Assessment 3
Final Publication - Jenny, Yvonne, Sophia, Vicky
“Beyond Human, 2015”

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Cosimo Galluzzi

shark vs the universe

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One Nice Bug Per Day

Product Placement
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Cookie Run:Kingdom Official!
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2025 on Tumblr: Trends That Defined the Year

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Assessment 3
Final Publication - Jenny, Yvonne, Sophia, Vicky
“Beyond Human, 2015”
Process
Our Facebook group's discussions
This game sets in the future, where android is prevalent in the society. Kara is a freshly produced android with artificial consciousness, discovering how it is to live among humans in Detroit, USA. She struggles to find her place as an autonomous android in a world where androids are still without consciousness and considered as practical tools to improve the comfort of humans. This video serves as an inspiration for our publication, where someday robots might have consciousness as humans do.
Assessment 3 Due Date
From Clare Milledge:
Assessment task 3 is due on October 30th before 6pm. This is for all tutorials.
You will need to upload the PDF to Moodle. An assignment box will become visible by the end of this week in the “Assignments” section.
Only one student from each group needs to upload the PDF, but make sure all your names are on that document!
Maximum file size 200MB
Please use the following format for the file name: Tutorname_Groupname_Student'sLastName.pdf
eg. Watson_FutureCities_Philips.pdf
This will ensure we can locate your document quickly.
Make sure you double-check your document has uploaded correctly so you don’t lose marks for lateness.
CONCEPT STATEMENT
Bibliography
Chapman, J. (2005). Emotionally durable design objects, experiences and empathy. London: Earthscan.
Duve, T. (1991). Pictorial nominalism on Marcel Duchamp's passage from painting to the readymade. Minneapolis: University of Minnesota Press.
Hiebert, P. (2014, February 21). A History of Humans Loving Inanimate Objects. Retrieved September 12, 2015, from http://www.psmag.com/health-and-behavior/history-humans-loving-inanimate-objects-75192
Jabr, F. (2013, December 2). Why Life Does Not Really Exist. Retrieved September 12, 2015, from http://blogs.scientificamerican.com/brainwaves/why-life-does-not-really-exist/
Marten, G. (2001). Human ecology: Basic concepts for sustainable development. London: Earthscan Publications.
Moran, A. (2014). Love objects: Emotion, design, and material culture.
Reinventing the wheel: The Readymade Century. (2012). Retrieved September 14, 2015, from http://www.monash.edu.au/muma/assets/pdfs/2013/readymade-education-kit.pdf
Richterov, V. (n.d.). PET-ART sculptures. Retrieved September 14, 2015, from http://www.veronikarichterova.com/en/my-works/pet-art-sculptures/
Sierzputowski, K. (2015, July 23). Artist Buys Billboard Advertising Time to Display Art Instead of Ads on Massachusetts Highways. Retrieved September 16, 2015.
Weintraub, L. (2012). To life!: Eco art in pursuit of a sustainable planet. University of California Press.
FINAL WORK
“Lest We Forget”, Installation
FINAL WORK
“Lest We Forget”, Portraits of the objects
FINAL WORK
“Lest We Forget, 2015, 64 seconds video”
Research - Reimagine object
Article: “A History of Humans Loving Inanimate Objects”
By Paul Hiebert
Around mid-February, someone on Reddit posted a meme that declared the following: "Sometimes, when I grab a cup from my cabinet, I will grab one that's in the back and never gets used because I think the cup feels depressed that it isn't fulfilling it's life of holding liquids."
The sentiment proved popular. "I used to work at a toy store and if anyone ever bought a stuffed animal I would leave its head sticking out of the bag.. so it could breathe," commented one Redditor. "I actually cried when we switched microwaves when i was a kid. I felt like we should have given it a proper burial or something," wrote another. "I feel bad for inanimate objects all the time," confessed yet another. Hundreds of other comments carried on in a similar vein.
