Thursday, April 28, 2011

ART4848 Installation Proposal




Imagine you walk up to a room with a closed door. There is a sign on the door instructing you to enter the room, stand inside the square you will find on the floor, and mimic the motions you see playing for you on a projection on the wall. You walk into the room, approach the square and stand in it. Before you is a structure that appears to be a skeleton with a white canvas over it. The skeleton can vaguely be seen through the canvas. Behind the structure is a projection of videos that appear to be found on youtube or some other source. The content of the videos are people from different cultures around the world performing different dances or rituals unique to their country. On the skeleton canvas in front of the projection is a blank image. When you move, you can see the image of yourself standing in the square. As you begin to perform the prompted motions, the more you move, the more you are able to see your image projected on the canvas. The sound you hear is music that matches the different cultural regions of the characters in the videos.



The installation I plan on creating is primarily based on pychoanalytic theories by Lanan, primarily Lacan’s Mirror Theory and the concept of das/dort—here/there. The aspect of the Mirror Theory I intend to interpret is that of misrecognition, this being an infant’s interpretation of the image they see in the mirror as themselves rather than just as an image of themselves—I see me, rather than the image of me—as well as mistaking the mother figure as part of themselves rather than a separate entity. I plan on materializing this theory with the large projection on the wall and the motion activated projection of the participant. The projection of the cultural videos should act as the mother figure, as the participant is imitating her motions just as an infant imitates motions of its mother to learn motor skills. The monitors may serve as a mirror projecting the image of the participant as they stand in the square. I intend to imitate the sense of misrecognition by making the monitors motion activated. When they stand still, they cannot see themselves, when they move they are re-connected to their image, making what they see and what they are doing at one. The motions themselves will be related to the das/dort theory. They should be thought of as motions a young child or infant may perform in a mirror in order to get a sense of who they are and what their body is capable of. Some of the motions may be too difficult or quick for the participant to do, thus creating a separation from the “mother figure” projection and their self, reflected in the monitors. The self and the other are enhanced further by the global movements of the videos. The participant should not feel they are capable of these movements, as they are movements of an other. They lack the motor skills of the people in these videos because they were not born in those regions growing up with the cultural uniquiness of these individuals.



I plan on presenting this installation in the black box of the Fine Arts C building at the University of Florida. The Digital Media department of the College of Fine Arts has available to check out video cameras and projectors in 24 hour increments. I also have access to the skeleton from the figure sketching lab. I will install the projector on the ceiling apparatus of the black box in order to project the videos of found footage. I will attach rope to the skeleton's limbs and attach them to the ceiling to give the skeleton a puppet-like appearance. I will then drape with white canvas over the skeleton. I will mark the square in the center of the room with a white duct tape. The video camera should pick up the movement of the participant in the center of the room and project a live feed from the video camera into the max/msp/jitter interface that will be created ahead of time, which will then in turn be projected on the skeleton canvas. I have acquired the software—Max/Msc/Jitter—in which to create these programs. I am also currently familiarizing myself on how to use this software through my Installation Using Digital Processes class at The University of Florida, and will know how to create the patches needed.

ARTIST BACKGROUND


I began my college career as a Musical Theatre major at New World School of the Arts. There I was instructed in Stage Craft learning a basic understanding for set construction and the usage of power tools and saws. I also served as the Master Electrician for a main stage production under the instruction of the Technical Director of the school and learned basic fundamentals of lighting and gaffing. I am currently a Film and Media Studies student at the University of Florida. I have been doing Video Art and Digital Still Art for a year and a half, and was involved in an exhibition in which I screened a Stop-Motion-Animation Film this past Fall. I am also currently working on my Senior Thesis in which I will create a Multimedia Video Art Installation.

TIMELINE-Subject to change

February

Create the patches for the video feedback.
Research the availability of equipment, and make alternative arrangements if needed.

March

Test the created program with monitors, cameras and sensors and make necessary changes.
Aquire found footage for the projected video.

April

Re-test the program with camera and projector and make necessary changes.
Edit found footage into final projected video.

