#and that the concept of applying intermedia is intermedia | Explore Tumblr posts and blogs

giorgiadigitalmedia · 9 months ago

Text

Blog Post 1

Why is the Bauhaus a symbol of Gesamtkunstwerk?

In this blog post, I'll be exploring the concept of Gesamtkunstwerk and how it applies to the project, and mainly the aesthetic aspect, of the Bauhaus Institute. From my past studies, one of the things that I remember more clearly is the concept behind the Bauhaus Institute. I am not too certain about why I have it so vivid in my mind; maybe because of its revolutionary soul, maybe for the historical times in which it was developed and in which it ended, or maybe because of the values held in the creation of the original project.

Higher art education was first established in 1919 in Weimar (Figure 1), Germany, by the architect Walter Adolph Gropius. When it was first created, it was meant to be a space that could host and promote a new educational method, and include different artistic practices in the service of the concept of the “total work of art”. In this, the director got help from the artist Wassily Kandinsky who was a big promoter of the concept regarding Gesamtkunstwerk, even before World War I. The Russian painter took the definition created by Wagner and revolutionized it by rethinking the idea of the "total work of art" as an abstract intermedia experience, both multisensory and immersive Munch, A.V. (2021). The first Academy of Fine Arts was a result of merging and combining together mediums such as sculpture and paint, industrial and graphic design, interior and architectural design, etc…(Hartley, 2024); (The Art Story, 2020).

Figure 1

Figure 2

One of the first unprecedented innovations of the school was its pedagogic approach, which was based on the pursuit of a personal style, encouraging the creation of a non-competitive environment and instead on a common collaboration between students and teachers. Students were taught to forget the differentiation between artists and craftsmen and were instead pushed through workshops and labs to experiment with the creation of objects that would represent the soul of the work of art (Bergdoll and Dickerman, 2009).

Especially the second school relocated in Dessau in 1925 (Figure 3), is a perfect example of the embracement of the concept of Gesamtkunstwerk. As a matter of fact, if we take a look at the formal definition of the term, we discover that Wagner was not only describing the external factors that should be present in a "total work of art", but even more he was putting emphasis on the inner purpose of the artwork, which must create a new reality. In surpassing the arts, the work should also surpass itself and open up to a new reality, delivering the reader or the public to a different dimension (ArtChist, 2015); (Hartley, 2024).

However, when Walter Gropius took the leadership of the establishment, he was keen on redefining the idea of “total work of art” into “Total design”, as he referred to it. Incorporating both technology and industrialization, with its specific color scheme and a steel grid, the iconic and geometric building embodies the movement’s values (ArtChist, 2015); (Hartley, 2024).

Figure 3

His manifesto that came out in 1919 stated: "universally great, enduring spiritual-religious idea..., which must find its crystalline expression in a great Gesamtkunstwerk." (Wagner, Richard, The Artwork of the Future, 1849).

Believing that the form should convey the function, he thought that the concept applied to all aspects of modern life, from planning the appearance of the outside of a building to organizing every single object inside of the structure. For example, the students were called to plan and design various attachments and accessories that would be displayed on the inside of the building, like it has been done on the facade of the school with the use of Herbert Bayer’s font, which was invented there (The Art Story, 2020).

To this day, the building planned by Gropius is one of the most outstanding architectural works of the 20th century. When the Bauhaus moved from Weimar to Dessau, the architect took inspiration from the design of the Fagus Factory (Figure 4) and created a campus that would reflect the needs of the school. Not so much for its implementation of glass walls that allowed full vision of everything happening on the inside of the structure, but more for the relationship that the developer wanted people to establish with the place. The space was divided into three equal but separate wings, none of which would dominate the others, according to the idea that the design of the complex had to work with the environment surrounding it and also satisfy some practical needs (Hartley, 2024).

Not only was the architecture based on the embodiment of the “total work of art”, but also the activities taking part inside of the building. As a matter of fact, the main idea behind the school was to specialize in artists with very different creative backgrounds who would be able to conceive a new Gesamtkunstwerk, of which architecture would be the “complete construction, the final goal of the visual arts.” (Munch, A.V., 2021).

Figure 4

As a visual artist, that focuses on both still images (illustration) and moving shots (animation), this topic really speaks to me since I think it brings together many elements that as artists take into consideration before creating something. During the planning of the artwork and before the actual production of an image, short film, or general project, the first step is actually researching more on the topic that has to be represented. Subsequently, every element that is going to be present on the scene needs to be connected to the others. Everything needs to have a reason to be where it is and everything has a specific functionality.

