self-portraiture

I was excited to come across this magazine, a chronicle of new media art. The issue below interested me.

THE ARTIST AS CONTENT started out as a survey of self-portraiture in new media. It quickly became apparent, however, that the role of the artist in new media has gone far beyond that of simply subject or even creator. 

http://www.aspectmag.org/issue/artist-content

Tamara Kvesitadze

Tamara Kvesitadze from the Republic of Georgia…

Below are quick videos of kinetic sculptures by Kvesitadze which demonstrate elegant and powerful impressions of the psyche and body. I am absolutely entranced by this work. It feels like there is some deep understanding that the form is imparting to the viewer. Something that one cannot access through words or logic. I also like how the sculptures become so powerful in and of themselves that they take on their own life- as if they had always existed apart from the hand of the artist- immortal, maybe similar to a myth.

See her website for more: http://www.tamarastudio.com/

(see the first 20 seconds or so…)

Helping me make sense of some of my interests…

I have been conducting some simple explorations with projections. The first round of explorations helped me understand a little more about the affordances of multiple projections such as layering, distorting, reflecting, etc. I was also struck by how easy it was to find deep meaning in the manipulation of projections when I was projecting a representation of a person and another person, or a person and an object. The content of the projection, the manipulation of the projection, and the projection environment all influenced this meaning. In my second series of explorations with the projector I tried projecting on various transparent surfaces and forms. I found that projecting onto different forms along with different types of movement began to create a very deep narrative on top of that which already seemed so symbolic. I experimented a little with texture but did not do much. This second study is not online yet. Soon.

I see connections from these projections to this work in two ways. One is that combining a form and a representation of a person opens up a very powerful narrative, even when that combination is not intentional or curated- as is in my projection studies. I am also finding that movement is a indescribably powerful element of visual storytelling because 1. it creates a narrative which evolves in front of the viewer and 2. it hints at a sort of mood/behavior/deep psychological gesture.

uncanny valley: online exhibit


I love the uncanny valley exhibit within adobe museum and re-visited it tonight to review what it was all about.
Originally, I just loved the experience that the site created and the psychological nature of the exhibit.
Now I am drawn specifically to the content narrative of the exhibit as I am beginning to understand it more in relation to our experience of digital culture and how that digital experience translates into our orientation within the physical world.

I suggest experiencing the museum from the intro page but also some specific movements to note which I enjoyed in reference to thoughts on my project include…

Complex & info rich movements:
Experimental

More Gestural:
Language
New Media Fetish
Video

And lastly, I noted the artists comments on this one (posted below):
Uncanny Valley

“Masahiro Mori poists that the closer machines come to resembling real humans, the more psychologically disturbing they become. Thus coining the term, The Uncanny Valley. Mori’s theory, however, is restricted to the effects of a human-like visage. Oursler’s Valley extends and deepens this theory to suggest the Internet, which is a mirror of human consciousness, is fast approaching the Uncanny Valley.”

The exhibit was designed by Tony Ousler and I didn’t realize until now that John Maeda was involved… interesting.

“jeopardy really represents natural language”

I found this really interesting in contrast with Patrick’s chess posts.
an introduction

on understanding natural language

“real world” application


around the physical-digital corner

It’s a small world after all…

I wandered into a gallery in Chelsea in July 2010. Little did I realize this gallery space was Eyebeam, a collaborative art and technology center. I was to exhausted at the time to pay much attention to the exhibit but grabbed a pamphlet. Today I came across the pamphlet for that exhibition. It was quite a disorienting exhibition layout in terms of both the gallery space and the pamphlet. However, I was delighted to rediscover the badly designed exhibition guide as it guided me to rediscover familiar and unfamiliar new media artists.

A familiar name, Evan Roth, who I had discovered a few months ago. Through Roth I found the Free Art and Technology Lab (FAT).

Reconstituting the Physical: Dead Drops

Through my exploration of FAT projects I was particularly delighted by the project Dead Drops which was created by Aram Bartholl, a German media artist who collaborated at both Eyebeam and FAT .

In reference to my interests: There is a reconstitution of the physical act of sharing in the digital act of sharing. With the original dead drop, the brick wall becomes an augmented landmark. It situates the file sharer not only within a specific and atypical environment but draws them into a particular stance/relationship with the wall.  The process/performance/participation of sharing becomes the purpose in and of itself. Time, space, and delight are just around the digital/physical corner.