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Glitch is toxic.
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WEEK 7: VALUE
Daniel Pink Intrinsic (for ourselves, which sits at the top) and extrinsic (for others, at the bottom of the pyramid) motivation. Values we hold says a great deal about out motivations. Mastery, Purpose and Autonomy are the three things that drive us. Monetary Value - Bitcoin; Virtual Currency Cultural sites and the notion of value. E.g. September 11 Value Wim Delvoye - what we humans value as art and ourselves Ai Weiwei Vase - the smashing of one of his vases by a protestor Denis Beaubois work currency 2011 - the value of funding the arts David Shrigley - 'An important message about the arts'
Week 1: A Poster On Transdisciplinary Practice
An effective poster: - Simple drawing - Big, bold text - Message can be easily understood by its audience
Week 2: To look beyond the flat A4 sized white piece of paper With great difficulty, I figured out how to fold the piece of paper in a way that I could write messages on it which can only be seen if you stand in a particular position from the piece of paper. If you stand to the far right, it should read "everything depends on how you look at it." If you stand to the far left, it should read "it's all about perception."
Assessment 1: Poster
Research Topic: Can creative acts be rebellious when rebellion has become canonised in art, design and media histories? What would a contemporary creative rebellion look like?
I have chosen to look into this particular research topic as a way to further critically analyse the evolution of art movements and to gain a deeper understanding of the significance of rebellion. From my studies in Narratives of Modernity and Beyond Modernities, I have gained an understanding of how the emergence of something new is often in rebellion to the norm in those times. In this project, I hope to integrate the knowledge I have gained from my classes in COFA and to utilise it to create a successful meaningful poster. Last semester in Narratives of Modernity, we explored the many different art movements that often emerged in rebellion to the conventional art styles, ways of thinking and the understanding of the world. To rebel against these norms was paramount to pursue new mediums, styles, renew the relationship between art, people and their surroundings. Currently in Beyond Modernities, we are studying subcultures that exist as a resistance to the mainstream, rebelling against the norm through their defining styles, taste in music, their attitude towards the world, the way they spend their spare time (leisure), etc. What was particularly interesting about the emergence of these subcultures was that overtime the styles from these subcultures eventually lost their shock effect, and rather became a new product in the market, being easily accessible to the public. Thus, in short, to rebel is to defy the mass, but if the mass adopt the same behavioural and stylistic attributes of a rebel, then a rebel no longer exists. The emergence of subcultures and "new" art movements are often considered to develop in a cycle. At first, it appears unique and different, but then it eventually becomes enveloped by the mass.
So, in the understanding of how acts of rebellion have been standardised or new acts of rebellion will eventually be standardised, creative acts, in today's society, will not be considered as rebellious. And yes, it is because it had been canonised in art, design and media in the past. To some extent, the outburst of something new that appears shocking and out of the norm is expected nowadays, especially in a time, where the discovery of something new, something better, more spectacular is the driving force of today's society.
In a society, where everyone considers themselves an individual, different from amongst the rest, whether it is through style, way of thinking, skills, etc. we are all technically rebels. My generation has been brought up to believe that we are our own person, that all of us are different, that we are all special and have something that only we, as individuals, can bring into the world.
“RITE OF PASSAGE: The Early Years of Vienna Actionism, 1960 – 1966” Günter Brus, Otto Muehl, Hermann Nitsch, Rudolf Schwarzkogler Hauser & Wirth, 32 East 69th St., NYC The first major New York City exhibition to explore, through rare paintings, collages, and photographs, the emergence of a critical 20th-century avant-garde movement. Various artistic developments in the second half of the 20th century have been influenced by a performative paradigm that emphasizes a move away from formal, static objects and toward more directly experiential, event-like, and sensorial gestures. In the early 1960s, the Vienna Actionists defined their radical style through a critique of painting, specifically that of European Art Informel and the Abstract Expressionism of the New York School. Under Austria’s Second Republic, Brus, Muehl, Nitsch, and Schwarzkogler sought out new possibilities for expression that could transcend the shadow of World War II. Motivated by material experimentation, they developed their art around radical body-centric performances through which authentic experiences of reality and incisive political statements could be directly and intensely perceived.
Divergent Thinking: Began with a prompt to move away from the conventional and therefore came up with new and different artistic/expressive solutions. Convergent Production: With the information they gathered to how they could express themselves differently, they held exhibitions that explored them and to test out the reactions of the general public.
100 word statement) This exhibition confirms how the new ways of thinking and artistic styles emerged in defiance of the conventional; especially in the 60s, where there was a great amount of dissent towards uniformity and tradition. In our assessment for the poster, we were told that it had to be beyond just an A2 sized piece of paper that is hung on the wall. Thus, performance art could be an interesting approach.
Rebel Without A Cause
by
Aldo Scaletta
This just happened to be on my personal tumblr newsfeed without me even having to search anything up, I found this to be such an amazing coincidence. Rebel Without A Cause is a film that featured James Dean in his signature red jacket in the 1950s. Most of Aldo Scaletta's work has an explicit political message. In this particular poster, James Dean is replaced by Fidel Castro, a Cuban communist politician and revolutionary.