I will show a few examples that I think show how a thoughtful design and integration of elements can enhance storytelling and functionality in art projects across various disciplines.

youtube

"Fallingwater" is a house designed by the famous architect Frank Lloyd Wright and built-in 1935. Wright had a groundbreaking idea for Fallingwater. His goal was to build buildings that incorporated nature, and Fallingwater is a prime example of this. Its design integrates seamlessly with its natural surroundings, using local materials and aligning with the waterfall. Each architectural element has a purpose, from the cantilevered terraces that provide views of nature, to the use of natural light. Glass, reinforced concrete, and local sandstone are used to create a structure that both blends in and stands out from the surroundings. The design feels like an extension of nature because of the horizontal lines and wide overhangs that mirror the nearby trees, water, and rock formations. The interior rooms are filled with the sound of cascading water, which establishes a sensory connection to the outside world (Interio, D.S.-A., n.d.).

I know that this prototype doesn't really align with the typical examples of a "total work of art", but I believe that in a way it still reflects some values of the movement. Every aspect of the structure, from the custom-built furniture to the artful use of materials, shows the real connection between the space inside and outside the house. With this project, so well connected with its surroundings, the architect created a holistic experience, as the one that was meant to be created with the building of the Bauhaus (Interio, D.S.-A., n.d.).

youtube

I believe also the movie Avatar can be a great case study with regards to world-building. Perhaps the greatest example of James Cameron's remarkable world-building, inventive storytelling, and astonishingly lifelike computer graphics in the Avatar films is the vast array of animals and other creatures that are presented on Pandora. In concept art for films like this one, the flora and the fauna are designed to complement the Na'vi culture (Milling, R., 2022).

Right after the release of the second Avatar movie, the Art Director Dylan Cole and the Concept Art Director Ben Procter were interviewed by Below The Line. At the question "What were the inspirations for the fish and fauna in the ocean?", Cole responded: " We had to think of the whole ecosystem. It’s not just, “Hey, design a few fish.” There are many different environments within the ocean, of course, from the sea floor up to — what is sand? What is a rock? We tried to think of it like when we were doing the forests. In [the first] Avatar, there are the very obvious exotic alien plants, but there are also a lot of things like ferns and stuff that are just kind of like touchstones so that you get what type of forest this is. We did the same in the ocean, so we had tons of big, crazy exotic coral, but we also had some more recognizable bits because you want it to feel how it feels to us to be in those types of environments. " (Dylan Cole, Below The Line, 2022)

Reference list:

ArtChist (2015). Edificio De La Bauhaus En Dessau | Walter Gropius | Clásicos De La Arquitectura. [online] Blogspot.com. Available at: https://artchist.blogspot.com/2015/09/edificio-de-la-bauhaus-walter-gropius.html [Accessed 12 Oct. 2024].

Bergdoll, B. and Dickerman, L. (2009). Bauhaus 1919-1933 : workshops for modernity. New York: Museum Of Modern Art.

Finestresullarte.info. (2023). Bauhaus. Origins, Development and Main Exponents of the School. [online] Available at: https://www.finestresullarte.info/en/ab-art-base/bauhaus-origins-development-and-main-exponents-of-the-school [Accessed 12 Oct. 2024].

Hartley, J. (2024). Gesamtkunstwerk - The Total Work of Art - Liaison Gallery. [online] Liaison Gallery. Available at: https://liaisongallery.com/gesamtkunstwerk-the-total-work-of-art/ [Accessed 12 Oct. 2024].

Interio, D.S.-A. (n.d.). Fallingwater: Frank Lloyd Wright’s Nature-Integrated Masterpiece | Archiinterio Magazine - Archi Interio. [online] www.archiinterio.com. Available at: https://www.archiinterio.com/magazine/fallingwater--1935---a-masterpiece-of-nature-integrated-architecture-by-frank-lloyd-wright.

Milling, R. (2022). Avatar: The Way of Water Production Designers Ben Procter and Dylan Cole on Expanding the World of Pandora With Oceanic Landscapes & New Weapons | Below the Line. [online] Btlnews.com. Available at: https://www.btlnews.com/awards/avatar-2-production-designers-dylan-cole-ben-procter-interview/ [Accessed 19 Oct. 2024].

Munch, A.V. (2021). The Gesamtkunstwerk in Design and Architecture. Aarhus Universitetsforlag.

The Art Story (2020). Gesamtkunstwerk - Modern Art Terms and Concepts. [online] The Art Story. Available at: https://www.theartstory.org/definition/gesamtkunstwerk/ [Accessed 10 Oct. 2024].

