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Blog Exercise 10

Miniature Disasters by Arvic Serapio https://arvicserapio.tumblr.com/post/167489695579/miniature-disaster-2017

This brightly and eerily lit cinemagraph leaves lots for viewers to look at. From the dark colours, to the one-point perspective, to the slight movement, there is much to explore. The odd array of subjects create more intrigue in this uncanny piece.

One of the most remarkable components is the colouring. The dark and unsaturated colours, with the exception of the vividly pink shows, give a cinematic feel. This provides an ominous feeling, much like many of Gregory Crewdson’s works.

This is further emphasized by the one-point perspective. The lines of the clothes-line, fence, and surfboard all guide towards the individual with a shocked face. This is subsequently changed into ridicule, as the situation is odd and not serious. What that subject is seeing is not horrific, it is surreal and just plain weird. She observes the other subject: a floating or falling individual. It is a strange unrealistic, yet somewhat real, position to be in. She is jumping into a small puddle of water. After taking a closer look, this appears to not be a puddle, but some sort of water container. Altogether, the body positions and expressions create a freeze-frame of movement, in an indiscernible narrative that the observer knows exists. In this way, the piece is greatly reminiscent of Gregory Crewdson’s works.

However, while the freeze-frame of the piece is effective, effectivity is lost to the cinemagraph medium. As the water is moving and the rest is not, evidence is provided that the scene is not real. This stylistic choice, while interesting to look at, defeats the purpose. Viewers want the subjects to move, but they are not provided that luxury, except for the pouring water. This half-satisfaction takes away from the ambiguity and muddles the desired in-between characteristic.

Contrastingly, something that is appreciated is the silliness of the actions in the piece. The odd assembly is not too dangerous looking, nor is it horrific. The contrast of this with the lighting may seem odd, however is exceedingly effective at taking images like it and turning them on their heads. It does not take itself too seriously, despite the serious lighting. This brings a fascinating creativity and friction to the piece. This could be used to argue for the pink shoes and suggest that they add to the piece and not detract.

All being said, it is an interesting look into time and motion in digital media. I think it is fairly effective, despite the pouring water. The look, technique and set up of all the components shows understanding of in-class and researched concepts and a high degree of technical expertise.

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Project 4: Alone Online

Statement

User interfaces (UIs) connect users with computers. They provide a mechanism for users to interact and understand computers, allowing them to exploit them for a variety of different functions. UIs are the gateway, however it is up to the users to get to what they want to see.

Two of the most popular uses for the Internet today are social media and pornography. While they are both contentious, they are also both abundant and voyeuristic in nature. In particular for UIs, social media companies are massively wealthy and constantly driving for better design, while “The Internet porn industry has been the key driver for user interface and multimedia technology,” (Drapkin). Being prevalent and pervasive, these were the two juxtaposed areas in this piece. Social media is everywhere, and has terrible consequences, such as the spread of ‘fake news’, yet it remains socially acceptable. Pornography is also everywhere, but is far more taboo and private. Using the UIs and frameworks around pornography to show social media is used to explore its private and public barriers.

The video follows a user that opens up a private browsing window in Google Chrome. Then, the user goes to a website that appears very similar to Pornhub, the self-proclaimed world’s largest porn site. This site was used as reference, or remixed, for the main look of the site to add shock value for those who recognize it. The user then browses the website, watches three videos, then exits, mirroring an Internet porn viewing session.

This piece was inspired by the artists Nastya Żerebecki and Bunny Rogers. These individuals both delved into the below surface depths of the internet to relay honesty about the current state of things. Żerebecki did a series of pieces titled Emoji-Nation which added user interface elements from social media and computers to classic oil paintings to humour or to explore the way we communicate in this day and age. This showed that elements of user interfaces are recognized out of context, so using them in the piece would be effective. From Bunny Rogers, inspiration came from her project 9years where she took screenshots from the game Second Life. These exploitative and sexualized images bring to light some darker parts of the Internet in a strangely glamourizing yet uncomfortable. Specifically sexual images in the final piece were not used, as to make the images more mundane and of varying degrees of overtness. This way, the contrast was more vivid, as there was a lack of sexual images on a porn site. Further, her use of the game Second Life, where characters interact virtually, enforces the idea that there is no face-to-face interaction, and that users are truly alone. This is idea paralleled in the title of this piece.

