Conceptual Process

This is the blog for Karin Thiele Watson's COFA1002 site

[karintwatson]

A good resource of unfinished biz — a never-completed suburb. Pre-emptive ghost town!

Thanks to Astrid for this post

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Blur by Diller Scofidio Renfro

'visitors can drink the building'  

http://www.dsrny.com/

[karintwatsoncofa1002]

Blur by Diller Scofidio + Renfro (Rendering)

http://places.designobserver.com/feature/a-cloud-on-a-lake/19099/

[karintwatsoncofa1002]

Installation at the burining man festival, Black ROck City USE by THe Uchronians/Divers with Jan Kriekels and Arne Quinze, 2006

[karintwatsoncofa1002]

Tadao Ando: Church of LIght

Ando architectural work creates a “haiku” effect in which empty space creates strong simplistic forms.

 'haiku'  = Japanese for 'nothingness'

[karintwatsoncofa1002]

A Space to House Nothing 

http://www.bartlett.ucl.ac.uk/architecture/programmes/mphil-phd-studentwork/neil-wenman

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Week 10 Class Activties: Alien Methods

[vickybrownecofa]

Hi all

I have re blogged this from Vicky it provides a good overview of what we have covered and what you should include in you posts

Assignment 2 overview:

Due: Friday 27th 5 pm week 9

You need to present on tumblr 10 pieces of documentation that highlight conceptual processes you employed to create a finished work.

· Within your documentation you should refer to some of the themes presented in the course.

[karintwatsoncofa1002]

Some reminders about Project 2

Hi Everyone

I'm looking forward to seeing your work for Project 2 which is due this Friday.

Just to reiterate some of the key things that we discussed in class last week: Think of your 10 piece presentation as a description of the key elements and 'story' of, and behind, your work. A kind of book with chapters.

Now when you're describing a story or book to someone, you don't describe it chapter by chapter in a sequential way like this: (they'd be bored to tears):

"... in chapter one this man named Peter knocks on the door and gets murdered, and in chapter 2 his father goes looking of the killer in Ireland, in chapter 3 he discovers that Peter was married, in chapter 4 the father gets depressed because...."

You would rather describe the overall themes and elements such as:

"... the book is part thriller part love story. It is set in post war Ireland and centres around a character called Peter that is murdered by a local farmer. Peter's estranged father goes on this journey to find the killer and through this process enters a time of self discovery when he discovers Peter had a secret son..."

So when you select or create your 10 pieces, don't select them in a sequential "first I did this, then I looked at this influence and then I did this...." type of story. We can already see this sequential process from your tumblr if you have documented the process week by week.

What you need to do rather is select the key elements that represent and describe your work (the key 'story'). They need to reflect some of the conceptual processes and research that you explored in the process of coming up with your final work.

So don't show me the work or process that influenced it (I can find that in your tumblr from past weeks) - show me rather your interpretation or attempt at creating that process/research in your own work.

You don't have to come up with one final piece and 9 subsidiary pieces that lead up to it - they can be 10 final pieces which are variations of the same or similar themes, they can be in groups of 2 -3 explorations leading up to one piece, they can be 10 'views' or interpretations of the one idea, and so on.

Remember also that with academic research it is essential that you correctly cite/reference where you got your image or idea from.

Other key essentials that we spoke about:

- remember that research needs to be diverse (both in source - eg website, book, journal, visiting exhibitions, interviews, blogs, forums, magazines, video, galleries, etc) as well as context (eg theory, historical, cultural, social, art, design, media art, music, film, animation, prose, poetry, etc).

- For conceptual process, go through all those class and homework exercises that we did as a reminder of what options there were/are to explore.

