When I look back to the history of art, all artists have an influence from whom they were with, and taught.
Cy Tombly, Robert Rousenberg, Jasper Johns were in threesome relationship.
Bauhaus was where all the influencial teachers and artists gathered and were raised.
georgia o'keefe's husband was a photographer, Alfred Stieglitz, who influenced her work mainly I believe.
YBA are all inlfuenced by the professor Michael Craig Martin at Goldsmith.
I hope I will be able to meet a lot of influencial ppl throughout my life.
Monday, December 28, 2009
No pain, no gain
I think a lot of art is brought out of pain.
Felix Gonzales torres' work comes to be more touching when I heard that he dead from Aids, after his girlfriend dead of Aids. His work of candies with the weight of his girlfriend is touching, because I can feel how much he loved her and miss her and still want to feel her.
Tracey Emin's work is mostly about sexuality, and a lot of times when she works, it seems like she look back to the past when she was raped on her age of 12.
Architecture Luis Khan had 2 wives and 2 home at the same time. He also had pain, cuz he loved both?!
Louise Bourgeois's father was having relationship with the maid, while her wife knew that but stayed silent.
I wanna be a good artist, but I don't wanna live a miserable life.
Of course, these days, there are successful artists.
Mathew Barney is born in a rich family, and still in great fame and wealth.
Damien Hirst is successful in his plans and works.
But I do think that in some point these artists have all pain in common, "walking alone".
As a Grade A artist, with whom would they consult their ideas or work? Critiques are harsh, but they should not get affected too much by them.
Felix Gonzales torres' work comes to be more touching when I heard that he dead from Aids, after his girlfriend dead of Aids. His work of candies with the weight of his girlfriend is touching, because I can feel how much he loved her and miss her and still want to feel her.
Tracey Emin's work is mostly about sexuality, and a lot of times when she works, it seems like she look back to the past when she was raped on her age of 12.
Architecture Luis Khan had 2 wives and 2 home at the same time. He also had pain, cuz he loved both?!
Louise Bourgeois's father was having relationship with the maid, while her wife knew that but stayed silent.
I wanna be a good artist, but I don't wanna live a miserable life.
Of course, these days, there are successful artists.
Mathew Barney is born in a rich family, and still in great fame and wealth.
Damien Hirst is successful in his plans and works.
But I do think that in some point these artists have all pain in common, "walking alone".
As a Grade A artist, with whom would they consult their ideas or work? Critiques are harsh, but they should not get affected too much by them.
Wednesday, December 9, 2009
Idiation for the generative Image
These are just references for the generative image, I am trying to make. It would be organic, have a microscopic and macroscopic feature.
------Traditional, Handmade-----------
http://justineashbee.com/
The amorphous entities and reaching tentacles emerge and take form much like the navigation of a surfer within a wave.
These drawings are executed purely by hand, using paint pens. I begin with a curve, from which lines and forms begin to emerge, evolve, morph, and grow organically, in an intuitive flow, while maintaining delicate, elegant precision. The methodology is rhythmic, spontaneous, and direct, reducing interference with mark-making. Much like zen calligraphy, they are improvisational, and intuitively composed, where the physicality and the mark making become one.
I’m utilizing stark, amorphous lines to trace the movement and human experience of the non-linear and imaginational realms. Through this intuitive visual language, a negotiation of the visceral and everyday human experiences of beauty and pleasure, and feeling are given voice.
-from the artist's homepage-
------Digital, Generative-----------
postspectacular.com
http://postspectacular.com/work/forever/start
Victoria & Albert Museum presents: Forever by Universal Everything
KEF Muon launch
http://postspectacular.com/work/kef/start
Casey Reas
http://reas.com/
---------Space theory--------
Calabi-Yau Manifold
http://www.field.io/process/research/science/calabi-yau
-------Nature Image-----------
Electron microscope photography of plant pollen by Martin Oeggerli
http://www.micronaut.ch/
------Traditional, Handmade-----------
http://justineashbee.com/
The amorphous entities and reaching tentacles emerge and take form much like the navigation of a surfer within a wave.