The experience shown was stitched together with many elements. Layer upon layer of video was created for most of the interaction, including some of the mouse movement. While the website “Likehub” seems like it might exist outside this video, it does not. The combination of screen recording and layered on effects was used to highlight the idea that “In some cases, the juxtaposition of different media is clearly visible,” such as for the social media content of the pages, whereas “In other cases, a sequence may move between different media so quickly that the shifts are barely noticeable,” such as the layering of the video player with its scrubber and buttons (After Effects, or Velvet Revolution). By blending typography, video, graphic design and layout together, an experience is created. The elements on the page are constantly moving through the user’s actions and time, showing that “if something stays the same for a while, that is an exception rather than the norm,” (Understanding Hybrid Media). This ultimately gives life to the piece, allowing variability in its temporal, spatial and visual elements.

Citations

Drapkin, Michael, et al. Three clicks away: advice from the trenches of ecommerce. J. Wiley, 2001.

“Home.” Pornhub Porn Videos, www.pornhub.com/.

Manovich, Lev. After Effects, or Velvet Revolution.

Manovich, Lev. Understanding Hybrid Media.

Manovich, Lev. What Comes After Remix.

Rogers, Bunny. “ 9years.” Bunny Rogers - 9years, 9years.meryn.ru/.

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Matrix-style Terminal

For a thumbnail for my project 4, I used this to generate the image and add a little randomness to it!

http://osxdaily.com/2013/08/15/turn-the-terminal-into-a-matrix-style-scrolling-screen-of-binary-or-gibberish/

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Getting a count-up

After scouring the internet for a solution to finding out how to have a count-up clock on Adobe After Effects, I found this! Super helpful!

http://www.motionscript.com/design-guide/up-down-clock.html

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Return of Helvetica

This morning, as I was working on an assignment in Pages, I made one of my headers Helvetica Neue and remembered how much the style of it was modern, yet classic. It always reminds me of the New York City subway system. Recently, for my web dev, I’ve been using Cabin (a google font) to achieve the same feel, but thinking about how iconic the Helvetica font is, I’d consider licensing it for a project later on.

Here’s a link to a neat article about Helvetica and the Subway: 

https://cityroom.blogs.nytimes.com/2008/12/04/how-helvetica-took-over-the-subway/

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Blog Exercise 8 & 9

Deep remixability is the remixing of various type of media together, not solely mixing within the same media. This means applying rules and practices from one type of media to another.

Variable form is the property of having many composed elements based on particular numbers or shapes that can change, move or vary to create the larger thing itself.

Continuity turn is a non-abrupt, gradual change, that can be applied both to aesthetics or to the way a practice or value changes over time.

Metamedium is a new medium that includes all digital mediums that can be modified and changed in tandem, using software that creates and treats them all similarly.

My plan is to do the first option. I would like to juxtapose social media and online pornography, exploring ideas of their nature of falsehood and voyeurism, the societal and cultural norms surrounding the two, as well as the dopamine boosts gained by both. One area I’m most interested in is how different aspects of user interfaces (such as layout, typography, graphic design and the like) relate to people and how they interact with a website. My plan as of now is to create a video that appears to be a screen recording of a user using a porn-site-look-a-like website. It will follow the user around the site where all the content is not actually pornographic in nature, but relating to aspects of social media. For example, the user might watch a video with a trashy name like “Buffy Gets Her First Like” which shows a screen recording of a young woman posting a picture to Instagram. On the other hand, the website might also have advertisements of the likes of “Likes Do Matter! Get more followers today!”. The point is to bring forward some sort of look into the difference between private and personal on the internet and bring light to darker sides of social media, by showing it as pornographic in nature. I’m inspired by artists like Nastya Żerebecki and Bunny Rogers who delved into the below surface depths of the internet to relay honesty about the current state of things. Żerebecki did a series of pieces titled Emoji-Nation which added user interface elements from social media and computers to classic oil paintings to humour or to explore the way we communicate in this day and age. From Bunny Rogers, I was interested in her project 9years where she took screenshots from the game Second Life. This exploitative and sexual images expose darker parts of the internet in a glamourizing way that also makes viewers uncomfortable. I plan to use a combination of Adobe Illustrator, Photoshop, After Effects and possibly Premiere. I also plan to merge actual screen-recorded footage with digitally created footage seamlessly. I may also use live action filmed by my camera to feel in content as well.

