PRE Final Critique

The flip books are working very well, but now I need to focous on getting the flash part assembeled, and the conatiner made.

Things to do, In no specific order:



flash component:
the .flvs are done, Now I need to piece the individual scenes together to make the whole thing.

estimated time: 3 hours



box:
I am going to use a plain, unstained wood that compliments the color of cardstock. The box will be assembeled using simple metal brackets, which will compliment the binding of the books.

estimated time: 5-7 hours


CD case:
I am going to scan the texture of the wood for my cd case and have inside also made of same wood texture. The individual symbols of the flipbooks will be printed on the discs. Hopefully, I will be able to make one for everyone in the class

estimated time: 2-3 hours

This was supposed to be so easy

So flipbooks, while being basically the same image, printed automatically by the printer still manage to take approximately seven hours to make, and I had to take out an asset against my trust fund to buy the paper. That being said, I want to have these little pieces of paper hell finished this week. After that its on to my flash disc, which shouldn't be as bad, but I now have zero faith in my time estimating capabilities. Ohh, and I need a box to hold it all in. Tupperware anyone?

SSSSSSOUND

this project is an experiment in layering audio. Im using the concept of my last project to make more traditional music.
Only the far right slider functions. It workds like a master volume control.

Audio

Im exploring the visual clutter that we are bombarded with in our society. I searched google images for basic words like "poster" "letter" and "billboard." Then I took the first image that appeared. Each image has an audio file attached to it. when one mouses over each image it begins to play. The audio files build into a texture that eventually becomes dissonant and overwhelming.

Wunder What?

Wunderkammer, or a cabinet of curiosities.
Basically, these were weird little cabinets that contained all sorts of artifacts (Many of them Fake) from around the world.

Basically, I want to make a wunderkammer in Flash, and I want to produce an analogue version of it as well.

As far as the discourse in the cabinet is concerned, Im not really sure how I want to proceed. Im really interested in Surrealism right now, and I like how they use these metaphors to represent the bourgeois society that they want to revolt against. So, I think Im going to do something along those lines. Now I need to do more specific research on the wunderkammen, and the contents that I want in it.

Cabinet of Curiosities on Wikipedia

A case of curiosities not strictly a wunderkammer, but the taxidermy work is influenced by wunderkammer work in the 18th and 19th centuery

Bureau of Bureaucracy cabinet made by Kim Schmahmann uses the form as a vehicle to subvert bureaucracy.

Contents of a cabinet

Great page with a lot more wunderkammeness

Meaty Greedy

This project is about about the idea idea of greed and how our increasing desire for consumption is becoming more sensationalized and prolific.

Hey kid, Im a computer, stop all that downloading

i think a computer program is a bunch of ones and zeros that let me check my email.

Design and FLash

Since this project is about mergering disciplines, I decided to use mainly existing artwork for a project im currently working on. I wanted to see how flash could be used to help me create compositions that I couldnt figure out by myself. I randonmly animated the elements, then exported a jpeg sequence. The result is a lot of spontaneous compositions that I would not have made by myself.

Text

Basically, this project is about how words can form meanings in our head without being about being able to see the entire thing. We have a lot of preconceived practically subconscious ideas of what to expect, and this project plays with that idea.

INSERT COMMENTS HERE

i like-a the landscape

Quiz No.2

Why would you want to convert frames to keyframes?
How do you do it?

so you can make changes to an animation over time. Right-click on the frame and pick make keyframe.

Explaining easing in.
Why is it used?
What is the numerical value of easing in.

Easing in makes an object "ease in" to the beginning of its motion path. That is, it slowly settles into place from the initial keyframe of the motion tween. -100 is the highest value of easing in

Explain easing out.
Why is it used?
What is the numerical value of easing out?

Easing out makes an object eases to a stop at the end of a motion tween. 100 is the highest value for that.

How do you motion tween color?
keyframe two different tints and make a tween

If you wanted a symbol to animate along a path, what would you add and where?

a motion path. I would add it to layer of the object i wanted to move and I keyframe and and drag the object at the beginning and end of the path.

Lemme tell you something about project I

Basically, I made an ornament that builds itself onscreen. The metaphor in this project is pretty direct. The word want overlays and overlaps itself to build a complex ornament. While the ornament is assembling itself a pill begins to flash onscreen. This has to do with our societies obsession with quick fixes and it is also commentary about how corporations actually create demand (want) for products that people dont really need.

Quiz #1

1. What is the difference between a symbol and an instance.

A symbol is like the refernece point. An instance is a copy of a symbol. This is useful because you can define a symbol once and use it for any number of instances.

2. What are two of the main reasons people use flash?

Preparing content for the web and other interactivity. It has low file sizes.

3. What is the difference between a frame and a keyframe?

A frame is essentially a still image of your video at any given time. A keyframe is used as a marker to indicate changes at frames to the computer.

The State of the Art Address

http://thestateoftheartadress.blogspot.com/

I read a lot of art theory over the break, and there was a recurring theme of art now being historically aware of itself on an unprecedented level. This project utilizes this trope and other common tropes of contemporary conceptual art to create a piece that tries to be subversive of it's own agenda.