Wilder, C. (2016). On the Bauhaus Trail in Germany. The New York Times. [online] 10 Aug. Available at: https://www.nytimes.com/2016/08/14/travel/bauhaus-germany-art-design.html.

www.youtube.com. (n.d.). A walking tour of Fallingwater - An architectural masterpiece by Frank Lloyd Wright. [online] Available at: https://www.youtube.com/watch?v=ENtku3xe_c0 [Accessed 17 May 2023].

www.youtube.com. (n.d.). Avatar: The Way of Water | Official Trailer. [online] Available at: https://www.youtube.com/watch?v=d9MyW72ELq0.

‌

Image References:

Wilder, C. (2016). On the Bauhaus Trail in Germany. The New York Times. [online] 10 Aug. Available at: https://www.nytimes.com/2016/08/14/travel/bauhaus-germany-art-design.html.

#bauhaus #architecture #gesamtkunstwerk #totalworkofart #totaldesign #Youtube

1 note · View note

cavila9 · 5 years ago

Text

Postmodern Art-Making

When we think of the word postmodern art-making a lot of thoughts come in to mind because it doesn’t only mean one thing but consists of a lot more. Postmodern is the idea of clarifying it’s concepts and add complexity to what is provided already. The concepts being used can also be useful for making art according to Barrett. It can gives you ideas, interpretation of what it’s saying and what it’s actually showing you. For example, escaping the confines of museums focused on reaching the audience beyond the art galleries and museum and would place her/his work in public venues. Collapsing Boundaries between high and low seek the boundaries that were important to modern world and like many others there is a lot of more that falls on postmodern art making. It is the art movement that contradicts the aspect of others, it can be shown through intermedia, installation art, conceptual art, and multimedia.

1. Escaping the confines of museums- Unittled (You are here), Prints and multipl, Print on vinyl, 2017, Barbara Kruger.

2. Collapsing Boundaries between “High and Low- Crying Girl, enamel paint,1963, Roy Lichtenstein

3. Rejecting Originality- Barcham Green Portfolio , prints and multiple, suit of five intaglio print, 1986, Sherrie Levine

4. Jouissance- Carry Elvira, photographs, chromogenic print, LED light box, wooden frame, 2018. Marina Abramovic

5. Working Collaboratively- 9 stones, color spitbite and aquatint eitching on smoked paper, 1989, John Cage

6. Appropriating- La Mariee, color aquatint and etching, 1934, Marcel Duchamp

7. Stimulating- Window washer, chromogenic print, 2001, Anthony Goicolea

8. Hybridizing- Cabeza, prints and multiple, 1982, Jean- Michel (This is one of my favorites!!)

9- Mixing media- Peas and carrots on a plate, photographs, prints and multiple, 1978, Sandy Skoglund

10. Layering- Bath towel, design, rugs, carpets, textile, 2012, Barbara Kruger

11. Mixing codes- Affirmative fears, affirmative tears, paintings, 1997, Michael Ray Charles

12. Recontextualizing- Nuestra madre, acrylic and oil masonite, 1981, Yolanda Lopez (The image was too big to paste)

13. Confronting the Gaze- Untitled, photograph, Frida Kahlo

14. Facing the Abject- The Rabble, vintage cibachrome applied on plexiglass, 1984, Andres Serrano

15. Constructing Identities- Let the record show, prints and multiple, 1987, Gran Fury

16. Using Narratives- Ten breaths: Samaritan, sculpture, bronze, 2007, Eric Fischl (Another one of my favorites!)

17. Creating Metaphors- Untitled, Decorative objects, 2004, Suh Do Ho

18. Irony, Parody, and Dissonance- Untitled film still #61, photographs, 1979, Cindy Sherman

7 notes · View notes

ellenspublicpractice · 5 years ago

Text

Contextualise Summary 02

a Masters Programme at the University of Applied Sciences in Mainz.Co-design is one of the key approaches that I wanted to utilise throughout this project, in particular after Jaz Choi’s fantastic talk on this subject. I think co-design was integral to the curation of the publication, working closely with my group of ‘Foundation Creators’ to ensure that the variety fo works were displayed in the most immersive, engaging way. I would send small questions to prompts to the group to help gain a better understanding of their individual practices, and an insight into their goals in their respective creative industries. For example, I sent out a survey requesting them to select all of the following that applied to them:

Performs Live

Keen to Collaborate

Commissioned Work Available

Some Work Available for Sale

None of the Above

This gave me a better idea of what each artist included in the publication was aiming to gain from being a part of this, and how I could support them in this. I also designed a series of small co-design activities which I posed to the following on Instagram so they could learn more about each others’ practice. Questions like:

Who is someone strong you look up to?

Explain your creative practice in one word.

In 2minutes, draw someone strong.