Citations

Rogers, Bunny. “ 9years.” Bunny Rogers - 9years, 9years.meryn.ru/.

Żerebecki, Nastya. “Nastya żerebecki on Behance.” Behance, www.behance.net/ptichek.

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Project 3: Off the Rails

Full resolution

Statement

Frankly put, “A still photograph is simply an isolated frame taken out of the infinite cinema” (Le Gall). This was the idea I aimed for: an image that seemed to be taken out of its original purpose, the freeze-frame of a film. I was immediately drawn to the pieces by Gregory Crewdson, Jeff Wall and Rodney Graham. Their cinematic and constructed feels were so different from so many images seen in the world. To achieve this, I decided on using one of the Grand River Transit stops as a set or backdrop. It was extremely well lit and contrasted greatly with the dark environs. This gave the scene a cinematic feel, but further, this contrast made the set ominous. The stops are likely so well lit as to prevent any sketchy activity around them, though if anything their isolation makes this redundant, as immediately after you leave the stop at night, it becomes dark.

This to me led to think about ambiguity, as in, ask many questions; Why is a subject here? Is there a train coming? When I think of trains and ambiguity, I am immediately reminded of  Canadian artist Alex Colville, whose oeuvre includes Horse and Train (1954) and Berlin Bus (1978). I attempted to draw similar obscure feel to my work. With this, I could “offer a much more oblique and open-ended description of something that we know is significant because of the way it is set up in the photograph, but whose meaning is reliant on our investing the image with our own trains of narrative and psychological thought.” (Cotton). The subject appears to be running to the stop, but there is no evidence of a train coming. It constructs a narrative that is unknown, many interpretations might make sense, but any before or after movements are constructed by the viewer.

One of the most fascinating styles in the digital photography domain is the constructed-ness of the image. By composing using programs like Photoshop, the scene can be altered and created inauthentically. I shot the subject of the running/jumping/falling man at home with a photography lighting kit and later added him to the scene. As Kondo notes, “Despite its digital constructed-ness, we tend to treat digital photography as equivalent to traditional film photography”. To further emphasize the image’s awareness that it is altered, I simplified the original backdrop image. I removed many far away lights, the text from the signs on the stop and anything else that did not seem to be integral. This permitted the shapes to come through and add to the ambiguity and to also create an uncanny feeling. The stop looks real, but there are a few things that are off about it. Regardless if the faults can be spotted, it just does not feel quite right. To contrast this ambiguity, is the one-point perspective. There is little ambiguity in the one-point perspective, the viewer’s eyes are drawn along it and they see where it ends. This juxtaposition highlights the movement of the subject. The subject is not moving along the perspective, and the viewer cannot tell where he is going or where he has come from.

The movement and staging of the subject himself was drawn from the works of Sam Taylor-Wood. The body position implies movement, though the viewer will never view its outcome. When the viewer interprets the image, they are left with a feeling that something happens next, but it is up to them to explore what that is.

Citations

Alex Colville | Official site of Canadian artist Alex Colville. alexcolville.ca.

Cotton, Charlotte. “Once Upon a Time.” The photograph as contemporary art, Thames & Hudson, 2015.

Guido, Laurent, and Olivier Lugon. “Sequencing, Looping.” Between still and moving images, Libbey, 2012.

Kondo, Masaki. “Unfolding the In-between Image: The Emergence of an Incipient Image at the Intersection of Still and Moving Images.” Contemporaneity: Historical Presence in Visual Culture, vol. 3, May 2014, pp. 50–61., doi:10.5195/contemp.2014.80.

Le Gall, Guillaume. “The Suspended Time of Movement.” Between still and moving images, Libbey, 2012.

“Photography.” Sam Taylor-Johnson, samtaylorjohnson.com/photography.

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Blog Exercise 7

Blurred to accentuate the important colours, this video chops up the “Someone in the Crowd” sequence in Damien Chazelle’s La La Land to explore the rainbow of used colours.

Chazelle, Damien, director. La La Land.

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Blog Exercise 6

In Untitled by Gregory Crewdson (2003), a constructed narrative can be seen. A snapshot of a moment, this piece’s cinematic characters, lighting and setting tell a story, one that is open to interpretation, but it is constructed to be there.

