovic (American artist, mother of contemporary art)

Hope Gangloff

Andy Warhol

Joseph Alberts

Barbara Kruger

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IPS draft

thoughts on IPS projects. 

The dissertation would aim to argue about the possibility of pure aesthetic arts in contemporary world. It would be taking consideration of the conceptual artist Joseph Kosuth's theory "All art (after Duchamp) is conceptual (in nature) because art only exists conceptually."

The appearance of conceptual art has emerged the de-materialism, which has several principles:

a) shifting the focus on materials to the focus on cencept.

b) aiming to show less to convey more

c) making the meaning of the materials unfamiliar or use materials in a different way.

Which means that they persevere on the dominance of ideas over materials.

To a certain extent, it has been said that conceptual art was derived to against traditional art. Traditional artists tend to select their materials and equipments based on their aesthetic taste. In order to challenge the traditional art, the conceptual artists avoid to select materials according to their own taste. Moreover, they mostly use readymade materials to present the visual indifference.

My initial impression for pure aesthetic art would be art works like landscape and portrait paintings in the old ages, or decorative art. By thinking of those paintings i tend to believe that artists works in a traditional way would start their work from their own aesthetic sense for objects. They focus on the pigments, colours, techniques, and so on. Therefore, the art works are dominated by the artist's aesthetic. Then when the art works are seen by the audience, thy communicated with them, concepts or perspective of the works started to form. But being conceptual is not the nature of those art works.

oppositely, graphic design is formed by ideas.

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Dinosaurs and city illustrations by Britain illustrator Andy Council.

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Walking Shadow Series by American designer & illustrator Jason Ratliff.

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a video explaining the film interference.

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Processes of photographing the soap film

1. Location

The patterns created by light only appear on a certain angle, approximately 45 degree. Avoid direct sunlight. Using black foam board as background. 

2. Camera Setting

Using Manual exposure (M) and set an aperture of f/10 and a shutter speed of at 1/90 sec. Setting ISO 1000 seem to get the best result among all the tests.

3. 

Remove the paper on the black foam board, cut out a rectangle shape, place it into the bubble liquid and leave it a few secs for soaking.

By repeating the shooting processes I have done several groups of experimenting photographs. 

So next step would be finding a way to organise to photos, such as following the pattern of the light waves. 

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Experiments on Soap Film with Macrophotography

Original photos I took from the experiments, planning to play around with them and create patterns tmr.

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Next Step

After looking at the spectacular macrophotography of the soap bubble, the colours and patterns were extremely beautiful therefore I think it would be wonderful to make repeating patterns out of them. Although they are patterns already, it would be nice if they could be organised in a percific order (maybe according to the movements of the light wave). 

During the looking at the researches of soap film and bubbles, I found an article by Michael Reese Much which has clearly explained the method of producing macrophotography of soap bubbles. 

Therefore, I decided to experience it myself, and create macro-photograph of bubbles and get prepare for creating patterns.

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Patterns of Soap Bubble with Macrophotography

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About Soap Film

The iridescent colours of a soap film are caused by interfering of (internally and externally) reflected light waves, a process called thin film interference and are determined by the thickness of the film. This phenomenon is not the same as the origin of rainbow colours (caused by therefraction of internally reflected light), but rather is the same as the phenomenon causing the colours in an oil slick on a wet road.

Physics of Soap Bubble

Merging 

When two bubbles merge, they adopt a shape which makes the sum of their surface areas as small as possible, compatible with the volume of air each bubble encloses. If the bubbles are of equal size, their common wall is flat. If they aren't the same size, their common wall bulges into the larger bubble, since the smaller one has a higher internal pressure than the larger one, as predicted by the Young–Laplace equation.

At a point where three or more bubbles meet, they sort themselves out so that only three bubble walls meet along a line. Since the surface tension is the same in each of the three surfaces, the three angles between them must be equal to 120°. Only four bubble walls can meet at a point, with the lines where triplets of bubble walls meet separated by cos−1(−1/3) ≈ 109.47°. All these rules, known as Plateau's laws, determine how a foam is built from bubbles.