These help to prompt the artist into considering what their perceptions of strength are.

Some of the key thinkers who I explored throughout this project (more detailed descriptions of their work and practice can be found in the captions of earlier posts):

Hans Ulrich Obrist — A Swiss art curator, critic and historian of art. Author of ‘Ways of Curating’ (2014) which has helped me wrap my head around curating and the role it plays in interactions as much as it does in physical spaces. He also introduced me to concept of Instruction-based art.

Misaki Kawa — An installation artist and publication designer based between New York and Japan.

Nos: Books — An independent publisher, founded in Taipei.

James Marshall — An Interactive Designer from Baltimore.

Gutenberg-Intermedia — A a Masters Programme at the University of Applied Sciences in Mainz focusing on cross media design practice and research.

#text #contextualise

0 notes

architectnews · 5 years ago

Text

Omer Arbel Aedes Exhibition

Omer Arbel Architectural Experiments in Material and Form, Aedes Architecture Forum News

Omer Arbel at Aedes Architecture Forum

4 Jun 2020

Omer Arbel – Architectural Experiments in Material and Form

Omer Arbel – Architectural Experiments in Material and Form Exhibition

75, 86, 91, 94

Photos © Fahim Kassim

Exhibition: 29 August – 22 October 2020

Opening: Friday, 28 August 2020, no public opening ceremony Venue: Aedes Architecture Forum, Christinenstr. 18-19, 10119 Berlin Opening hours: Tue-Fri 11am-6.30pm, Sun-Mon 1-5pm and Sat, 29 August 2020, 1-5pm

Omer Arbel Architecture Model 91:

Omer Arbel is an artist, designer and architect based in Vancouver and co-founder of the lighting firm Bocci. Arbel experiments with architectural material and form, creating works that he rather numbers in the order of their creation, instead of giving them a title. The exhibition presents four architectural projects that are currently being built through a series of drawings, prototypes, videos, large-scale models and sculptural applications of different materials.

Model 75:

Included in the show are five concrete sculptures distributed inside and outside of the Aedes spaces. These prototypes express the architect’s interest in the flowing nature of poured concrete and how it can be used. The exhibition provides an insight into Arbel’s practice to cultivate a fluid position between the fields of architecture, sculpture, invention and design.

Omer Arbel Architecture Model 91:

Sculptures

The numbering of Omer Arbel’s design compositions and architecture projects does not follow a certain mathematical pattern, to number the projects is merely an idea that grows over time; once an idea takes on a form, it gets introduced with a number. Omer Arbel’s ongoing creative process includes incorporating many materials especially copper, glass and pouring concrete. In the last 15 years, Omer Arbel has been experimenting with various techniques of pouring concrete – an investigation that often resulted in cutting the material.

Omer Arbel Architecture Model 94:

Omer Arbel – Architectural Experiments in Material and Form: 75, 86, 91, 94, brings to the fore Arbel’s ongoing dedication to push the boundaries of material whether in art, design or architecture. In the centre of the exhibition is a large-scale suspending lighting installation, made of blown glass named 28, which is a result of his experimentative approach and method.

On display and arranged throughout the Aedes indoor and outside spaces, are five concrete “donut-shaped” sculptures, which are cut from fabric cast concrete forms the so-called Lily Pads. Thickness and layers reveal the scars and characteristics of the concrete material. Their unique shape and massive appearance demonstrate a small part of Arbel’s ongoing experimental practice.

Omer Arbel Architecture Model 94:

Architectural Projects The four architecture projects (75, 86, 91, 94), which are located outside of Vancouver are currently under construction and are to be seen in four architecture models, documentary films, drawings and prototypes.

Model 75 construction:

The architectural model for a private residence that is currently being built in the periphery of Vancouver is composed of a series of concrete forms, the Lily Pads, as Omer Arbel calls them. Instead of pouring concrete into a wooden framework, a geotechnical fabric material is stretched between radially organised plywood ribs was used. The cavity in the middle is filled with a root of a mature tree.

The architectural model shows a five-storey headquarters building for the design and manufacturing company Bocci, abutting an urban park situated between residential and industrial neighbourhoods in the city of Vancouver, Canada. Applied was the technique of pouring concrete over formwork composed of haphazardly stacked hay bales wrapped in loose fabric. The formwork describes vaulted internal spaces, transitions to exterior balconies, finally perforating conventionally formed, flat building facades.