In The Avid Reader 1949 by Rodney Graham, tableau is used. Clearly meant to be hung on a wall, this piece is composed and doctored to create the final product.

In Wrecked by Sam Taylor-Wood, she uses re-enactment by re-created a similar piece to da Vinci’s The Last Supper, to rely a new level of depth to the piece. 

In Escape Artist by Sam Taylor-Wood, an uncanny feeling resonates with viewers. What appears in the piece looks real, but the parts don’t add up. It wouldn’t be possible for this to exist in reality, even though it looks so. The viewer would expect her to fall, or for the balloons to not be able to lift her up.

Citations

Crewdson, Gregory. Untitled. 2003

Taylor-Wood, Sam. Escape Artist. 2009

Taylor-Wood, Sam. Wrecked. 1996

Graham, Rodney. The Avid Reader 1949. 2011

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Project 2: Identif(abr)ication

When prompted with this project, it became evident that experimentation was necessary. Through the examples shown in class and the very nature of glitch-art, there was the utmost “importance of practical experiments in critical media aesthetics since it cannot (yet) be captured by rigid theory.”(Artifacts 5). Further, much to my chagrin, it became clear that in order to succeed at this, “We need to embrace madness.” (Artifacts 5). By my nature, I do not like to rely on randomness and hands-off techniques in things that I do. I used this idea to create my area of exploration. I thought about how technology has affected me, and how I interact with it, and my struggle with the gains and loss of control around it. I desired to show that, “these forms of glitch constitute a growing vocabulary of media materialities in which different breaks gain meaning beyond their original technological /root.” ((Glitch) 12). I decided on a piece that would reflect my identity through technology and glitch as a metaphor for other types of communication.

I defined a process for my interaction with four fictional characters by looking at and exposing the model for communication as it was composed in Artifacts and Critical Media Aesthetics:

“Shannon and Weavers model for communication consists of five basic steps; the transmission of information starts at the information source, which produces the message. A transmitter that encodes the messages in signals suitable for transmission, sends the signals through a channel; the medium used to transmit the signal from the sender to the receiver. The receiver decodes or reconstructs the message from the signal. The final element of the model is the destination, the person or machine for whom the message is intended or where the message arrives.”

The information source is the combination of writers and actors and the work they do to create their films and series, by chopping up images and sounds to tell a story. The transmitter is mainly streaming services such as Netflix, iTunes or elsewhere where one can find content. As Nick Briz put, “Glitch art, both formally and conceptually, is resistant, foregrounding a critical relationship to the digital culture in which we find ourselves mired,” where streaming services live. I decode the message in my head by watching and listening to what I am presented through my understanding of the world, then finally the destination is my brain or my memory.

With the abundance of entertainment accessible through the internet, I decided to use four fictional characters that have impacted me in a mirror-like way, though through which I cannot be sure of how much was in me already, or how much I projected to be like them. As I could talk at lengths about these characters, I’ll briefly say what each of them represents to me. Hermione Granger, Willow Rosenberg, Barbarella and Emily Gilmore respectively mirror my childhood and youth, my youth to young adulthood, my sexual discovery and my aspirations for life.

When it came to the process of actually creating the work, I used a combination of random and controlled techniques to come up with the final piece. Starting with each individual image, I converted them to .bmp and ran the “Echo” effect on them in Audacity. This appealed to me as I feel as though the individuals in the piece resonate (or echo) in the destination, that is my head, after I’ve decoded the transmission, and this glitch-y looking effect exemplified this. I then manually combined the images into a document of the proper printing size, and repeatedly collaged the mouths and eyes of the characters to fill in space. This gave the impression that parts of the image had been mis-rendered and highlighted their mouths and their eyes. In video, eyes and mouths reveal much about character’s beings, and to me this was valuable to look at in this exploration.

Finally, I thought it would be appropriate to recognize my awareness of the process through which the characters have impacted me. I wanted to show the idea that “the machine reminds the user of its existence. But even though the glitch or unexplainable accident can never be understood, it can still roughly be encircled.” (Artifacts 4). By typing in “simon was here” in multiple places around the text file representation of the image, I was able to exert my power on the image, showing my self-awareness about it all. Further, I cut and pasted a few ‘words’ about the file, in order to show that the exact image isn’t what is remembered, it is solely a combination of things seen.