Stability

The longevity of a soap bubble is limited by the ease of rupture of the very thin layer of water which constitutes its surface, namely amicron-thick soap film. It is thus sensitive to :

Drainage within the soap film: water falls down due to gravity. This can be slowed down by increasing the water viscosity, for instance by adding glycerol. Still, there is an ultimate height limit, which is the capillary length, very high for soap bubbles: around 4 meters. In principle, there is no limit in the length it can reach.

Evaporation: this can be slowed down by blowing bubbles in a wet atmosphere, or by adding some sugar to the water.

Dirt and fat: when the bubble touches the ground, a wall, or our skin, it usually ruptures the soap film. This can be prevented by wetting these surfaces with water (preferably containing some soap).

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Soap Bubbles

A soap bubble is a very thin sheet of water sandwiched between two layers of soap molecules. The film of soapy water surrounds a bubble of air. Soap molecules have one end that repels water, and one that attracts it, and these molecules move to the inner and outer surfaces, thrusting their water-repelling ends out into the air, and their "heads" inwards. Without such molecules on the surface, the bubble would spontaneously break apart into tiny water droplets. Surface tension causes the bubble to be spherical, which is the shape that gives the minimum surface energy - the lowest ratio of surface area to volume.

The Cause of Colours

The thickness of the film - or rather, its thinness - determines whether iridescence is apparent. Light is reflected from both the inner and outer surface of the soap bubble.

When an incoming ray of light strikes the outer surface of a bubble, part of the light ray is reflected immediately, while the other part is transmitted into the soap film. After reaching the inner surface of the film, this transmitted light ray is reflected back toward the outer surface. When it leaves the bubble, it travels in the same direction as the ray that was immediately reflected and is, therefore, parallel to that ray.

If these two rays of light are reflected back so that their wavelengths are "out of phase" with each other, the second ray will partly cancel out the reflection of the first ray. This is called destructive interference, which results in a reduction of color intensity. If, however, the wavelengths of the two reflected rays are "in phase," they will enhance each other. This is called constructive interference.

The light rays that are reflected off the inner surface of the bubble travel further than the light rays that are reflected off the outer surface. Some wavelengths will interfere destructively and others constructively, depending on the extra distance traveled by a transmitted-and-reflected ray. Whether the reflected rays are in or out of phase with each other depends on the extra distance (through the film and back) that the second ray must travel before rejoining the first ray. This distance depends on the angle of the incident light and the thickness of the film.

White light is made up of different colors, corresponding to specific wavelengths. As the film thickness changes, the extra distance the ray must travel changes. Interference is constructive when the total extra distance matches a specific wavelength of light, and is destructive when it is half a wavelength. So if white light shines on a bubble, the film reflects light of a specific hue, and this hue changes with the film’s thickness.

The iridescence of a soap bubble, which seems to contain a wealth of changing color, stems from light striking the bubble from varied angles. The path length varies with the angle of incident light, giving varying path differences for the internally and externally reflected rays at different points on the bubble. This means that, even if the soap film is of uniform thickness, different colors can be seen. Light entering the bubble directly travels a shorter path than light entering at a wider angle. This allows different wavelengths to undergo constructive and destructive interference, so different colors are perceived.

Colour Changing

The colors of a bubble are dependent on the thickness of the film. A bubble becomes thinner and thinner as it dries out (due to evaporation), before finally popping. As the surface film of the bubble becomes increasingly thinner, a change in overall color can be seen. Thick walls cancel out longer wavelengths in the red range. As the bubble film gets thinner, yellow wavelengths are cancelled out. As it gets even thinner, green light is lost. Beyond this point, even shorter wavelengths in the blue wavelength range disappear.

The resulting colors are a combination of the colors that do not undergo destructive interference and their degrees of constructive interference. Blue-green colors dominate in thicker films and yellow hues in thinner films. Eventually, the film becomes too thin to create interference of visible wavelengths, as all wavelengths are cancelled out. At this point the bubble appears colorless. Against a black background the bubble surface could appear black.