Why is this? Why do some of us sometimes sense a pang of guilt for throwing away a pair of worn-out shoes or neglecting to use a new set of headphones? We know these things are without joy or loneliness, yet every now and then our emotions inform us otherwise. Perhaps this is the result of all those Disney films featuring a motherly teapot or brave little toaster.
History, however, suggests this behavior predates any cartoon depiction of household items with people-like personalities. From the worship of idols to an animistic worldview, various cultures from around the world have long believed that material objects either contain spirits or possess some kind of special connection to supernatural beings that act on their own accord.
Despite the book's title, anthropologist Stewart Guthrie's Faces in the Clouds: A New Theory of Religion, for example, continues the perennial argument that the foundation of religion comes from our tendency to ascribe human characteristics to non-human things. Indeed, in an article published by the journal Current Directions in Psychological Science, researchers from Harvard and the University of Chicago say the term “anthropomorphism” originated with the ancient Greek philosopher Xenophanes. Only now, around 25 centuries later, they contend, are psychologists beginning to study this idea—and its inverse, dehumanization—in earnest.
From the worship of idols to an animistic worldview, various cultures from around the world have long believed that material objects either contain spirits or possess some kind of special connection to supernatural beings that act on their own accord.
"My take, which isn't super exciting, is that this is basic human nature," Shax Riegler, the executive editor of House Beautiful magazine and a Ph.D. candidate at New York City's Bard Graduate Center, told me over the phone. "Some people definitely have these feelings more strongly than others, but I think it's pretty common."
A few years ago, Riegler taught a graduate-level course titled "Psychologies of Things: Emotion, Perception, and the Life of Inanimate Objects," which explored the relationship between people and the stuff around them. One concept the class examined, Riegler says, was something called the transitional object, introduced by British pediatrician and child psychoanalyst Donald Winnicott in the mid-1900s. As an infant gets older, the theory asserts, she discovers her independence from other entities, especially her own mother. To ease the anxiety that accompanies this revelation, the infant will often transfer her maternal bond onto a favorite teddy bear or blanket. From our earliest years, then, it appears we enter a process of projecting living qualities onto non-living things.
Eventually, infants begin to separate the animate from the inanimate. According to one study on cognitive development, researchers from Montreal's Concordia University found that nine-month-olds could distinguish between the two based on motion cues. Earlier research, however, suggests that while a three-year-old might understand most aspects of this distinction, they still might not grasp that an oven doesn't contain a brain, for instance.
In recent years, television shows such as National Geographic's Taboo have introduced viewers to a man who shares a romantic and sometimes sexual relationship with his car. BuzzFeed published an entire list of people who get intimate with inanimate objects. Then there's the documentary Strange Love: Married to the Eiffel Tower, which profiles a woman who apparently senses a deep connection with public structures. "Despite our vast differences, we are very much in love, and our love in itself is no different from any other love that exists between two beings," she says about the Golden Gate Bridge as the film begins.
Another way of approaching this propensity to infuse objects with feelings is through synesthesia, a neurological condition that activates certain senses in an individual when he encounters certain stimuli (e.g. numbers become inseparable from particular colors; a note on the piano elicits the taste of lobster). In one case study, researchers in Canada examined a patient with synesthesia who claimed to experience distinct, stable personalities in letters, shapes, and furniture. Upon testing, her perspective remained consistent for both familiar and novel objects. While the study makes no claims that all people with this condition are prone to thinking of ottomans as angry or triangles as shy, NPR reports that approximately one in every 27 people have some version of synesthesia.
And as for that Redditor who thought his or her old microwave deserved a proper burial, well, it turns out some people in Japan participate in Hari-Kuyo, also known as the Festival of Broken Needles, whereby participants hold a memorial service for worn-out needles and lay them to rest in gratitude for their years of service.
