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Playing this Friday with the Floorwalkers. It should be a blast!

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Comedy routine featuring ou own Ron Horsely. Enjoy!

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Peter De Cupere, our favorite olfactory artist, has created a new work exploring the space between divine and embodied representations of women. His piece, entitled “The Deflowering,” contains a rather unusual medium: the (organically and m…

Art and Body

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This Museum of the future debate took place on Tuesday 18 November 2014. Introduced by British Museum Director Neil MacGregor, and chaired by British Museum Trustee Lord Nicholas Stern of Brentford. The panellists were Roly Keating, Chief Executive of the British Library, Munira Mirza, Deputy Mayor for Education and Culture, GLA, Sir Paul Nurse, British Museum Trustee and Chief Executive and Director of the Francis Crick Institute, and Councillor Phil Jones, Cabinet Member for Regeneration, Transport and Planning, London Borough of Camden.

You can also follow the live tweets from the debate on this Storify.

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written in 1936 by Walter Benjamin (1892-1940)

(literary critic, philosopher, social critic)

Outline Summary  

Is the information in this article applicable today, or is it only justifiable when interpreted in the context of its time?

Intro.    Fine Arts developed by comparatively powerless, big change a-comin’,

            innovation will lead to redefining “what art is” (this has happened)

      2. Preface.  Show past to predict the future (of capitalism);               superstructure and substructure, justifies investigation of ideas, “politics of art”

I. In principle a work of art has always been reproducible; Mechanical reproduction of a work of art, however, represents something new.

            A. lithography–>photography–>film

            B. New standard of mechanical reproduction has 1. profound impact on public and 2. makes             reproduction itself an artistic process. Degrades photography, Valery quote: Is mental exertion (concept) less                   strenuous & therefore less important than physical exertion (production/craft)?

II. Reproductions lack presence in time and space–unique existence which determines its history

            A. originals require authenticity, which is outside the technical and outside reproducibility. Originals             preserve authority (vs. forgery)

            B. Reproduction does not preserve authority

                        1. The process of reproduction is more independent of the original than the                                                             manual reproduction

                        2. Technical reproduction can put the original into new situations.

                                    Authenticity –the essence of all that is transmissible from its beginning, ranging from                                     its substantive duration to its testimony to the history which it has                                                                 experienced.

                                    Aura — the authenticity and authority an object has due to                                                                             its existence in the domain of tradition (which withers in the age of                                                            ��  mechanical reproduction)

            C. The technique of reproduction detaches the reproduced object from the domain of          tradition. By making many reproductions it substitutes a plurality of copies for a unique         existence. And in permitting the reproduction to meet the beholder or listener in his own particular    situation, it reactivates the object reproduced. Original object undergoes changes to physical condition, repro      does not: Is this important? Why or why not?

  III. Changes in the medium of contemporary perception can be comprehended as decay of the aura, it is possible to show its social causes.

            A. Contemporary social masses desire to bring things “closer” spatially and humanly,

            B. Contemporary social masses desire to overcome the uniqueness of every reality by        accepting its reproduction. Is the Statue of Liberty less significant b/c there are many copies? Does the type and size    of repro matter? (cheap plastic) What ab exact replicas (someone made 4 more exactly like the original, placed them       across the US)?

            C. (statistics is an example; how to reproduce and draw closer a huge social experience) What is                   original? I have seen Shakespeare done several/many diff ways, each original, each renewing the original play’s                   significance/authenticity.

                  What comes through the death of the Aura? Do we increase the meaning of the object by freeing it from the confines of the                   aura? (authenticity, historical context)

IV. Art for art’s sake vs. art within a socio-historical context has been an issue in the philosophy of art.

            Once art is removed from its ritual dependence through mechanical reproduction, art becomes art             for reproduction’s sake. This eliminates the criterion of authenticity and makes art a function of             politics. I don’t agree. I can still admire church arch. w/out the ritual

              For the first time in world history, mechanical reproduction emancipates the work of art from its             parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the             work of art designed for reproducibility. From a photographic negative, for example, one can make             any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of             authenticity ceases to be applicable to artistic production, the total function of art is reversed.             Instead of being based on ritual, it begins to be based on another practice–politics.

