REINTERPRETED

How to document, keep records, and give credit

I don't have a formula for this myself yet, but documenting and giving credit is gong to be an important part of making work at ITP and beyond.  After reading ON THE RIGHTS OF MOLOTOV MAN Appropriation and the art of context By Joy Garnett and Susan Meiselas, a painter and a photographer whose work the painter referenced, this practice feels even more important. 

When a collage artist pulls an image out of an old magazine, is the image free to use as a building block of creating new meaning? Was Romare Bearden supposed to keep track of every source he used? Does it depend on how much he distorted the original image? If a photograph is highly abstracted and only parts of it are used, one may think that perhaps giving credit to every photographer of every newspaper clipping is superfluous. In reality, we see that it's better to keep a record just in case. The Romare Bearden of today ought to be more diligent in keeping records and adding disclaimers that the referenced material is taken out of context, severed from it's previous meaning, and should be reinterpreted in the new ecosystem the artist created.

If it becomes important to borrow not just the form (visual element) of the clipping (or bitmap) but also the original meaning it carries, the artist is required to research the subject of the photo in order to explain the context accurately in the artist statement or wall text.

 

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One foot moving into the future: A MEDITATIVE WALK

 

"One step after another, one foot moving into the future and one in the past. Did you ever think about that? Our bodies are caught in the middle. The hard part is staying in the present. Really being here."

 

While I am a fan of Janet Cardiff's work, I have to admit I was initially a bit underwhelmed with Her Long Black Hair audio tour. Towards the end, I gained an appreciation for what she created.   

 

First off, I found it hard to follow where she walked. I was amused at how casually she took 35 minutes of my time with orders of going this way and that, telling me to wet my finger and put it on my cheek and having me listen to her conversation with her husband when he interrupted the walk. It irked me that I had to follow her commands, though i took it with a sense of humor. 

 

Another issue I came across at the walk was that the reality she saw did not match closely with mine. Maybe sometime needs to pass and it would be interesting to revisit this when we live in a time quite different from 2004 or 2017. That said, I also found it thrilling to hear a noise and wonder if it's happening to me or to her. I often had to take my headphones off to check. That was an interesting way to mix the loud realities of Manhattan in 2004 and Manhattan in 2017. 

 

What made this piece enjoyable, despite the setbacks, was the juxtaposition of her meditative stream of consciousness (some of which I found insightful) and the beautiful musical addictions along with a poignant narration of a slave telling his  "walk" story -  running away from slave-owners and getting caught. What I think she is doing is getting us in a mindful state and introducing bits of what she finds worth listening to or worth thinking about. I did feel that being primed with a meditative exercise helped me pay closer attention to the nuances of those stories and sounds.

 

It is believed that meditation increases empathy and I felt this idea may have been playing a role in this work. When Cardiff says "One step after another, one foot moving into the future and one in the past... Our bodies are caught in the middle. The hard part is staying in the present. Really being here." she's inviting us to be present, to see and hear what's there in front of us, even if we don't see exactly what she is seeing in her moment. 

 

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Sound Walk

This sound walk composition Elevator Chaos is a collaborative audio project that my team and I recorded and edited together at NYU's ITP program. The recording is of a trip we took from the 12th to the 4th floor of the Tisch School of the Arts, the building where ITP classes are situated. This project is inspired by Janet Cardiff's audio walk of Central Park called "Her Long Black Hair."

Image courtesy of Google's reusable image archive

Image courtesy of Google's reusable image archive

 

 

 

First project in Processing

My first assignment in processing is a face made of shapes and curves.

I was hoping to use animation to make the mouth move around on rollover using this code but couldn't figure out how to make the movements more subtle and not have the shape follow the cursor. I found this tutorial to for a simpler interaction and used that for the interactive mouth. 

I'd like to keep trying to build something with bezier curves because I think it would be interesting to make organic shapes that undulate or recoil from the mouse like something living. I think acceleration would help here.  The single-speed interactions in the sketch below feel robotic but it's fitting to the flat, aesthetic of the composition. 