91 and 94

Omer Arbel Architecture Model 91:

Both architectural projects are set to interact and evolve within the rugged, remote, oceanfront Canadian landscapes in which they are build. The building 91 is a heavily sandblasted cedar bridge between two naturally occurring ridges, spanning over a sunken fern gully; it is anticipated that over the next 100 years, rising sea levels will flood the gully, giving the project an entirely different reading. The building 94 contrasts the character of underground spaces with the sudden discovery of being suspended over the edge of a cliff; numerous cedar offcuts are tumbled into amorphous forms and used first as formwork for concrete and then second as kinetic cladding.

Omer Arbel Architecture Model 91:

About Omer Arbel Based in Vancouver, Omer Arbel began his career as an apprentice to Catalan architect Enric Miralles before completing his professional degree in architecture in Canada and working with, among others, John and Patricia Patkau. Arbel established the design and manufacturing company Bocci on the outskirts of Vancouver in 2005 and is simultaneously working with his own practice cultivating a fluid position between the fields of architecture, sculpture, invention and design.

Model 75:

Further information: www.aedes-arc.de

Aedes cooperation partners: Zumtobel, Cemex, Camerich, Carpet Concept

Architecture Model © Fahim Kassim

Omer Arbel Exhibition at Aedes Architecture Forum images / information received 120820

Location: Christinenstr.18-19, 10119 Berlin, Germany

Aedes Architecture Forum Exhibitions

edes Architecture Forum News in 2020

4 Jun 2020 Water Garden at Aedes Architecture Forum Curated by Junya Ishigami & Associates photo © Courtesy of nikissimo Inc.

Aedes Architecture Forum Exhibitions

Archi-Tectonics – Winka Dubbeldam & Justin Korhammer, New York Flat Lands & Massive Things – From NL to NYC & Beyond picture © Archi-Tectonics Archi-Tectonics Architecture Event

Active Buildings – Innovation for Architecture in Motion Aedes Architecture Forum Exhibition by falkeis²architects photo : Filmfabrik Active energy building in Vaduz, Liechtenstein

Woodland Sweden – Contemporary Timber Construction Härbret Summer House in Nannberga by General Architecture/Stockholm: picture © Åke E:son Lindman

Urban Intermedia: City, Archive, Narrative Harvard Mellon Urban Initiative and Graduate School of Design, Harvard University picture © Harvard Mellon Urban Initiative

The Groundscape Experience Dominique Perrault, Paris with SubLab, EPFL, Lausanne & ADSlab, EWHA Womans University, Seoul picture © Dominique Perrault Architecte Dominique Perrault

Nieto Sobejano Arquitectos: TABULA – The Arvo Pärt Centre in Estonia image © Nieto Sobejano Arquitectos Nieto Sobejano Arquitectos

Marina One Singapore – Architecture Exhibition in Berlin image courtesy of architects Aedes Architecture Forum Exhibition in Berlin

Berlin Buildings

German Buildings

Comments / photos for the Omer Arbel Exhibition at Aedes Architecture Forum page welcome

Website: Architecture

The post Omer Arbel Aedes Exhibition appeared first on e-architect.

#e-architect

0 notes

laurarosser · 7 years ago

Text

What is the post-digital era? Notes from the Post Digital Print Conference, Wroclaw.

Paul Laidler (UWE) Paper.

At the 2017 Post Digital Printmaking conference, Paul Laidler who is a Senior Research Fellow at the Centre for Fine Print Research, talked about looking through the eyes of machines as humans in terms of digital print. Identifying the post-digital era as one where we are not in the position to offer conclusions, more so we are proposing questions. The post digital age marks a period of rapidly changing technology and opportunity.

Artists are increasingly asking machinery to do things that it wasn’t intended to do. Such as Jack Youngblood’s manipulation of inkjet printers and overlaying prints in ‘Spate’ (2003) and Richard Hamilton creating impasto inkjets prints, creating a 2.5D industrial and technical process.

Arthur Buxton employs mobile technology in ‘Colourstories’ (2014 to date) a free web-based app that lets users create colour swatches and individual colour pallets from their own personal photos. When users upload photographs to the website a unique pallet is created which tells a story and is a personal history in colour. One additional important element that should not be overlooked in Buxton’s ‘Colourstories’ is that it encourages users to make use of digital images that often just sit as data or bytes on a hard drive.

What is the position of analogue artworks in the digital, or post-digital era and how do they support one another? The questions about the digital should not be, what can we do? And should be, why are we doing this?

Labour is an important consideration for print based practitioners and post digital printmakers perhaps have a heightened awareness of time/duration and the immediacy offered by a digital relationship. We are amidst a culture of instant gratification, with print on demand and instant production. However, certain things cannot be reduced to binary, which is where post digital print is located. Some artists embrace the slow movement, such as Estella Molina’s work where she combines digital print with photogravure and labour is critical to the intent. In contrast, the work ‘Coded’ (?) by Ruth Irvine tested immediacy and applied algorithmic language to physical activities.