Final Installation

April 22nd, 6:30 PM, FAC Black Box

Monday, January 31, 2011

Installation Proposal


Imagine you walk up to a room with a closed door. There is a sign on the door instructing you to enter the room, stand on the X you will find on the floor, and perform the motions you see playing for you on a projection on the wall. You walk into the room, approach the X and stand on it. Before you is a structure holding four monitors. The shape of the structure mildly resembles that of a person with one small monitor on top—like a head—a larger monitor in the middle—like a torso—and two more monitors sticking out of the side—like arms. Behind the structure is a projection of a woman performing various motions. On the monitors in front of the projection is the image of yourself standing on the X from four different angles—one angle on each monitor. As you begin to perform the prompted motions, your image on the bottom three monitors—the arms and torso—is altered based on how you are moving. The left arm’s alterations are very pleasing to the eye, smooth and calm. The distortions of the right arm are jarring, fanatical, and sometimes ugly. The alterations of the torso make the image of yourself nearly unrecognizable. The image on the top monitor—the head—remains unaltered. As you continue your motions, you hear the soft sound of music playing, also reacting to your motions as if you are dictating what will be played next. If you stop moving, the music stops abruptly and the monitors all turn off. When you continue your movements, the room comes back to life. As you leave the room, the music softly fades and the monitors shut off.

CONTENT


The installation I plan on creating are based on a variety of psychoanalytic theories by Lanan and Freud, primarily Lacan’s Mirror Theory and the concept of das/dort—here/there—and Freud’s theory of the id/ego/superego and ideas of the unconscious. The aspect of the Mirror Theory I intend to interpret is that of misrecognition, this being an infant’s interpretation of the image they see in the mirror as themselves rather than just as an image of themselves—I see me, rather than the image of me—as well as mistaking the mother figure as part of themselves rather than a separate entity. I plan on materializing this theory with the large projection on the wall and the motion activated monitors. The projection of the woman should act as the mother figure, as the participant is imitating her motions just as an infant imitates motions of its mother to learn motor skills. The monitors may serve as a mirror projecting the image of the participant as they stand on the X. I intend to imitate the sense of misrecognition by making the monitors motion activated. When they stand still, they cannot see themselves, when they move they are re-connected to their image, making what they see and what they are doing at one. The motions themselves will be related to the das/dort theory. They should be akin to motions a young child or infant may perform in a mirror in order to get a sense of who they are and what their body is capable of, such as touching various parts of their face, bending down or to the side, standing on one foot, etc. Some of the motions may be too difficult or quick for the participant to do, thus creating a separation from the “mother figure” projection and their self, reflected in the monitors. Finally, I intend to give my interpretation of the id/ego/superego and the unconscious in the monitors in the structure. The unaltered “head” monitor should represent the ego, the image of the self as it is—in this case, the participant. The “right arm” monitor should serve as my interpretation of the id, the source of one’s carnal and most primitive desires—thus the wild distortions of the participant’s image. The “left arm” monitor, by contrast, should be the superego, that which keeps the id in check and restrains the ego from giving into the id—here represented by the calm in check alterations. The unconscious should be interpreted by the “torso” monitor, it should also be the largest—as the unconscious is supposedly the largest part of the human mind—and the most vividly confusing image alteration of the four. The music will be played by a live musician reacting to the movements of the participant and tying the whole room together. The music should be soothing to create a sense of comfort among the unfamiliar rather uncomfortable setting.

METHOD


I plan on presenting this installation in the black box of the Fine Arts C building at the University of Florida. The Digital Media department of the College of Fine Arts has available to check out monitors, sensors, video cameras and projectors in 24 hour increments. Since I require several monitors, sensor and cameras, if needed I will provide them myself. I will install the projector on the ceiling apparatus of the black box in order to project the video of the woman doing the motions. I will construct the human-like structure to frame the four monitors. As a former theatre student, in high school and two years of college, I have experience building simple structures—such as stairs and flats—and I have the space and tools in which to do so. After acquiring the sensors and the four video cameras from the Digital Media Department—or with the ones I will provide—I will set up a perimeter around the center of the room, which I will mark with an X with electrical tape. The sensors should pick up the movement of the participant in the center of the room and project a live feed from the video cameras onto the monitors. The image will then be distorted by a program that will be created ahead of time. I have acquired the software—Max/Msc/Jitter—in which to create these programs. I am also currently familiarizing myself on how to use this software through my Installation Using Digital Processes class at The University of Florida, and will know how to create the patches needed. I am also in contact with a musician with whom I have worked before, and who has expressed interest in working for me again for this project. I plan on performing in the projected video myself.

ARTIST BACKGROUND


I began my college career as a Musical Theatre major at New World School of the Arts. There I was instructed in Stage Craft learning a basic understanding for set construction and the usage of power tools and saws. I also served as the Master Electrician for a main stage production under the instruction of the Technical Director of the school and learned basic fundamentals of lighting and gaffing. I am currently a Film and Media Studies student at the University of Florida. I have been doing Video Art and Digital Still Art for a year and a half, and was involved in an exhibition in which I screened a Stop-Motion-Animation Film this past Fall. I am also currently working on my Senior Thesis in which I will create a Multimedia Video Art Installation.