For 1/29/08

There seemed to be a lot of talk about artists names and accomplishments in the article. In your view, what makes a piece of net.art sucessful?


http://www.sfmoma.org/espace/espace_overview.html

Juile Scher - Predictive Engineering 2

Julie Schers piece is an interactive web page that goes on a sort of non linear journey though a technological interface. It references society and technology, surveilance, and modern medicene. All in a sort of uneasy, slight "off" way. I felt kind of uncomfortable navigating through the site when I first started exploring it. While this may reference contemporary alienation in our society or something like that, I found it difficult to use, and I wanted to sort of dismiss it when I started playing around. Until the first real transition, i found myself sitting at my computer saying "okay?" to myself.

While this website raises a lot of issues, i think it doesnt offer much in the terms of beneficial discourse, all it really seems to do to me is display contemporary issues, that many people are already aware of in a confusing, allegorical, albeit-new light.

From 1/24/08

Question regarding an interview with Vuk Cosic:

What do you feel are the effects on net.art when it transposes itself from the internet into the gallery space?

Personally, I think that net.art, whatever that may be exactly, belongs on the internet, not in the gallery. To me, this is very similiar to what happends to street art, which is supposed to destroy all precovieved notions of what and where art is meant to be shown. So basically, it becomes increasingly gentrified, especially after art-dealers realize they can make money off of it, to the point that it looses sight of its original intentions and ideals.

Im sure some net.artists are making work with gallery space in mind, but it seems to me that if net.art is about the technology and globalization the internet inevitably references, then it might be out of place in a gallery.



Review Time!!!!!

http://jimpalt.org/dream/#

Can art influence dreams? I think this is almost obviously true. However, the notion of creating a website that influences your dreams, so that the work of art isnt just the music on the webpage, but instead is the dream thats influenced by the webpage is a really cool idea.

First of all, this net.art isnt nearly as banal as most of the net.art that I managed to find. While there is no overt discourse, it does ask questions about dreams, and influences, and it questions the very ideals of what art can be. Because this piece uses something as empheral as a dream for its delivery, I feel that it makes it stand out among a lot of the socially minded, technology orineted, and process driven net.art. Basically, i like it because it doesnt stick to the obvious tropes that I am starting to notice in the online art world.


Ask me a question (or two):

Question 1. Since digital media entered the field of art has the perception of art changed?

Yes and no. I think it has changed undeniabley for those "in the know" about contemporary art. However, to the average person on the street, I dont think that multimedia work has really gotten much attention. I think this is because it obscurificates essentially bad, banal art behind a screen of artistic dialouge, and technological blabbering. The one area that has been profoundly changed by multimedia, are probably motion pictures, which is probably the only real artistic experience that average people get on a regular basis.

Question 2. A relevant section of digital art represents Internet based art. The Internet hardly existed, but artists conquered already this new field for their artistic activities. Can the work of these early artists be compared with those who work with advanced technologies nowadays? What changed until these days? What might be the perspectives for future developments?

Anything can be compared to anything I think, we compare proto-renisance and renisance works side by side in art history, so proto-multimedia work should be able to stand next to its contemporary work, if its good. Technology is allowing us to do more, but i think the most interesting possibilities involve using the web to create artwork that is a vehivle for humanistic experiences.

Question 3. The term "netart" is widely used for anything posted on the net; there are dozens of definitions that mostly are even contradictory. How do you define "netart" or if you like the description "Internet based art" better? Do you think "netart" is art, at all, if yes, what are the criteria? Are there any aesthetic criteria for an Internet based artwork?


net.art is art-like. I think a lot of it tries to deal philosophy from a visual perspective, but it seems to be comming up short. I get the feeling that a lot of net.art is produced by kids who just read Sartre's Being and Nothingness and got an idea from it. I think that there is also a sort of watered down replication of mass media that perpetrates itself in net.art. Sadly, aesthetics seems to have just become means to an end in our contemporary art landscpae. I think that it would be more artlike is people stopped trying to be robotartists like andy warhol and thought about the experience of the computer and how people acutally interact with things. I think for net.art to be considered valid, it needs to have useability on the same level as google or ebay. People do want to deal with obscurification any more, especially not on the internet.......hell, that could be a project.


Question 4. Dealing with this new, and interactive type of art demands an active viewer or user, and needs the audience much more and in different ways than any other art discipline before. How do you think would be good ways to stimulate the user to dive into this new world of art? What do you think represents an appropriate environment to present net based art to an audience, is it the context of the lonesome user sitting in front of his personal computer, is it any public context, or is it rather the context of art in general or media art in particular, or anything else.? If you would be in the position to create an environment for presenting this type of art in physical space, how would you do it?

Well, first one has to identify the purpose of their art. Then they need to figure out the best delivery method for it. To get someone interested in art, we need to get their attention first and expose them to the art second. I would advocate an advertising influenced approach. Maybe we need to focus on the spectale of internet. If bmw can have a webite of their cars getting smashed, and people dancing on treadmills on YouTube can get 30million hits, then making valid, relavent, and engagning net.art must be possible too.

Question 5.
As Internet based art, as well as other art forms using new technologies are (globally seen) still not widely accepted, yet, as serious art forms, what do you think could be an appropriate solution to change this situation?

I think a lot of net.art just rehashes old ideas left from painting. I think it needs to find its own discoure, and poetics need to be stressed to make meaningful, engaging content that people actually want to see. Or i could just pull a Jeff-Koons and start calling youtube videos my art.....

I hope my blog works

...

Arugula

wow

this is insane.