Laidler described these post digital artisans as being ‘digitally mindful’. He talked of digital natives who were born in the 1990’s who were born amidst a digital revolution. Digital natives are not being taught by digital natives, yet. What is the implication of this is?

Lastly, Laidler outlined a key concern that resonates with me, in that the post digital conversation is not about how we technically master these tools that is critical/significant, rather it is the consequences of how these tools penetrate and reshape the way we think about making work.

Pawel Puzio (Wroclaw)

Pawel Puzio from Wroclaw Academy of Fine Art is interested in the digital glitch and researching the field of malfunction-based. Digital media is the medium Puzio elects as his channel for expression, a method of communication or data exchange. There are specific medium traits in traditional media, such as screen printed halftone marks or a soft drypoint line or analogue photographic grain. I don’t believe that new digital media reveals the same distinct characteristics. Puzio referred to ‘transparency’ as a term often used in reference to digital media, referencing how the media becomes transparent. As in CGI models in the cinema and HD television with high resolution and bright/vivid colours creating ‘hyper-reality’. We cannot experience the detail and intensity of colour in real life. Similarly are medium specific traits considered as artefacts?

Puzio defined a need to mediate without mediation. He proposed that the digital medium is failing at becoming ‘transparent’, because of digital malfunctions, noise, glitch and errors. Glitch art is a field that has been well documented and explored by Mark Nunes, et al(?).

Puzio discussed: Rosa Menkman ‘DCT:Syhoning’ (?) and ‘Mytopia’ (2015), both digital works that experience virtual reality; Mattiew St. Pierre’s ‘Melted ice cream’ and ‘Post Forward’ are created from corrupted digital files; Matthew Pumner Fernandez used corrupted files to make 3D models; Peter Nory employs incorrect and glitch google earth maps; Pawel Puzio himself produces works using data corruption techniques which he demonstrated at the conference; The method could be compared to an algorithm, a set of procedures that he has tested and uses to produce glitch or error art, for example, following measured steps by moving between sound and bitmap files to corrupt the image. Finding and replacing characters in the code.

Puzio demonstrated two tutorials on how to make glitch art.

In notepad (You can see the language and the code).The below steps will all corrupt the image:- choose 2 characters to find and replace. delete sections of the code.Copy part of the code and paste elsewhere.

In odacity. Upload a bitmap file as dataPlay as a sound biteAdd effect: base, echo, etc.Export back to a bitmap file - image will be distorted from original source.

Note: Also see Saunders, G., & Miles, R. (date?) Printmaking in the 21st Century http://www.vam.ac.uk/content/articles/p/prints-21st-century/

Karen Oremus (Zayed Univerity, UAE)

Karen has a spiritual/scientific interest in her work. And focus on digital corruptions.

The vicissitudes of printmaking practice in the post digital era.

‘New technologies are the new media of the redefined multiple, creating multiple meanings of the multiple’

There are infinite digital editions (see photograph in Evernote), consider YouTube, Dropbox, Yahoo, Facebook, PayPal, tumbler, et al.

A fixed multiple has given way to a more flexible multiple. With more temporal notions of the matrix and the edition influenced by Deleuze’s ‘Difference and Repetition’ (1968).

(Different words for the multiple: numerous, repetition, various, different, assorted, multiform. All of which hint towards individuality).

The print departments at Auburn and Zayed universities collaborated virtually in an online project, creating an infinite edition.

Works produced by Karens students included:

Rust prints on the beach(this would work well for stage one) Bury metallic objects (that rust) in the sand. Lay canvas or paper onto of them. Dig them up two weeks later.

2. Ayesha Hadir: shadow prints projections and shadows from objects

3. Shaikha Fahed: Photo shoot inspired wood cuts starting point is the photo shoot. Takes the images into intaglio and woodcut. Creating printed installations, with lights and shadows projected onto the woodcuts.

Katarzyna Zimma (Lodz University of technology)

Edge Effects: printmaking as an inter-medium

Katarzyna Zimma approaches her practice from a traditional print perspective. She uses the structures of permaculture as a design strategy, ‘use edges and value the marginal’ (Bill Mollison, 1978).

Zimma references edge effects in terms of the ecosystem, specifically coastal boundaries of water and land.