Citations

Briz, Nick. GlitchCodecTutorial. nickbriz.com/glitchcodectutorial/.

Photo of Buffy and Willow from Buffy the Vampire Slayer. New York Post, 29 Mar. 2017, thenypost.files.wordpress.com/2017/03/buffy.jpg?quality=90&strip=all.

Photo of Emma Watson as Hermione Granger. Pinterest, i.pinimg.com/originals/1f/96/b6/1f96b6bf390853b21fae4b4ff79ac632.jpg.

Photo of Jane Fonda as Barbarella. 24 Femmes Per Second, 28 July 2017, 24femmespersecond.wordpress.com/2017/07/1937-jane_fonda_23.jpg.

Photo of Kelly Bishop as Emily Gilmore. Bustle, 26 Mar. 2016, typeset-beta.imgix.net/rehost%2F2016%2F9%2F14%2Fe5bf139d-11c5-4a70-b2f4-bfa050877bbd.jpg?w=740&h=437&fit=crop&crop=faces&auto=format&q=70&dpr=2.

Menkman, Rosa. Artifacts and Critical Media Aesthetics. University of Amsterdam.

Menkman, Rosa. (Glitch) Art Genealogies.

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The Journey Together

(blog post exercise 5)

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Compositing Images

Added in a hammer in the bottom right corner!

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Blog Exercise 4

A pure glitch is a malfunction of some data process that results in an erroneous result, while a glitch-a-like is something that appears to be a pure glitch, however in reality has just been created to look so.

Experiment 1: bitmap with audacity, it did work for me!

Open Photoshop

Click File > Open…

Open the desired image

Click File > Save as…

Set Format to BMP

Press save

Open Audacity

Click File > Import > Raw Data…

Set Encoding to U-Law, Byte order to Big-endian, Channels tp “1 Channel (Mono)”

Press Import

Select a portion of the sound waves

Select Effect > Invert

Select File > Export Audio…

Set File type to “Other uncompressed files”, Header to RAW and Encoding to U-Law

Press Save

When prompted for Metadata, press OK

Experiment 2: switch/add characters png, worked!

Open Photoshop

Click File > Open…

Open the desired image

Click File > Save as…

Set Format to BMP

Open the image with TextEdit

Add “simon was here” in various parts of the code

Save the file

Experiment 3: https://snorpey.github.io/jpg-glitch/, worked!

go to https://snorpey.github.io/jpg-glitch/

click Randomise multiple times

save the picture

Open Preview, rotate the image 180˚

Save the image

Go back to https://snorpey.github.io/jpg-glitch/

On the left, click Open > Import File

Upload the rotated image

click Randomise multiple times

save the image!

Experiment 4: photoshop combine images, then bmp, worked!

Open Photoshop

Click File > Open…

Open the first desired image

Click File > Open…

Open the second desired image

With one image selected, right click on the layer with the image and select Duplicate layer…

Set Document to be the first image, then press OK

Go back to the tab of the first image

Using the Selector tool, delete various parts of the second image so the first image shows through

Click File > Save as…

Set Format to BMP

Same as Experiment 2 for the rest

Experiment 5: photoshop, diff the two to see where are the things — didn’t work!

Download Hex fiend

Duplicate an image

Open the copy in Photoshop

Change the hue of the image

Save the image

open both images in hex fiend

compare the code

Experiment 6: editing tiff — which is the best file format to do this? Did not work.

Open a .TIFF with TextEdit

Find and Replace all characters matching “Δ with “Ì”.

Save the file

Experiment 7: jpeg copying large portions, pasting elsewhere in file, worked!

Open a .JPEG with TextEdit

Cut a large portion of the text midway down.

Paste this a bit away from the top of the file

Save the image

Experiment 8: TIFF cut and paste - Did not work!

Open a .TIFF with TextEdit

Cut a large portion of the text midway down.

Paste this a bit away from the top of the file

Save the image

Experiment 9: provoke hue lag, worked!