Good luck! K

[karintwatsoncofa1002]

[karintwatsoncofa1002]

Minima Morialia 28 

http://minimamoraliaredux.blogspot.com.au/

Paysage. –  The limitation and shortcoming of the American landscape is not so much the absence of historical memories, as the romantic illusion would have had it at some point, but the fact that, like a virtual facade, it seamlessly presents itself with no trace of the human hand. This relates not merely to the absence of farm-fields, the stubbly and often tiny scrub-like forests, but above all the streets, open roads, and the more recent virtual highway known as the Internet. Such means for travel and communication are directly embedded within and over the landscape, and the more successful their smoothness and breadth, the more unrelated and violent they stand against the wild, overgrown surroundings. They are expressionless. They know no traces or marks of feet (though certainly wheels), no gentle paths along their edges as a transition to vegetation, no routes into a valley below, above, or on the other side of hyperspace; they lack that which is mild, softened, and rounded in things, upon which hands or their immediate tools, one would have expected, had worked. It is as if no-one had passed their hand over the landscape’s hair. It is uncomforted and comfortless. This corresponds to the manner of its perception through mediations that omit the necessity for travel in real space. For what the hurrying eye once would have merely viewed from the car cannot be retained with any real sense when one is willing to experience even road travel with the aid of Global Positioning Systems; the landscape vanishes, only leaving a streamlined trace on the data-banks, optimized for mining in future markets. A selective remix by Eduardo Navas, February 9, 2013. Text Source: Theodor Adorno, Minima Moralia, Marxists.org, Part I, Aphorism 28. Accessed December 28, 2012.    

[karintwatsoncofa1002]

Keeping It (un)real - The Gorillaz - the world's greatest live, pre-recorded, re-mixed, all-animated band - talk about sampling global pop culture.

God's little toys-  Confessions of a cut & paste artist.

QT - King of Thieves: Scene-stealing, Tarantino-style.

Spock the Sith Slayer - The mind-melding world of fan fiction.

[karintwatsoncofa1002]

Open Design Now: a collaborative effort of Creative Commons Netherlands, Premsela, the Netherlands Institute for Design and Fashion and Waag Society. Excerpt from Remix:

Remixing is something that comes from deep within us. A child learns by remixing his or her parents’ behavior. Nothing novel is so new it does not relate to anything remotely similar. Originality can be regarded a strange obstacle to innovation, comparing the Western world to China. The remixing mindset is an enormous source of creativity – the Chinese refer to it as Shanzhai. Would open design be possible without it? Would culture be possible without it? What is the difference between jazz and casemodding?

http://opendesignnow.org/index.php/tag/remix/

[karintwatsoncofa1002]

Droog Designs http://www.droogdesign.nl/

Chest of Drawers, Doorbell

Chair, Milk Bottle Chandelier

[karintwatsoncofa1002]

Etcc: Remixing the Visual Arts

In 2010, Australian Research Council Center of Excellence for Creative Industries and Innovation, ccAustralia and etcc project coordinators Benjamin Reeve, Skye Reeve and Elliott Bledsoe received funding in the inaugural round of theCreative Commons Catalyst Grants. The succesful application pitched for a touring remixable art exhibition that explored ideas of creation and appropriation in the visual arts sector.

The following year, etcc 
hosted
 three
 consecutive
 exhibitions
 in
 Sydney,
 Brisbane
 and
 Melbourne
 featuring
 a
 body
 of
 new
 works
 that
 explored
 the
 realities
 of
 copyright
 in
 the
 visual
 arts.
 Each
 artist
 took
 Creative
 Commons
 licensed
 images,
 created
 new
 work 
based 
on 
those 
images,
 and 
in 
turn
 licensed
 their 
own image 
for 
others 
to 
remix
–
legally.
  Through 
this
 process,
 the
 project
 utilized emerging
 copyright
 practices
 to
 demonstrate
 new
 models
 of
 distribution,
 collaboration
 and
 commerce.
The project also illustrated the notion
 that
 many
 works
 are
 derivative
 in 
nature.

You can check out the artwork and read more about the etcc project, which has been documented on the project website http://etcc.tv/.

Image: “The Hungry Beast” by Cezary Stulgis. Metal Sculpture. 2011, licensed under CC BY 3.0 Licence.