These drawings are executed purely by hand, using paint pens. I begin with a curve, from which lines and forms begin to emerge, evolve, morph, and grow organically, in an intuitive flow, while maintaining delicate, elegant precision. The methodology is rhythmic, spontaneous, and direct, reducing interference with mark-making. Much like zen calligraphy, they are improvisational, and intuitively composed, where the physicality and the mark making become one.
I’m utilizing stark, amorphous lines to trace the movement and human experience of the non-linear and imaginational realms. Through this intuitive visual language, a negotiation of the visceral and everyday human experiences of beauty and pleasure, and feeling are given voice.
-from the artist's homepage-
------Digital, Generative-----------
postspectacular.com
http://postspectacular.com/work/forever/start
Victoria & Albert Museum presents: Forever by Universal Everything
KEF Muon launch
http://postspectacular.com/work/kef/start
Casey Reas
http://reas.com/
---------Space theory--------
Calabi-Yau Manifold
http://www.field.io/process/research/science/calabi-yau
-------Nature Image-----------
Electron microscope photography of plant pollen by Martin Oeggerli
http://www.micronaut.ch/
Tuesday, December 8, 2009
Random Inspirations
I talked with LB a bit, and he give some movies that might be a good inspiration for me.
The Golden Compass, and Brazil. and maybe a Deanon? These Genres are called steam punk.
I also went to the library and asked the librarians whether there is a philosophical idea that might relate to my work.
They suggested me to try some books, "The Tao of physics : an exploration of the prallels btw modern physics & Eastern Mysticism" and "Beyond the edge of certainty: essays in contemporary science & philosophy" and "Hidden dimensions " the unification of physics & consciousness"
I think these are really helpful for me, and I think it really works, because the connection btw physics & philosophy, of the maybe mediaval period, of a bit futuristic, alchemistic style, is I think what I try to find through my work.
Like sort of magnetiscim.
The Golden Compass, and Brazil. and maybe a Deanon? These Genres are called steam punk.
I also went to the library and asked the librarians whether there is a philosophical idea that might relate to my work.
They suggested me to try some books, "The Tao of physics : an exploration of the prallels btw modern physics & Eastern Mysticism" and "Beyond the edge of certainty: essays in contemporary science & philosophy" and "Hidden dimensions " the unification of physics & consciousness"
I think these are really helpful for me, and I think it really works, because the connection btw physics & philosophy, of the maybe mediaval period, of a bit futuristic, alchemistic style, is I think what I try to find through my work.
Like sort of magnetiscim.
digital media
Digital Media helps to augment human ability.
So, digital media helps to capture something meaningful that we cannot see or could not preserve, or perceive.
What is the information that I want to make it meaningful?
I think this is what I should be thinking more., of this idea, and to be just more creative and simple and slow.
I like the growth rendering machine, in terms of the idea to plot how the plant grows,,,,,,, I think it is augmenting human ability to see what is happening in a certain time span, 24 hours.
I like CCC's Work of capturing the moment with a camera while you close your eyes. It is opposite with the way you take caemera while you take a picture while your eyes are open, bt I think it makes it more meaningful, and i think it is a good idea.
And also, I have to think of the terms of materializing and virtual and real, when I am projecting on something. what is the surface means, and what is the relationship btw the visitors? is the interaction really needed?
So, digital media helps to capture something meaningful that we cannot see or could not preserve, or perceive.
What is the information that I want to make it meaningful?
I think this is what I should be thinking more., of this idea, and to be just more creative and simple and slow.
I like the growth rendering machine, in terms of the idea to plot how the plant grows,,,,,,, I think it is augmenting human ability to see what is happening in a certain time span, 24 hours.
I like CCC's Work of capturing the moment with a camera while you close your eyes. It is opposite with the way you take caemera while you take a picture while your eyes are open, bt I think it makes it more meaningful, and i think it is a good idea.
And also, I have to think of the terms of materializing and virtual and real, when I am projecting on something. what is the surface means, and what is the relationship btw the visitors? is the interaction really needed?
Friday, December 4, 2009
Never ending drawings
I would love to draw. these kind of never ending - rotating ( connected without any top or bottom) drawings.
I would like to keep doing them when I have time. I want to cover all the ceilings and the walls.
Generative Drawings
Another Designer I came to know is Erik Natzke
His works look like painting, compared to Joshua Davis's work looks like flat iconic illustrations.
