Thursday, December 25, 2014

Some writing for a change of pace. More art will be posted once i get a better camera, for the images i've posted thus far have been embarrassingly poor quality.

The place, Huntington Gorge, being one of those locations you research as a result of the prospect of having fun, initially took on the air of innocence and escape, somewhere offering a much needed natural respite from the chaos of society. For the first few visits, times in which the murky water held our youthful bodies throughout all of their giddy motions, the gorge maintained this patina of untainted escapism, and not even the sign standing sentinel above it listing the number of people that had died alongside corresponding years of death served to dishearten.
It was during the third visit then that a faint sense of wrongness found it’s way into the warrens of the subconscious, tentatively testing the stale air for the scent of potential victims.  No awareness of the feeling’s source was present during the ride up, but you could detect its vibrations in the subsurface language of the group, in the way conversations and laughter felt weak and stillborn, like dead leaves floating through the radioactive air of Chernobyl. In retrospect, though no one directly acknowledged the difference in energy between the current undertaking and past trips, everyone was acutely aware of it, and only the fear of being alone in our convictions kept us cavorting about in feigned security.  So, as we turned onto the poorly maintained dirt road and started catching glimpses of deep pools lingering within the stream to our right, we continued to banter and make light.
It being somewhat late in the season as denoted by slight discoloration among some of the oaks and maples lining the banks, we had no issue finding parking near our usual spot, which was directly below that reaper’s record of a sign as it turns out. It seemed as if that slab of decaying wood was deliberately turned toward me as I exited the car, demanding my attention like a little kid desperately wanting to show off a new trick, and it took no mean amount of will power to direct thought and action toward the trail that my friends were already starting to advance down in single file.  One foot in front of the other and tear misgivings asunder, the mantra went.
                  The short decent to pools waiting in green solitude made me recall patterns in incidents of past trips that hadn’t struck as abnormal at the time but now fit only too well into waiting niches of my new outlook. That is, the amount of near falls experienced by the group as we descended were statistically deviant this time and, if memory serves, the times before. Every root and slick slab of shale offered purchase that would betray you with unapologetic impulsiveness, for the land had seemingly adopted a borderline personality disorder with whimsical delight. A change in the lighting also occurred that made the striated granite carved by the falls into edgeless pinnacles and channels wax as a secondary liquid entity, a river encasing the first one that moved infinitely slower. I suppose that this was the case scientifically, but thinking about it in poetic terms held way more appeal. In their zealous adherence to edicts of science, others in the group would disagree, their thoughts turning to more obvious instances of the same concept, such as the terrain formed by water ice interwoven with colder CO2 ice on the polar ice caps of Mars. 

                  Miraculously, no injuries were sustained, and there was almost a palpable sense of relief as we shed our clothes in preparation for indulgence in Neptune’s libation, his green, sediment filled, libation that some twenty plus recorded bodies had been hauled out of by stone faced EMTS courting professional distance and grief wracked loved ones incapable of any semblance of distance over the course of twenty years. Still, it was an abnormally hot day in the autumn of September, a time for nakedness, laughter, and fond memory formation.

Monday, April 7, 2014

you be you artist commentary


Upon viewing “Material Witness Or a liquid cop”, a twenty minute film by Ed Atkin, I was quite riveted, for it evinced the typical collage of images emblematic of surreal art films while maintaining an ostensible sense of plot and cogency. Specifically, this was most salient when, as opposed to producing something akin to the verbal ejaculations of those with Wernicke’s aphasia, actual comprehensible paragraphs of speech were randomly distributed throughout the piece. Thus, a flavor of verbal poetry was provided that functioned to imbue the film with a slightly decreased ease of subjectivity; that is, it used the precept that we, being unable to prevent the drawing of associations between stimuli occurring simultaneously, automatically assume relation or synergy between elements. Indeed, perhaps the video was a commentary on this propensity, for after a few sensible monologues by the narrator or whatever, random phrases and inarticulate grunts would appear, thereby mocking the veracity and pertinence of anything previously stated.  Overall, In that it gave a bombardment of ambiguous sensory phantasmagoria,  it seemed to me a reflection of the difficulty we constantly face in parsing that which is meaningful and valuable in life from distractions and nonsense.

Tuesday, April 1, 2014

film/data bending commentary

The aims of the film and data bending portions of project three were oriented around depictions of mortality and the disintegration of friendships/relationships as a function of time, respectively. Regarding the latter, by copying large portions of the code and pasting them to areas where they shouldn't be, sizable, intact parts of the jpgs were superimposed/transposed elsewhere. This is most prominently exemplified by the floating outline in the photo that shows me gazing at a sunlit lake. Additionally, when looking at the pictures that I would later manipulate, I felt a stark discrepancy between their crispness and the comparatively poor quality of my memories of those times; thus, I felt compelled to show the images as they would be if they experienced a degree/rate of decay similar to that which my neuronal networks apparently do. In terms of the film part, I was attempting to provide an overarching tension between the beautiful aspects of life and the heavy harshness/oppression that can exist in the same demesne. Admittedly, however, I was focused less on the conceptual basis of the film and more on the technical procedures that went into editing it. As a side comment, the factory farming component of the film would likely make a large impression, but I didn't intend for it to; It just appeared because of my compromised timeline for obtaining footage.    