TIMELINE-Subject to change

February

Create the patches for the sensor/video feedback.
Research the availability of equipment, and make alternative arrangements if needed.
Acquire measurements of monitors.

March

Construct the structure for monitors.
Test the created program with monitors, cameras and sensors and make necessary changes.
Film the projected video.

April

Re-test the program with monitors, cameras and sensors and make necessary changes.

Final Installation TBD.

Monday, April 12, 2010

Dan Graham

Performer/Audience/Mirror

dan graham was born on march 31, 1942 in urbana illinois
became inspired by minialist photos at age 13
no formal education after high school; was self-taught
started out as a very conceptual artist but later became interested in the relationship between a performer and their viewers
starts off with room with a mirror
starts off my describing is posture and movements
transitions to talking about the audience
the relationship between the audience and the perfomer
as an audience, we watch but forget that we are being looked at
graham stands in front of a mirrored wall which faces an audience who is seated on the floor in front of him
fraham begins to describe his body posture and the placement of his body parts as he stands in front of the audience and the same about the audience
remains very colm and collected, speaking clearly
conceptual piece that deals with people's self-consciousness
we often attend plays, performances,etc. without thinking that we too are being watched
highlights the fact that human beings wear different fonts depending on out environment
the people are all seated on what seems to be a hard floor, inevitable causing restlessness and the desire to move about
the people are all seated on what seems to be a hard floor, inevitably causing restlessness and the desire to move aobut
this triggers movement which graham describes
the runtime of the piece is 22 minutes, 52 sectonds
at a certain point eye-contact is made and certain members try their best to break it
more women tahn men were fine with the eye-contact
graham was able to provoke some laughter among certain audience members why others tried not to make themselves known
aside from the performance, the video is also an art piece
there is a very simple angle that does not change
shot in black and white as to not distract the viewer from the actual concept and purpose of the piece
the only sounds included were natural sounds which were generated by graham's speech, movement, and sounds from the audience

Wednesday, April 7, 2010

Francis Alys

When Faith Moves Mountains


Francis Alÿs - "When faith moves mountains"
Uploaded by arginati22. - Full seasons and entire episodes online.

Experimental artists
born in 1959 in Belgium
The place is in Lima, Peru
took nearly 2 years to plan
filmed in documentary style
does not use video as the form of art, but rather capturing the art
Opening credits involves the only non-diagetic sound
cuts of interviews of people who are going to help out
there is a transition from thinking they're crazy to understanding the project
he's trying to motivate the people that anything is possible
if you believe you can, you can move mountains
Lima would not be Lima without the migration
no shoveling
there are a lot of images of the houses built on the dunes
it reflected the culture of latin countries
helicopter represents the power of the machine over man
emphasizes the futility of the act
it's not about what they had to do, it was getting them together to do something
means that it will generate one story after another

Paradox in Praxis



Dutch ex-architect that moved to Mexico City in the mid 80s
he's big on mixed media and likes collaborative peices
his work is very similar to fluxus
located in ventanilla, a small town outside lima, peru. the city is surrounded by huge sand dunes and the population is made up of immigrants and political refugees
sometimes making something leads to nothing
a video piece consisting of a man pushing a rectangular block of ice through the streets of mexico until it melts completely
the man's attitude towards the task changes with time ending in a nonchalant noncommital eventual completion of the pointless task at hand
time is compressed into a 5 minute video interval cuts
sound is diagetic
piece is reminiscent of the myth of sysyphus and the theory of absurdism
a statement on existentialism of just some absurd, humorous art

Wednesday, March 31, 2010

Gary Hill

Around and About


Around and about - Gary Hill (1980)
Uploaded by Video_Blog_REWF. - Watch original web videos.