Dick Higgins created the ‘Intermedia chart’ (1995) to demonstrate the concept of intermedia and the relationship with Fluxus, which operated in the space between media. Considering the ‘in-between’ the ‘inter‘, Higgins’s diagram highlights boundaries between areas. In what way is post digital printmaking defined as inter-medium? Zimma discussed this concept in relation to the work of Sarah Jane Lawton, whose practice is transdisciplinary, with centrality being the engagement and contribution of others. Lawton presented a paper at Impact9 and seeks out a social practice. ‘She situates her practice on the margins of disciplines and works with models of engagement to reach individuals and communities.’ (Artists own website)

Within my social practice, would the planning of events to create unknown errors be better understood if I highlight the crossed (often overlapping) areas between: participant, artists and error?

Zatarzyna Zimna’s video work ‘Layers’ (2013) becomes an additional record of the process to accompany the work.

‘Colouring Book’ (at Impact9) invited viewers to colour in the white spaces of the black and white prints. The print became a field of exchange, between artist and audience.

‘Memo Game’ is a participatory game playing artwork, consisting of tiles engraved and linocut prints.

(see Evernote slide photographs) “I seek out the social contact that ‘material engagement’ can inspire through printmaking and once my tool-kits have been applied to the workshop settings, they confront one person with another, offering as Basting explains, a gift of real-time moment.” (Sarah Jane Lawton, Printmaking as a model of engagement, IMPACT9, China Academy of Art Press, Hangzhou, 2015, 0. 72-82)

’A print in the post-print age or the post-digital age, is actually often the same print as before, but saturated with different content’.

“…it can be said that printmaking in the post digital age should make more if its own resources - its inner dichtimonies and unlimited potential to create boundary zones with other media and life - in order to continually Renew.”

original | copy

high | popular

change | repetition

absence | presence

tradition | innovation

Martin Surzycki (Wroclaw, Poland)

‘The architecture of printing matrix’

Surzycki talked about the sculptural qualities of the printing matrix in relating his heavily embossed prints. He identifies that there is a degree of uncertainty in the matrix, because of the way he makes his plates/images.

The substrate, the paper, is an important element, explaining it is not anonymous.

Michelle Mirilo (California College of the Arts, San Fransisco)

‘Shifting identities: at the intersection of printmaking and technology’

The breadth of contemporary print is wide and interdisciplinary. Contemporary tools are being used to conceive contemporary ideas. On the other hand, DIY and make it yourself culture is prominent in art practices. Michelle had a residency ay Bullseye Glass where she experiented with powder printing (screen printing on glass). Her exhibition ‘A measure of time’ demonstrated Michelles archival practice, working with lost, found and collected. She had lots of trials and errors produced the work for the show, with many experiments that were unsuccessful.

Print is fixed | Glass is ephemeral.

Michelle’s prints were beautifully delicate and easily broken. The images were of ID cards and were ID cards, not images.

The delicacy of language played a role in the concept for this fragile work and the venerability or conversations and relationships influenced Michelle's choice of material and reseated into digital decals.

Andreas Gustos (Poland)

‘Gene, Meme, Techne’

Andreas has a background in architecture and is a sound / digital artist.

Informare/information: To form, two shape.

Algorithm: a series of 0s and 1s make a pyramid structure.

Conway's Game of Life: there are four rules for the game, consisting of black and white grids. Active/Dead, 0/1 Today/Tomorrow *White/Black - justification for black/white prints, correct/incorrect, 0/1

Bethan Hughes

‘print_screen: surface, depth and the 3d rendered image’

*Ryan Bishop, et al. ‘The Post Digital …’ get this book, contains works produced post internet (Avery Singer, Mark Leckey, Ed Atkins. Notes in black notebook).

Words used: Old and new analogue, post internet.

Beth co produced, collaborated with the software.

*’To print is to capture, to preserve’ (Beth Hughes).

* The printed page enables the viewer to pause, to reflect. This is in contrast with notions of temporality (def: the state of existing within or having some relationship with time.) which often relates to social art work.

Origamni factory - buy kozo that for digital printing.

Digital tools are no longer not in use or unobtainable. Sidsel Meineche Hansen ‘Second Sex War’ combines virtual reality with cnc woodcuts.

Also see notes from Endi’s Poskovic’s talk.

Marta Anna Raczek-Karcz (Krakaw Faculty of Graphic Arts)

‘Perfection and Glitch: The influence of digital thinking on polish contemporary printmaking.’

The Matrix used to be hidden from the viewer and never exposed. It can now be a key subject fo an exhibition, such as in the ‘Graphic art: a play of art’ exhibition that was dedicated to the matrix.

Artists have been exposing the glitch, also known as error, rather than hiding them and using them in their favour. Errors are being used to an artists advantage.

Kamil Kullirek ‘Typography of War’ (2015). 3 keys words relate to his work: hypertextuality, variability and HD.