  V. Mechanical reproduction increases the exhibition value of art and reproducibility rather than its original ritual purpose becomes the reason for producing art

              Cult Value — the original magical use of a piece of art, for instance worshipping a madonna

            vs. Exhibition Value — Art on display.

  VI Exhibition value replaces cult value — example, photography and film photos have ritualistic value, captions=signposts (obligatory)

  VII – XI — Discusses film and compares film and the stage Actor separates from aura when acting for camera: camera/director can manipulates scene for desired effect, audience is distant, not in the moment, but captured for display: produces anxiety, every man’s an expert, film/equipment what ab stage props? “illusionary”

  XII Mechanical reproduction ushers in an age of mass consumption of art

              A. In high art (art for art’s sake), the conventional is uncritically enjoyed; the new is criticized with             aversion.

            B. In movies (low art), enjoyment and criticism coincide.

            The decisive reason for this is that individual reactions are predetermined by the mass audience             response they are about to produce and this is nowhere more pronounced than in the film. The             moment these responses become manifest they control each other. Again, the comparison with             painting is fruitful. A painting has always had an excellent chance to be viewed by one person or by a             few. The simultaneous contemplation of paintings by a large public, such as developed in the             nineteenth century, is an early symptom of the crisis of painting, a crisis which was by no means             occasioned exclusively by photography but rather in a relatively independent manner by the appeal             of art works to the masses.

  XIII. Further discussion of film as an example, psychology, art & science, close-ups bring awareness of the everyday & space

  XIV. Example of Dadaism in art

  XV. Quantity replaces quality

            We are distracted by mass art (absorbed by it) instead of contemplating it.

            example–architecture

            We need to learn to be critical of reproduced art

  Epilogue. Function of art changes from ritual function to political function. A warning.

What are the benefits of aesthetics moving into politics (moving from superstructure to substructure)?

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The Rules of Art Now

Thoughts:

-Complexity does not equal quality.

-The idea of what an artist should be is growing drastically more diverse. The decision as to what role(s) an artist plays should be left up to him or her and not to societal standards.

-The question of "what is art" is thrown around so much by people of every level of involvement in the art world I wonder how long it will actually stay relevant. 

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Image and Materiality

Questions that were posed for class discussion:

-Is it appropriate to use unsettling journalistic images in art settings?

-How important is honesty in journalistic imagery?

-How important is it for you, as an artist, to put something familiar in your artwork, causing a "double take" from the viewer?

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"Art & Body" response by Ron Horsley

The one thing that really struck me in this reading was the case example of John Everett Millais’ work ‘Bubbles’ being commercially licensed for use by Pears’ Soap and the ensuing outrage over it. As a graphic designer by formal training and most of my professional/freelance experience to date, it hits me at the idea that keeps going around even today about the ‘commodification’ of art and the supposed impact of something’s commercial application or value somehow being corrosive to its ‘holistic aura’ as a piece of soul-baring or social-political expression apart from economy. While it’s true that on a mass-audience level something may seem degraded by popular recognition and repetitive application in a commercial sense, this is like saying that the Mona Lisa after appearing in a million toothpaste and car insurance ads is going to somehow be lessened in and of itself when you stand before it in the Louvre or truly just take it in as itself apart from any crass or commodified context.

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#Digital project First try# Still got many problems… But I’m done for this semester. (｡•ˇ‸ˇ•｡)

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krichner0908

themisfitsaint

Project Objective

The objective of the programming project was to create an interactive environment that could be implemented with the Oculus Rift.

- “Immersive virtual reality technology that’s wearable and affordable.”

Oculus Rift Company

Requirements

Autodesk Maya

Unity Engine

- The...

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Interactive 3D Gallery | Digital Culture | Programming Project

With Keith Richner

@krichner0908

|SUNIL|

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Walter Benjamin was a man of the early 20th century, a Jewish man. A modern European Marxist caught in the Nazi onslaught that was rapidly constricting his artistic and physical space; a man on the run in a Europe that was rapidly falling to Fascism; a man who committed suicide in 1940 to escape...

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UK artist and designer INSA has introduced a digitally animated look to his street art that he calls GIF-ITI. This is where he paints, takes a photo and repaint his wall or building art multiple ti...

Zach Coneybeer

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At Tim Rietenbach's opening in Cincinnati

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Might be useful for some of your projects. Robert Falcone