work in progress

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acousmatic - week 05

Acousmatic - talking behind the screen or an unseen source

Diagetic vs non-diagetic

Francisco Lopez aural performance Jonathan Bepler, Transient Symphony 2003 - environmental sound work traffic to countryside Michel Chion Tik-tok Acousmatic Diagetic - on-screen source, characters’ dialogue, footsteps Non-Diagetic - added in, music, voiceover Punctum - via eyes or ears, difficult to name, symptom of disturbance Phantasmagoria

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theory and practice - week 05

Proposal - 3 Questions:

What am I going to do?

How am I going to do it?

How will it be presented?

Self-set deadlines on a timeline PPT or PDF presentation can be form of a zine or artist book or blog Sketch to scale Mock-ups CV at end ?? Make the proposal a beautiful artwork in itself. Roland Barthes - Camera Lucida

“posing” - making another body photographic ritual my self -> my image photograph turns us into object essences + aesthetics historical signifiers eg. sepia toned studium - context punctum - captures your attention and imagination Treachery of Images - Rene Magritte to confuse + mystery representations are not the real every artwork is a portrait of the artist

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progress report - week 05

I have selected the final 10 photographs for my project and fine-tuned the contrast on a select few. Also, I have decided to present these on a grid then zoom in individually. Still no idea for a title though!

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intermedia IRL/URL - week 04

What is a photograph?

light captured on light sensitive material (film/sensor)

frozen moment of time

Think of how you represent yourself - branding

Cinopticon - Giselle Stanborough

Dada + Futurism Art is elitist and classist Dick Higgins + Fluxus -> intermedia “The Happening” - Allan Kaprow How do you describe your audience? viewer, observer, beholder, participant Hans Breder

Nam June Paik Carolee Schneemann Dumb Type 1994 Gulf War made for television Blast Theory - Desert Rain Walid Raad - Atlas Group Amalia Ulman Juliana Huxtible Rhiannon Armstrong

“Waiting for the Internet” - João Exuto Gabrielle De Vietri - lecture performance overlap

post-internet art

How do we know what is real??

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darkroom adventures - week 04

In week 03 we were able to develop our own 35mm film. This week, we were able to print our proof sheet.

In the first test strip, 15 - 20s seemed ideal for my proof sheet. But to be more specific, I then took another strip and exposed it entirely for 15s then in 1s increments. From that I decided that 17s is the best for my proof sheet.

I can’t wait to spend more time in the darkroom next to enlarge. I already have a photograph in mind!

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title pending - week 04

After my studio session last week, I was able to produce these three images. David pointed out that I should be careful of framing and tonal range. Admittedly, these did turn out quite dark though I am attracted to the mystery it brings. The next thing I have to figure out is what do I call this series of images and how will I present them? David grabbed a book from his bookshelf by Susan Sontag called Styles of Radical Will to demonstrate how we can easily pick a random page and find a fitting title to our works. However, I am not having much luck with the books I have in my own collection. He then went on to suggest that 10 images would be a good number for my series. Advice to young artists: Build a good name. “Routine is the end of everything.” - Marina Abramovic The Case for Video Art Sony Portapack - portable video camera Nam June Paik Shigeko Kubota Joan Jonas - vertical roll The Case for Conceptual Art Sol Lewitt Joseph Kosuth - chair

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performance - week 03

e-flux.com frieze.com artalmanac.com.au malleability photograph as performance futurists productions and dada Anthony McCall - Line describing a cone

*** HYBRIDITY *** SCULPTURE + PHOTO

Tehching Hsieh - Time Clock Piece

Sophie Calle - interpretation

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library walkthrough - week 03

information -> inspiration

use keywords studio lighting, surrealists 1930s, site-specificity, projections, performance art, colour theory using images ethically CRAP C - currency - when it was written R - reliability and relevance - evidence A - authority - who wrote it - what expertise do they have P - purpose/point of view - who was it written for? - why was it written? - biases?