100 word statement) I found this poster relative to my research in its effective and clever presentation. By taking the film out from its context, but utilising the title, which is the key part of the poster, and presenting a political message was well executed. Another factor in its relevance to my project is the title itself, 'rebel without a cause'. This arises questions in what defines a rebel? In this case, in the film, a rebel is considered to be the troubled youth who lack knowledge and discipline. But in the context of the poster, what is that saying about Fidel Castro?
https://www.behance.net/asjimx
Tracey Emin: 'I Know I Know I Know "(neon) Text-based art in which the middle sentence is crossed out as sentences in a diary or a letter. The neon lights are reminiscent of a form of self-disclosure that is typical of our time and all reality shows: Often, people's innermost feelings are out in the open, and the basis for sensationalism, the worship of individuals, self-assertion, PR of the individual, and commercialism, but how genuine and honest is this whole charade? On the other hand, it depends a lot on where the word originally came from. http://vivi-mariandmartinart.blogspot.com.au/2011/08/living-her-art-tracey-emin-and-her.html
Tracey Emin is well-known for her confessional art, which is often very confrontational or sexually provocative. Surprisingly, Emin is also a significant member of the YBAs (Young British Artists), a loose group of artists who are noted for their 'shock tactics', use of throwaway materials, wild-living, and an attitude "both oppositional and entrepreneurial." I found what she represents and her artworks to be highly relevant to the topic of rebellion, as her artworks are clearly out there. As an artist, she does not create art works to per say rebel against the conventional ways, but she puts forth a different way of defining what art can be. The question is, is her art rebellious? To some extent I would say, yes, more like rebelling against the society norms. As our society develops, we become more self-absorbed, caught up in the idea of presenting ourselves as individuals, having our own space, privacy, etc. Emin's artwork is basicially like an open diary for all to read, most people would think these stories that she shares through her artworks would be something you would to keep to yourself, to avoid public judgement and creating a bad image for oneself. Emin is simply defying what is socially acceptable, and kudos to her, I say. Another point in relation to the last question and my poster is, is Emin the face of what a contemporary rebel would look like? Yes. She's one face out of many faces. An artist that is also related to Week 3's topic of Body Politics.
Jenny Holzer
'Truisms', 1984.
Like other artists of her generation, Holzer turned to the strategies of the mass media and advertising in her work. In the late 1970s, she devised nearly 300 aphorisms or slogans, which play on commonly held truths and clichés. Initially, the Truisms were infiltrated into the public arena via stickers, T-shirts and posters. Later, Holzer started using electronic displays. In 1982 she blazed these messages across a giant advertising hoarding in Times Square, New York. The Truisms are deliberately challenging, presenting a spectrum of often-contradictory opinions. Holzer hoped they would sharpen people’s awareness of the ‘usual baloney they are fed’ in daily life.
My poster is a mirror that has words written in permanent marker, You Are A Rebel (in big, bold writing) and on the bottom, amongst a group of rebels (in small, cursive). The placement of the words allows for the person to still see their reflection be framed with the words. Basically this poster is my response to the second question of What would a contemporary rebel look like? My answer is, everyone. Each person lives to be an individual and to seek their own identity amongst the masses. But if you think about it, if everyone believes this, then you and I are no different from the next person. Hence, the amongst a group of rebels.
Week 5: DESIRE
Expand our understanding of desire beyond consumerist frameworks to something that drives culture
Examine how professional art and design practice understand, use and manipulate desire
Unpack where the desire in my project is and how I can tap into it
Desire Obtain Cherish
He is more like our social conscience, delivering up uncomfortable and unpleasant truths wrapped in the most beautiful and seductive of packages. The commentary nature of DOC is more or less a direct stab at the vain promises of infamy and status.
No Human Being Is Illegal Deborah Kelly versus A Riot in Portland, US
Key words and phrases in the interview: Aggregate : a whole formed by combining several separate elements. To desire is to construct an assemblage. Assemblage : a collection or gathering of things or people/ a machine or object made of pieces fitted together. Desire to flow within an assemblage, Desire is a constructivism. 1) We are persuaded that the unconscious is not a theatre. It’s not a theatre but a factory. 2) Delirium is very closely linked to desire - to desire is to become delirious. Delirium : wild excitement or ecstasy 3) Desire Nothing stands simply alone. Everything comes in a pack, in a collective. Where does my desire pass in this pack? What is my position in the pack? In the example of Jung having a dream of an ossuary and Freud interpreting it as a simple bone, shows the difference in thinking of desire from the interviewees point of you and a psychoanalysts.
Search out the assemblages that suit you. 1) An assemblage referred to “states of things”, so that each of us might find the “state of things” that suits us. 2) “Les enonces”, types of statements, styles of enunciation. Every assemblage implies styles of enunciation. 3) An assemblage implies territories, each of us choose or created a territory. 4) Processes of what one has to call deterritorialization, the way one leaves the territory. Assemblage encompasses these four dimensions described above, in order for desire to flow. One had to watch for the moment when things were no longer acceptable.