Lev Manovich’s states in his book ‘The Language of New Media’ (1999) that, as far as the cultural languages are concerned, ‘new media is old media’ . A tool is just a tool it is what you do with it.

Iman Moradi wrote the essay ‘Glitch Aesthetics’ (2004) and later his book ‘’Glitch: Designing Imperfection’, about the glitch being rewarding. The process of experimentation: trial: error: repetition.

Moradi describes complexity and taking perfection in data transfer for granted.

In Glitch Aesthetics Moradi describes:

Pure Glitch as something we see everyday. An error that occurred because of a malfunction and is unexpected. ‘The Pure Glitch’ is, therefore, an unpremeditated digital artefact, which may or may not have its own aesthetic merits.; (Moradi, 2.1.2. , p.10, 2004)

Glitch alike is a term created by an artist (?) which Moradi defines as a collection of digital artefacts that resemble visual aspects of real glitches found in their original habitat.

http://www.organised.info/wp-content/uploads/2016/08/Moradi-Iman-2004-Glitch-Aesthetics.pdf

Tristan Spill (2003) ‘Visual Glitches’

Digits (1s and 0s) digit - Repetition refers to mimicryUpdate | upgrade - has been fetishized, we constantly want better. More notes in notebook.

‘We remember less and less because we think google will remember it for us’ (Marta) We need to save data in our minds not just on computers.

Lisa Rakete, Incubator session (Finland Uni)

Romano ‘Copy Shop’ lyrics ‘who is the thief? who is the genius?’Print is an information carrier, not always about printmaking on gallery walls. It is not so much about digitisation or print, but how digital media is changing our culture. Marshall McLuhan (and Quentin Fore) ‘The medium is the message’, (predicted the internet?)

‘the book is an extension of the eye’ Marshall McLuhan

"The medium is the message" is a phrase coined by Marshall McLuhan meaning that the form of a medium embeds itself in any message it would transmit or convey, creating a symbiotic relationship by which the medium influences how the message is perceived (wiki).

The Phonetic Alphabet. Phonetic alphabet, fragments. They mean nothing on their own (?). There is a relationship between the letters.

‘Post digital print’ A Ludovico ‘books are still around and not dead.

What are the qualities of print? If for example, you look at a printed zine. It is interactive; you can make marks on it; it is tactile; flip the pages; smell it; it is physical; you can highlight it with a pen; you can hear the pages being folded. The Body removers the movements, the feel, the touch, the smell.

Laura Pfeiffer, made an archive of the traces people left in books in the work ‘Lessespuren’. The Archive may be in the form of container or bookshelf. How do we archive digital media? It is harder to loose physical books or paper. Computer back ups, lost files and corrupted files are a feature of contemporary culture.

Pediapress is a website that enables you to edit and print your wikipedia search as a book. Please note: Wikipedia searches are often edited 2 days ago. The printing service exists because people want to archive, to touch, to engage in physical print.

News from the global village: printmaking is not dead. Print is slow.

Why is ‘coding for beginners’ physical printed? It is out ion date the next day.

New York Times costs $14million online, $10million physical subscriptions. The value of print is changing. It was assumed to be of high value, but that is changing. The notion is that digital equals free, a democratic space where you don’t have to pay to be there. This is of course no longer true, apple for example are making a lot of money from the www.

Organisation and structurePrint is linear (Think of arranging the group to stand in order). The line becomes the continuum / organisation of life. Text is linear, consider libraries and the way we experience time.

Information is organised in groups (Think of standing by the person/people you know). In the digital world, it is more organic, it can change quickly and grouping is based on relationships.

2000 years of linear print history. Early amazing page was very linear, more like an encyclopaedia entry, like a p.book. Because that was all people knew.

Open source publishingCreate your own language rather than paying high companies, HTML etc. Reflect on the cultural value of this and contextualise.

Transmedia | Coexisting media

These may be better terms than ‘Post print’ ‘Post digital’

The post digital mindset. We read in linear ways. We speak and digest letters in words. We read left too write, often digesting only the first and last letters. That is why we are able to digest texts and are able to read large volumes. When we move through a landscape we digest fragments, not the entirety.

Is this a post digital mindset? Culture on instant gratification. There is a duality of mediums, with + and - for digital and print.

The nostalgia of analogue is troublesome. ‘The electronic revolution’ book. The speed at which things are becoming obsolete is getting faster and faster. Can you future proof research, prints or digital work? Where and what is the true archive. The digital world is time limited, we cant keep up. There is resurgence of vinyl and we have the choice to use digital, analogue, paper, or none of the above. There is a conscious decision to play a record or Spotify, a conscious decision to listen, to engage; an act(ion).

0 notes