week 3 lecture

Week 3 lecture 21 2 2016

Photography

Australia photography serious

Street photographer

Expression

Walking around

Sense of echoing

Finding similarities migrating

Literature

Pre

Coles

Perel

Its relationship with history unsettle

Urbanf rabic of the place

End of the line where he lived

Nobodys out

Haven’t got a car

Too hot

Color yellow blue

Aboriginal heritage

Yellow patch further in the city

After austrlia

To I love china 2008

Buildings shadows

Control on media and places for photos

Un canny

Candid situation

Dis populated feeling

Dystopia

Theme park

Public spaces

Wires at night

Cleaning up of older parts of characteristic bad neighbourhood

The cable and wires were left behind tells story or connection

Communication between between people shows the control over freedom of speech

100 flowers

1956 mao

letting 100 flowers blossom to get socialist ideologies, cultural revolution, Olympics

flowers put in the flwoers all over the city

 over china at Beijing range finder

wow all got redone due to hot weather

the anatomy of business

melbourue archive photography city collection

failed fianicaial news sydeney 80s archive brought fair fax news

photographers stole archive market try to sell it

pointing maps buttons flow diagram

encyclopedia similar idea or with a different  news photography

hiding meaning

doing jobs 

put two images together

author and iamge valid

publication

news paper

naked city winges new photographer

publication figure prints

dust hair

archive portrait headshot hair style

screen print

two different clarity to the same

the small conflict archive

drum scanning

object to match to

archive of

crack paintjobs

super market humans construction

un done paint jobs

logic of repetition of emergency aseembly point

ruption repair

rupture

hyper reality

absence of something

a hole 

sign of a struggle

overlapping stories

too busy

city

digital wunderkukala

entiching

enching collection of art and objects

programmatic

allegory idea of star fish in the ocean

101 john smith

2009 dictionary of masculinity

lost and found

download poster personal setting to a public setting

poetry the data for the lost pet or person

location map with the photo archive of the lost and found

a exhibition a box museum

the wall

black out

screen printing

micro film picture garant function a collection of photos with

Degraded over time silver negative scan to news paper scanned back lost of images

meaning but the details is lost aesthetic twist the way we related

rescan

Week 2 Lecture

Week 2 final project  lecture

Adrian goyoolea film maker

Experimental 8mm

Multimedia installations

Documentary

And narrative

Anothology film archives art house cinema theatre experimental film museum

Jonas mekas film maker

60s- 80s catalyst new American cinema movement post war

journalist villager voice film critic

programmer screening event organizer

jerone hill funded he museum

volunteer while at sva

taking

film publicy film kck starter

stom sogo

lee elikson bruce mcclure

alex mendizable mau

funk taxi visuals

the foorts flat investiable film fevestical

the chemical brothers

dj sportify

image rash life size museo del barrio television in taxi sample of work

getting the taxi in theplace sledge hammer the sound track smashing noise became the sound effect

personal effects 2010 queer experimentakl film and video fevestial

spae does not exist space feel ouched by going in again

chilli 1979 copper mine digging under the group for copper and dead bodies recreate

memories of a blind father

vision memory materiality of film

experiemental films

scientific books vision blindness memory

theory relates to art capitalism

formal qualities interested in exploring my film

carried out months of formal experimentation with my single frame technique

sourced home movie footage to rephotograph

Robert rouscheberg

Sigmar polke

Stan brakhage

Ken Jacobs bruce baille

Michael snow

Collaborate sound artist

Snap shots of recording of everyday little ones sample

Photograph sound

Woshing sound of multiple sound track with different pace and time

Rather than black space

With film

Visual memories being lost

Pop cultural iconography

Inspired by Adrian's still life video, which is created by multiple photographs sycronized together and fade in and out in to create this smoothing experience.

This one is similar to the use of photographs seen in Adrian use of layering photographs fading in and out

Week 1

Interactive installation
installation is to create space that is site specific, boundaries of installation are endless range from indoor, to outdoor
temporirary, and permennant why?
interactive art where involves audience or spectator to achieve its purpose sometimes requires audience to be part of the work, some work with textual and visual information from outside, some times audience can influence the duration of a performence
some other interactive artworks are considered s immersive as the quality of interaction involve all the spectrum of surrounding stimuli.

my work involves two opposite screen that lead audience in to an immersive expereince drawn to react to the video and sound which is the most basic level, with in your movement and through choice one can only see one side of the screen and can be bound by its reaction to the screen, our subjective view of the screen can explicitly create emotion, and audience could puzzle up the memories that we all commonly share with in living in an urban context.
the Sound bed of the installation ties the environment/ space together, almost like a universal language, as we often find difference in what we see and observe, often it is easier to identity similarities in sounds, rather than the use of visual creating all the memories and pieces in to the spectator. Sonic information can be more universal and can evoke feelings and reaction that are more coherent between the various audience.

sound can become the use of constructive, destructive, can easily manipulate the audience senses with sound, often audience can feel vibrations and sense of touch through various low to high end frequency which is often felt through your ears or body, rather than to actually listening to it.
some of the examples of music that utilise this kind of effects particular is submission orchestra, massive attack, tricky and many more.

define meaning
this installation aims to create something that would interact with the audience everyday experience in urban daily life with in context of five emotions, annoyed, depressed, rage, inspired or clear, information overload, these are everyday experience that tie crucially to our weekly routine.
starting from a depressing first day slowly, become depressed, rage in the middle of the week, feelings slightly inspired almost to the weekend, at night after weekend we feel overload of information and purposely lose track of our purpose once again to feel depressed again.

the purpose of the installation could mean to create a mirror for the audience to reflect on their own lives through this immersive experience, almost like an out of body experience where you go in to your very own conscious or "brain" that however, is uncontrollable at times. under this controllable environment the audience can participate in an feeling of collective consciousness through the installation.

in an increasing number of cases n installation can be defined as responsive environment, especially those created by architects and designers. by contrast, generative art, which may be interactive which may be interactive, but not responsive per person, tends to be more or less a monologue.
the artwork may change or evolve in the presence of the viewer, however viewer may not be invited to engage in the reaction but merely enjoys it.

This is the current trend of the interaction pieces, however, due to lack of conversation and how
often in interactive installation the specificity of interactivity comes from the quality of proposed situations and the others involvement in the process of sense making.  nevertheless, computers and real time computing made the task easier and opened the field of virtuality the potential emergence of unexpected (although possibly pre-written) futures - to contemporary arts.
some of the earliest examples of interactive act were created as early as the 1920s. an example

the present idea of interactive art began to flourish 'more in the 1960s for partly political reason'
at the time, many people found it inappropriate for artist to carry the only creative power within their works.
aside from the political view it was also current wisdom that interaction and engagement had a positive part to play with in the creative process.

own taxonomy