work is significant due to the assimilation of text in his video art
the video is a 5 minute narrative piece that communicates a private experience with a past relationship
an abstract picture of an oject from around his office depicts every word that is spoken
this b/c at a certain time in his life, Hill was living and working out of his office and the images are of items that were around him at the time
when a word is repeated, such as the word "choice", the same image appears
the video leads to a different viewing format
Hill tries to both disconnect and then reconnect the text and images with irony
for example, one part of the text states, "I mean I'm coming from somewhere of a self conscious place. it's a kind of staking; i mean the ideas just pile up but aren't interwoven. they're not connected or disconnected. its a though at least. i can see it"
this video itself is very audience oriented, b/c it focuses on change and attempts to keep the spectator immersed visually rather than auditory
i believe that hill also chooses to flash these images to mimic his physical action of moving all of his belongings inside and around his office
the abstraction and magnification of the images also helps to open up the idea
once again, as the video advances, gary hill's speech begins to actually propel the images of the screen
this leads me to believe that at first the images are what require focus, and then the text takes over
the fact that the artist chooses to record his feelings toward a personal eve while adding what he sees on a day to day basis allows the authenticity of his affairs to be frozen in time and converted ta an area of isolation

Stanley Kubrick

Barry Lyndon



Kubrick's films are among the most ambitious and original of the late twentieth centur
an cotroversial director of outlandish subjects and eccentric cienmatic styles, kubrick derived an artistic identity from his natural bent for novelty and inventiveness
Early films
Paths of Glory (1957) first commercial success
fist example of his own style
Lolita (1962)
started using upsetting and controversial subject matter
creepiest films
Dr. Strangelove (196)
Depicted the white house as a funny place where wacky things happen
started using techniques he would use in later films
central shots
large sets that dwarf the people
2001: A Space Odyssey
Circular
Coverging lines
uses color, dominant red color
classical music is large part of all of his movies
A Clockwork Orange (1971)
linear prospective
content is what set the movie apart from others at its time
The Shining
Full Metal Jacket
Eyes Wide Shut
Barry Lyndon (1975)
Based on a novel
centered around a character who rises in the aristocratic society and fall due to his fatal flaws
lack of guidence makes the character fall from grace
asymmetry vs symmetry
characters are very far away as if in a memory
Part I Rise
Intermission
Part II
Epilogue
Gives it he feeling of a play
draw attention to the fact that you are watching something
Painterly compositions, influenced by landscape artists
uses this feel to gives us the impression of being in a museum
Again the audience is "looking" at something
relates it to the present time by involving the audience as "viewers"
Shot in Ireland, landscape
Structures, shot in Germany and Sweden
Lighting
revolutionized the technique of using natural lighting
feel of the painting again
50mm f/.70 lens, largest lens in film history
all interior scenes were shot in natural light
over the shoulder way of showing Barry
outside spectator looking at him

Wednesday, March 24, 2010

Stockhausen

One of the first people who influence Jun Piak and the Fluxus movement
Has structures to his work to create moments where there is a pattern of sound and changes to something else to form a new moment
instead of starting with something homogenious he starts with separate elements
randomness within limits
limits were time itself
the distribution of elements
pitches
and elements
randomness was so well structured within the moments
the I moment- informal, without direction
longest moments within his work
reflects western composition and structures
combinations can be composed from different ingredients
uses precise doses
the more i got into moment forming, the less material i needed
delving within a small moment within a full composition can go a long way
relative distribution of time and order
how structured he is within his lack of structure
written component is essential to his practice
William Wegman

Treat Bottle (Dog Biscuit in Glass Jar)



Born in 1943 in Mass
BFA in painting from the mas college of art
known for his works with man ray
video, painting, photography and drawing
wegman uses his man ray's pursuit of the dog biscuit as a sort of narrative that uses suspense to draw the audience to the actions that are going on on the screen
Space: whit walls and cement floors, microphone, wooden block? teddy bear?
wegman put a lot of thought into what he wanted you to see
the dog is very childlike
Beginning, the jar is in the center of the frame, wegman unscrews cap and places it back
Interesting to know that wegman is watching the dog the whole time
no passage of time shown by daylight
the only passage of time is that he leaves the camera running
there is no editing of multiple clips
Glass breaks, human orders of hierarchy
brings us back to the beginning where we remember that wegman is there watching and doing nothing
we pass from being an observer to actively wanting to protect the dog

Joe Wright



Born in london
got a degree in fine art and film from csenstral st martins
was first noticed for a short film he created for bbc
famous films include: pride and prejudice, atonement, the soloist, indian summer
won bafta for most-promising newcomer in film
opening scene
subtle details
everytime elizabeth makes a decision you hear a blackbird in the background
he only used natural lighting
he had to shoot 1/2 of the scene at sunrise and sunset
only used natural sound as well
scene 11
dramatic cuts
eyes are closed and sun is light is shining through
cliff is an actual on location scene
few times dubbed music is used
deer running free vs the horses pulling the carriage
filmed in a loop
1st scene begins with sunrise, last scene ends with sunrise
they had 15 min to shoot the closing scene