While some of these relationships seem a bit suspect, they do demonstrate what can happen when people personify things to the extreme. If anything, these examples show how far the human imagination can go (or how desperate some people are for attention). And though it's not clear how many people view inanimate objects as having rich private lives or how often, all of the above suggests the phenomenon is neither new nor unusual. We are emotional creatures, and our emotions involuntarily attach themselves to all sorts of things, from places we've visited to a pair of earrings grandma left behind after she died to a cup located near the back of the cabinet.
Interesting article I found that discusses the study of why humans may have emotional attachment to inanimate objects. Since I was young I found myself bonding with my personal belongings such as dice and swimming pool ball, I didn't really understand that feeling but I felt like there was a connection. Now I feel that the reason might be that I have some special memory associated with a specific object, and I might’ve felt that it is unique or irreplaceable. The writer comments that humans have a huge imagination, and maybe that has something to do with that? Afterall, we are emotional creatures and will find emotional attachment to the particular objects around us in different extent. I further research into what makes a sustainable design, and how to achieve it.
I have been fascinated with living things since childhood. Growing up in northern California, I spent a lot of time playing outdoors among plants and animals.
Research- What is alive or dead?
From the beginning of this project, I have been fascinated by what is reality. This article provides some arguments of why humans does not actually exist. He explains that there is no universally accepted definition of life, as he defined beings or humans as complex machines, and the way we consider the inanimate or the latter is dead.
Research: Marcel Duchamp
Duchamp’s work is characterized by its humor, the variety and unconventionality of its media, and his challenges to push the boundaries of what defines art. His legacy includes the insight that art can be about ideas instead of worldly things, a revolutionary notion that would resonate with later generations of artists. Seeking an alternative to representing objects in paint, Duchamp began presenting objects themselves as art.
He selected mass-produced, commercially available, often utilitarian objects, designating them as art and giving them titles. “Readymades,” as he called them, disrupted centuries of thinking about the artist’s role as a skilled creator of original handmade objects. Instead, Duchamp argued, “An ordinary object [could be] elevated to the dignity of a work of art by the mere choice of an artist.” The readymade also defied the notion that art must be beautiful. Duchamp claimed to have chosen everyday objects “based on a reaction of visual indifference, with at the same time a total absence of good or bad taste….” In doing so, Duchamp paved the way for Conceptual art—work that was “in the service of the mind,” as opposed to a purely “retinal” art, intended only to please the eye.
Research : Object As Art
Tracey Emin's sculpture My Bed (1998) is exactly what it sounds like: the work consists of the artist's freshly slept-in bed, with crumpled pillows, disheveled sheets, and dirty tissues and other junk (including sanitary items, prophylactics, and liquor bottles) strewn around the footboard. When it debuted at 1999 at London's Tate, it created an instant commotion in the media—according to the Sunday Mirror, the piece prompted thousands of grumbling letters from readers about the "so-called art work." Meanwhile, a "furious housewife" was apprehended by museum staff when she attacked the piece with cleaning products.
THE READYMADE
All of which is to say that My Bed is the kind of artwork that prompts the timeless response: But is it art? To which we reply: Of course it is—because Emin said so. But there's more to the story. The key to fully understanding the complex operations of contemporary art that may, to the untrained eye, seem lawless and unskilled, is to understand the concept of "the readymade" in the history of 20th-century art.
Duchamp's Fountain of 1917 is the artist's—and perhaps the world's—most famous readymade sculpture. Duchamp submitted the work, simply consisting of a porcelain urinal that's been placed on its back on a pedestal and signed "R. Mutt" by the artist, for an show at the Society of Independent Artists in 1917. It was rejected by the exhibition committee, but is now considered a foundational work for much of the artistic experimentation over the past century. Other items that the artist transformed into "pure ready-mades," as he called them, included a bottle rack (Bottle Rack, 1914) and a snow shovel (In Advance of the Broken Arm, 1915). Duchamp's appropriations of everyday objects had far-reaching implications, and continue to shape the conversation around art today as a primarily intellectual, rather than strictly material, pursuit, a product of the artist's mind rather than one of manual skill honed to technical perfection. (“I was interested in ideas—not merely in visual products,” said Duchamp.) Almost immediately, artists associated with European Dada took up the torch from 1916 through the 1920s, resulting in works like Man Ray's The Gift (1921), a flatiron with brass tacks attached to its underside, rendering it bizarrely useless. Later, in the '50s, the artist Arman embedded money, garbage, and entire cars inside his sculptural works.