Well,, I am still not sure why I have this awe towards generative drawings, and I am not sure whether I should consider them as an artist or as a designer...
But anyway, they are awesome and challenging.
When I talked with PP, he said when you look at artworks, you have to see in 5 things, in 5 steps.
1. Description
2. Subject Matter -What is in the work
3. Format -Composition, Aesthetics
4. Subject - about
5. judgement
Most of us just go to 5 directly and we do not ever think of the 1, 2, 4 steps. but good artworks keeps us think within also 1, 2, 4th steps.
Well. So maybe that is why it is cool for just a few years, and then when another person who is better appears, then it is not cool any more.
His works look like painting, compared to Joshua Davis's work looks like flat iconic illustrations.
Well,, I am still not sure why I have this awe towards generative drawings, and I am not sure whether I should consider them as an artist or as a designer...
But anyway, they are awesome and challenging.
When I talked with PP, he said when you look at artworks, you have to see in 5 things, in 5 steps.
1. Description
2. Subject Matter -What is in the work
3. Format -Composition, Aesthetics
4. Subject - about
5. judgement
Most of us just go to 5 directly and we do not ever think of the 1, 2, 4 steps. but good artworks keeps us think within also 1, 2, 4th steps.
Well. So maybe that is why it is cool for just a few years, and then when another person who is better appears, then it is not cool any more.
Wednesday, December 2, 2009
Drastic Change
My work has changed a bit towards biologic art.
LLL likes my idea in terms of reconsidering Micro and Macro. She also thinks I can explore a bit more through thinking more of the Echo, within visuals and sounds. She wants me to contextualize my project within my body of work. Especially, Aurelia.
The artist she recommended me was "Cynthia Brazeal"
I think I can also think of Canadian artist and architect Philip Beesley’s Hylozoic Soil, an sculpture whose shape memory alloy arms move in response to the movement of people.
But she also thinks now I have too much so that I have to narrow down a bit.
But a lot of people did not understand clearly of what is the concept and what the installation and the experience would be.
A lot of people liked the way I install thing. NP recommended me to see the anime mushi shi.
NP liked "Ephemeral Alive Individual", self recognition, birth, death, etc, "transmitting life"
hm....
Some helpful links
http://userwww.sfsu.edu/~infoarts/links/wilson.artlinks2.html
http://www.aec.at/center_exhibitions_dsdetail_en.php?id=67
http://web.media.mit.edu/~cynthiab/
http://www.philipbeesleyarchitect.com/
Thecla Schiphorst
http://www.sfu.ca/~tschipho/
Hylozoic soil , by Philip Beesley
http://www.materialbeliefs.com/prototypes/cder.php
http://www.gutonobrega.co.uk/
http://www.hostprods.net/projects
http://www.messymix.com/
http://www.dowhile.org/physical/projects/exeter/index.html
http://hypernatural.com/
http://www.electronic-life-forms.com/
Pascal Glissman en Martina Hoefflin - Electronic Life Forms (ELF)
LLL likes my idea in terms of reconsidering Micro and Macro. She also thinks I can explore a bit more through thinking more of the Echo, within visuals and sounds. She wants me to contextualize my project within my body of work. Especially, Aurelia.
The artist she recommended me was "Cynthia Brazeal"
I think I can also think of Canadian artist and architect Philip Beesley’s Hylozoic Soil, an sculpture whose shape memory alloy arms move in response to the movement of people.
But she also thinks now I have too much so that I have to narrow down a bit.
But a lot of people did not understand clearly of what is the concept and what the installation and the experience would be.
A lot of people liked the way I install thing. NP recommended me to see the anime mushi shi.
NP liked "Ephemeral Alive Individual", self recognition, birth, death, etc, "transmitting life"
hm....