Wednesday, February 26, 2014

commentary on project 2

For the most part, working on project 2 functioned to improve my photoshop aptitude; namely, I used more technical and intentional techniques to render some of the images I used for the gifs. This was particularly so in relation to segment 2, for I extensively made use of the clone stamp, selection tools, filters, adjustment layers, and drawing tools. As a mode of creating the flowing river of lethe in the aforesaid, I strung together multiple copies of the same image together with slight variations in the passage/placement of the ripple filter. Segment 3, as I'm sure is quite apparent upon cursory inspection, is rather amateurish, but seeing as the content of the gif itself is unnerving, the choppiness of the animation merely serves to continue the theme. Regarding the first segment, traditional stop motion was used to give the effect of one of my wood-sculptures reading an X-files comic. For some reason, although it may not be objectively magnificent, segment 1 is a personal favorite, and I look forward to making more and perhaps more elaborate episodes featuring the wooden elk as the protagonist. Conceptually, there was really no overarching theme or intellectual goal; that is, I was primarily focusing on attaining the hard skills.  

Project 2


stopmotion segment  


collage segment


simple gif segment

Tuesday, February 18, 2014

crit response to chapter 3

There is a passage in the book that states, “behind much art extending through the western tradition exists a yearning to break down the psychic and physical barriers between art and living reality”. The aforementioned, as a possible interpretation, presents a central goal of art as accurately representing or getting closer to some metaphysical truth present in what our eyes see. This thesis, though perhaps slightly applicable to observational rendering, grossly seems to miss the point of art; that is, like beautiful literature, the composition and structure of a piece serves to defamiliarize and introduce novelty. There is something, for instance, inherently intriguing in playing with realities physical laws in ways that defy and warp them; it makes one feel almost like a god (creator) free to shape a universe according to whatever fancy is foremost.  The status of godhood, however, isn’t pure, for one is still limited to the perceptual rules that we derive from experiencing the everyday (spatial dimensions, colors, textures).

                  As a somewhat tangent point, the work of Ken Feingold provides an interesting commentary on patterns of human interaction. Specifically, his animatronic heads implanted in packaging peanuts and forever immersed in conversation with one another seem to ominously replicate the way humans converse. Via a mode similar to the way we cling to certain phrases and words to generate formulaic responses (“how was your day”,  “what’s your major”, etc.”, the Ken’s heads use algorithms to cling to certain word/word combinations that elicit preprogrammed responses. In sum, Ken’s work serves to emphasize the point that computers think like humans because they were made by humans that can’t conceive of other thought modalities.

Thursday, February 6, 2014

Identity layers commentary

For the identity layers project, I chose to quite literally conform to the name as a conceptual basis; that is to say, I mainly created iterations of a single image. Thus, by adding to the image and making it more dynamic, I was increasing the complexity of its identity, for progression through life entails a process of continuously altering/constructing an identity. In terms of the three alterations of the original "innsmouth" drawing, a situation in which an off-putting/discomfiting evolution of identity is displayed. "Innsmouth altered 3", for instance, is fractured and changed to the point where the original geometry can barely be made out and the colors follow no logic whatsoever. In sum,  the project was an attempt to reflect on the complete dissociation I often feel when considering past selfs and the contexts that engendered them.      

Wednesday, February 5, 2014

critical response to the introduction/chapter1 of "digital art"


Via considering the congruencies between Paul’s descriptions of the conceptual substrate of digital art and my own infant interactions with the media, a number of points become rather salient. Specifically, in the introduction, he describes digital art as being similar to Dadaist poetry due to the overarching element of found randomness following a distinct protocol. So, although appropriation (collage for the most part) has always been something that I somewhat disliked within a studio art context, its merit became more readily apparent relative to digital art.  Indeed, the concept of artwork as a succession of complimentary layers (at least within PS) took precedent, and the process started resembling painting with the added element of instantaneous bitmapping. Moreover, interfacing with PS brought to mind the symbiotic interaction of discrete components present within both music and art. The terminologies of PS and digital music composition programs are even similar; that is, layers create the whole, and such things as “flattening layers” represent a gestural acknowledgement of at least a portion of the piece that has reached a desired state/symbiosis.       

Monday, January 27, 2014

Work of the Past



necropolis gates (30"30")

NG fragment

NG fragment


Terminus

Terminus Detail

Terminus Detail

Coral and Sky (60"60")












Tempest and Tea

tempest and tea detail

lines


Innsmouth