EVERYTHING BECOMES ART
The '60s saw the Duchampian readymade extended into the world of commercial goods with the age of Pop. Andy Warhol is the best-known practitioner of appropriating images from popular culture, but his work focused mainly on reproducing images; whereas artists like Marisol Escobar, at the same time, incorporated objects bottles of Coke and other consumer items directly into their works. Italian prankster conceptual artist Piero Manzoni famously challenged the idea of the readymade in 1961 when he made Artist's Shit (Merda d'Artista). Manzoni's specious claim was that he had actually canned and labeled his own excrement, poking fun at the idea that any item touched by an artist could be transformed into a great work of art—while also, ironically, taking the same notion to its logical extreme. His joke continues to be played out in the market: a can sold for $ 166,618 at Sotheby's in 2008. In many ways, the readymade is the direct ancestor of all conceptual art that followed, in that it allowed artists to consider and refine the crafting and presentation of an idea rather than focusing on material means. Conceptual art in the '60s and '70s focused on "the dematerialization of the art object"—in the phrase of critic Lucy Lippard—in favor of documentation of ideas, actions, and processes as artworks. However, the material-centric history of the readymade actually played a major part in this shift, as illustrated by works like Michael Craig-Martin's An Oak Tree (1973). In that work, Martin displayed a glass of water alongside a text proclaiming that he had "changed" the glass of water into an oak tree, setting the mundane material reality of his work in stark contrast with its conceptual presentation.
Experiment
In this experiment I was inspired by the artist Yukinori Yanagi who uses ants to manipulate national flags. He created custom ant farms with colored sand and used the natural lifecycle of ants to manipulate images rendered with the sand. His work using national flags is some of his best. Soviet banners assembled into a pyramid. Japanese Hinomaru fractured by tunneling ants. The strong symbolism inherent in banners and flags lends the work a lot of power. The ants show us that even things that once seemed unshakable are susceptible to decay and eventual ruin, even at the hands of seemingly tiny, insignificant forces.
I intended to make the imperceptible into visible by using almond extract and sugar, which is transparent I formed the word “DEAD”. The aim was to attract ants that would consume and outline the shapes of the letters, exploring the statement of what is dead or alive. I left it in the park behind the bushes where ants would normally appear for a few hours, however I failed to remember that outside is raining and the whole letter forms were smudged out.. While this experiment kind of failed, it did attract quite a lot of ants and I decided to bring the tray back home film their movements, attempting to collaborate with living beings and incorporate with the song ‘IS,1969’ from avant-garde Jazz musician, Chick Corea as it compliments their whimsical movements.
Experiment
These works explore the idea of Do It Yourself art that may allow the audience to form into whatever shape they wish to create the emotional attachment or uniqueness to the user, the second one is the result of letting my participants manipulate the wires.
JANET LAURENCE’S ‘HOSPITAL FOR THE REEF’ IN PARIS
UNSW Art & Design graduate Janet Laurence’s Deep Breathing (Resuscitation for the Reef) will present one of Australia’s greatest natural wonders to an international audience when she participates in Artists 4 Paris Climate Change 2015 from November 30 to December 11.
More Info.
EXPERIMENT
In this experiment, I investigated different materials including foil, cardboard and cans which I collected throughout the year. I attempted to create the shapes of my drawings of organic form imitating different pattern of stones, by manipulating the shapes of the cans and using a heatgun, I create a sculpture using recyclable material. However, I find that soda cans are really hard to use, throughout the process they kept falling apart and is structurally unstable.