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feedback - week 03

With my project, I wanted to showcase an alien landscape or terrain but after showing my trial shots to David, he narrowed it down specifically that they resembled asteroids. I think this will help me explore my idea further and take more resolved photographs in the studio time that I booked for this week. How will I present these? Will I name them?  Inventing the imaginary Gabriel Orozco - table tennis pond

Annette Messager - hanging

Bernd & Hilla Becher - Gas tanks

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imagined landscapes - project 01

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materiality - week 02

Photography is an everyday medium - pervasive

Thomas Ruff - jpegs series, 2004 grain versus pixel “stupid square” Andy Warhol - Screen Test series - the idea of not performing Rebecca Baumann - Automated Colour Field, 2011

How can we produce an image without traditional apparatus? -CODING-

David & Jaki - Boy have we got a vacation for you, 2005 Thomas Demand - banal recreation

Tension in a still image

Photogrammetry

Anachronistic approach?

***IMAGE THROUGH SCULPTURE***

Ryoji Ikeda - Transfinite

Beauty of imperfection Materiality vs immateriality Respond to immateriality of current media

Sonification ***SOUNDS OF SUBURBIA*** What does an image sound like? Hiding the process

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notes on glitch - week 02

Notes on Glitch - Hugh S. Manon and Daniel Temkin Glitch is “bad data” “a program’s failure to fully fail”

Reed Ghazala 1960s - electronic noise using guitar pedals Photos edited in sound programs, music edited in Photoshop Nam June Paik Triggers glitch versus creating glitch

Glitch art = fishing - “casts forth the line, not knowing what if anything will be reeled in.”  Constant experimentation Analog to digital (re)production

Analog punks digital - glitch upsets the proper

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single lens reflex - week 02

SLR = single lens reflex 45° mirror that lifts up to let light through as the shutter opens optical viewfinder ISO - film speed - sensitivity to light ie. ISO 100, ISO 800 aperture - size of lens opening ie. f/1.4, f/16 shutter speed - amount of time the shutter is open ie. 1/250, 1/1000 (of a second)

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create new existence - week 02

In Week 02 we looked at various ways that images can be made, with or without a camera. In this age we have 3D technology, allowing for camera-less production. Images can also be printed then transformed into an object.  3 stages: Pre-production Production Post-production The difference between taking an image versus making an image, The artist acts as a director.

Photographic Surrealists 1920s-1930s Florence Henri - everyday objects aesthetics Edward Weston - Pepper No. 30 1930 Brassai - floating objects Etienne-Jules Marey - Fillets of Smoke

gravity defying

Talia Chetrit - decontextualising, creating new existence Jacky Redgate - mirrors Photomedia is conscious image making CURRENT IDEA ***SIMULATED LANDSCAPES*** cliffs - stone - desert

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exercise one - self audit

working with performance

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bill henson

Most of my personal work is presented as diptychs and after discussions with John, I expressed that I felt diptychs weren’t  a ‘strong’ enough deviation of the  photographic medium. I envisioned literal 3D expansions of the image but then I felt it too literal. He then steered me towards the work of Bill Henson. I am familiar with a lot of his famous work but these are the ones that John had in mind -

Bill Henson Untitled 1994-95, type C photograph, adhesive tape, pins, glassine, 250 x 244.3 cm Roslyn Oxley Gallery

Bill Henson Untitled 1997 National Gallery of Victoria

[images censored by tumblr]

These narratives are not confined to your standard rectangular borders and the visible assemblage of different sceneries give these characters otherworldly existences.

For my work I would like to reach a similar stylistic approach of breaking physical barriers.

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expanding the field - week 01

What is a photograph when removed from its borders?

Our first project this semester revolves around reimagining our chosen mediums and exploring the idea of hybridity - the photograph as object (sculpture), or the photograph with movement and narrative (screen arts) - a transformation.

Maybe a way of expanding the field could be through experimentation and interactivity.

How does image currently exist in the world and how does it frame the world?

In the reading, Eastman Museum A matter of memory: Photography as object in the digital age, various artists speak about the medium’s metamorphosis from print to digital and society’s relationship to memory. 

“Digital photographs appear and disappear faster requiring short term attention” - Mladen Bizumic

“Photography as process” - Ellen Carey

“Digital is different species to prints” - Leana Letinsky

“Digital image does not have a fixed body” - Lilly Lulay

“A photographic print is less fleeting” - Nick Marshall

“Sensory experience - touch.” - Diane Meyer

“Where the past lives” - Melanie Willhide

“Physical materiality” - Augusta Wood

Knowing this, how can I elaborate on my medium and its preconceptions? What can I do to give image life?