Open Photoshop

Click File > Open…

Open the desired image (works best if is high resolution)

Select Image > Adjustments > Hue/Saturation

Open Preview

Unsure there is no window in Preview, and that you can see Photoshop

Click File > Take Screenshot > From Entire Screen

Quickly go back to Photoshop, and drag the hue slider back and forth rapidly

Preview will take a screenshot, and that’s your image

Experiment 10: pixel sorting, worked!

Download Pixel Sorting Effect from https://dribbble.com/shots/2644549-Pixel-Sorting-Effect-Photoshop-Action

Open Photoshop

Click File > Open…

Open the desired image

Click Window > Actions

Check “Apply Highlights” under “Pixel Sorting Effect”

Citations

“Barbarella Poster Keyart (Restoration Performed by Darren Harrison).” Pinterest, i.pinimg.com/originals/7c/2f/29/7c2f29df77c0e7a674e3e59091641e12.jpg.

“Winnie the Pooh.” Winnie the Pooh | Disney Wiki | FANDOM powered by Wikia, FANDOM powered by Wikia, disney.wikia.com/wiki/Winnie_the_Pooh.

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Project 1

Statement

On the left, five computer users infinitely watch each other on their devices. On the right, a menacing blinking dot watches.

For the person subjects themselves, the main idea is well described by this quote from Sally McKay’s article:

GIFs are designed to be viewed at home, in private, by people who are sitting at their computers. Yet at the same time these people are immersed in the hybrid, public/private environment of a personal computer connected to the collective public commons of the internet. The viewing distance — the space between the face and the monitor — is very tight. GIFS are simultaneously “in your face” and in your mind, their affects continuous with the immersive experience of daily internet use. (McKay)

As viewers of this GIF, we literally go through the heads of the subjects that are all connected digitally. They are all being watched and watching, corrupting the idea of privacy.

This ties in the subject of the other GIF. Often cameras and camcorders use a red dot in their interface to indicate that recording is being done. As the red icon is static in these cases, I wanted it to move, to show a sort dynamic or ominous feel to it. Much like HAL 9000 from Stanley Kubrick’s 2001: A Space Odyssey, this red dot looks digital, feels like it could be recording, and is reminiscent of a big-brother-like eye.

Colour is an important quality of GIFs, according to A. Bill Miller. The decision to make the videos red-scale was originally based on the association of a recording icon. The red then of the icon, was used in the live-action GIF. This gives the illusion that the pattern GIF is the eye that is recording it, and that maybe even be seeing what the viewer sees on the left.

Another factor is the way that both GIFs are rendered. Using the “Graphic” option instead of the “Diffusion” option in Photoshop leads to a more digitized look. It implies heavily that these are composed GIFs and needed algorithms, something digital to create it, making it effectively self-aware.

Even the use of the GIF for this theme is relevant. GIFs are ubiquitous, cross-browser, never-ending and can be watched by anyone, anywhere.

Citations

Johnson, Paddy. “Will Galleries and Museums Embrace GIF Art?” Artnet News, Artnet News, 24 Mar. 2015, news.artnet.com/art-world/will-galleries-and-museums-ever-embrace-animated-gif-art-9650. Accessed 27 Sept. 2017.

Kubrick, Stanley, director. 2001: A Space Odyssey. MGM, 1968.

McKay, Sally. The Affect of Animated GIFs (Tom Moody, Petra Cortright, Lorna Mills). Art and Education. Accessed 27 Sept. 2017.

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Blog Exercise 3

Together, I call this "What We Need”.

First is a series of photos all with people in them. They all are taken in my kitchen/living/dining room. My friends are the subject of these authentically lit landscape photos. We don’t see people like they’re in a portrait studio, we see them as they are.

Second is a series of photos all without people in them. They are also all taken in my kitchen/living/dining room. It shows various objects that get left behind by people, as well as things that we use. They weren’t cleaned or arranged, we see them as they are.

I used this contrast to highlight the idea of “what we need”. Is it the objects themselves or the people who use them?

Indexical

Indexical means the honesty and truthfulness in relation to something is shown. Digital photography captures moments in a way such that the instant is “indexed” in the span of reality and attains an authentic feeling that few other art forms can.

“The iconic indexicality of photography.” The iconic indexicality of photography, John Benjamins Publishing Company, benjamins.com/#catalog/books/ill.10.20sad/details. Accessed 27 Sept. 2017.

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Glitchtesting.Ironically,myspacebarisn’tworking.

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Almost finalized?