Sep-18-2017 00-56-36.gif
processing.gif

Below is a static earlier iteration where i used curves to create a unibrow and mouth. 

Screen Shot 2017-09-18 at 12.09.25 AM.png

Code

For the animated version:

function setup() {
  createCanvas(400, 400); 
  var button = createButton();

}

function draw() {
  background(236, 269, 85);
  
    

  
  strokeWeight(0);
  // Draw a rectangle with rounded corners having the following radii:
// top-left = 20, top-right = 15, bottom-right = 10, bottom-left = 5.

    // head
  fill (125, 255, 206);
  rect(80, 80, 240, 355, 75, 75, 45, 45);
        // left eye

  fill (random(255), random(255), random(255));


  rect(130, 130, 55, 35, 50);
  
  
  // right eye
fill (254, 190, 190);
 
  rect(220, 120, 55, 55, 50);
              
  
  
  //ear l
  fill (125, 255, 206);
  rect(36, 160, 85, 75, 50);
  
   //ear r
  fill (125, 255, 206);
  rect(285, 160, 85, 75, 50);
 
  //unibrow
  fill (155, 205, 206);

 stroke(205, 192, 10);

   arc(198, 85, 200, 90, PI, 0);  // upper half of circle

  // nose x, y
    fill (115, 215, 206);

    arc(210, 200, 100, 50, PI / 2, 3 * PI / 2); // 180 degrees


  //mouth before
  
  fill (12, 25, 96);

//  stroke(0);
//  beginShape();
//  curveVertex(250, 250); // the first control point
//  curveVertex(250, 250); // is also the start point of curve
//  curveVertex(230, 270);
//curveVertex(200, 280);
//  curveVertex(170, 270);
//  curveVertex(150, 250); // the last point of curve
//  curveVertex(125, 250); // is also the last control point
//  endShape();
  
  //new mouth:
    // some mouseover code i found that i wanted to make into a mouth
  //realized it's better as a toungue shape that moves with the mouse
  //x1,y1,x2,y2,x3,y3
 
  fill(205, 190, 280);
 

 translate(width/2, height/1.5);
    scale(mouseX / 800, mouseY / 800);

    fill(205, 190, 280);
    triangle(0, 20, -80, -40, 80, -40);

}
Code for the static version

 

function setup() {
  createCanvas(400, 400); 

}

function draw() {
  background(236, 269, 85);
  
    

  
  strokeWeight(0);
  // Draw a rectangle with rounded corners having the following radii:
// top-left = 20, top-right = 15, bottom-right = 10, bottom-left = 5.

    // head
  fill (125, 255, 206);
  rect(80, 80, 240, 355, 75, 75, 45, 45);
        // left eye

  fill (254, 190, 190);


  rect(130, 120, 55, 55, 50);
  
  
  // right eye
fill (254, 190, 190);
 
  rect(220, 120, 55, 55, 50);
              
  
  
  //ear
  fill (125, 255, 206);
  rect(36, 180, 85, 75, 50);
  
   //ear
  fill (125, 255, 206);
  rect(285, 180, 85, 75, 50);
 
  //hm
    fill (25, 25, 26);

  stroke(255, 102, 10);

    arc(195, 135, 190, 50, PI, 0);  // upper half of circle

  // nose x, y
    fill (115, 215, 206);

    arc(210, 200, 100, 50, PI / 2, 3 * PI / 2); // 180 degrees


  
  fill (12, 25, 96);

  stroke(0);
  beginShape();
  curveVertex(250, 250); // the first control point
  curveVertex(250, 250); // is also the start point of curve
  curveVertex(230, 270);
  curveVertex(200, 280);
  curveVertex(170, 270);
  curveVertex(150, 250); // the last point of curve
  curveVertex(125, 250); // is also the last control point
  endShape();
}
 

What is interaction

Interaction is a reaction to a trigger. The trigger can be any type of input, ranging from a change in the weather to proximity to another object to a change in sound frequency. The input is assigned to a variable and the variable is given a set of rules so when it reaches a certain quantity it sets off a computation, which produces an output. This output causes an event, such as a light turning off or on.