Some helpful links
http://userwww.sfsu.edu/~infoarts/links/wilson.artlinks2.html
http://www.aec.at/center_exhibitions_dsdetail_en.php?id=67
http://web.media.mit.edu/~cynthiab/
http://www.philipbeesleyarchitect.com/
Thecla Schiphorst
http://www.sfu.ca/~tschipho/
Hylozoic soil , by Philip Beesley
http://www.materialbeliefs.com/prototypes/cder.php
http://www.gutonobrega.co.uk/
http://www.hostprods.net/projects
http://www.messymix.com/
http://www.dowhile.org/physical/projects/exeter/index.html
http://hypernatural.com/
http://www.electronic-life-forms.com/
Pascal Glissman en Martina Hoefflin - Electronic Life Forms (ELF)
Tuesday, December 1, 2009
what is life
what is life, what is death.
I think life itself, or being alive have a lot to say, and it is beautiful, to enable the visitors to give birth(virtually) to an artificial,(or out of nothing) through interactive pieces.
Well, to start, a striking artwork that deals with life and death is Demian Hirst's shark, "The Physical Impossibility of Death in the Mind of Someone Living" . Another piece is a blood head sculpture " Self" , by Marc Quinn. Interactive pieces would be "pulse park" or "Spiral ...." by Rafael Lozano Hemmer.
Back to my idea, what is life? What do I want to say? Why should people interact with it? What experience should be remarkable to them? What is the process of life? What would be the end of life? What does it mean to die?
Well, I am half consciously thinking, I am just jotting down what I am thinking.
Life is light.Life is pulse. Life is breath. Life is fluctuation & flow. Life has motion. Life is warm. Life is physical.Life is present and ephemeral. Life is never contiuous. Life is limited. Life is self recognition of the self. Life is energetic. Life is blood. Life can be red. Life is humid. Life is smooth. Life is seeing.
Death is the end. Death cannot be postponed or refused. Once happend, cannot bring it back. Death is no pulse or breath. Death is blue or black. Death is cold. Death is future, but could be past also. Death is the fear of present being left as past. Death means the end of physical self. Death is mysterious. Death is bone. Death can be white. Death is dry. Death is crackle. Death is closing.
OK. Back to think my idea.
#1. Moment of present becoming the Past, (and the recognition of self and the desire to be rebel).
Chair of red, hemoglobin shape, white, is in the room with a spotlight.
You walk in, sit(or lay down). It changes into red. It pulses your beat, by vibration and sound. You realize that the chair is alive, with you. The other scuptural objects inside the room blinks according to your biosigals, following the chair. Then, suddenly, it vibrates to strong, that meaning it is irritated by you and it wants you to get off. You stand up and try to leave. Suddenly, the chair starts to Burn on fire, becomes as an ash, or crackle, meaning it dead.
#2. Giving birth to make alive.
There is a straw( or a tube) which has light coming out, and you have to blow in. When you blow in, it takes a photo of your eyes, and makes a bubbly figure appear on a screen with the image of your eyes captured. It then follows the rhythm of how you blew or how was your heartbeat during you were blowing, and it floats around the screen projection in the room. The bubbles created by others are already up in the ceiling, and it has the eyes of other people. The bubbles are all looking at the creature I created. When it floats up towards the ceiling, it gets smaller, and bluer. If you want to keep it down, you have to keep breathing inside of it. If you shake the tubing, it gets its pins up, getting sharp, and it kills other stuffs that have been created by others. If you leave it, it slowly dissolves and die. When it dies, it dies from the highest ceiling, and it makes an ash, amber, debrea fall down the wall, accumulated in the floor.
#3. the self.
There is a huge shell in the middle of the room. You approach, put your hand on it, and give them your voice, by saying something.(tell it one most precious thing for you in your life is, or you want to keep it within your life.) (or I might ask people to say one last thing they want to say) After you finish talking, you get off your hand and it will turn on to red, repeating what you have just said, it will echo along the room, lighting up the virtual creatures. Then, once it reaches the end, it echos all what other have just said, and it blinks in turn, and it dies, by turning off the light, or breathing off. It will be also like a symphony of land, with all the other people, who experienced this in the past. At the end, it will go back to my words, echoing, and it will slowly dim, meaning it is dieing. ( I have to decide, whether to ask people to say something , or just make a sound with their voice. I have to think of what kind of question to ask.)
#4. Funny. Funny. Making things that are artificial, into life.
There is a shell. Whatever you put inside, will become alive and move around and if you take it out (inside the screen). There will be an invisible camera inside, and it will take an xray photo of it. It starts to move around the screen, and then it burns and disappears. OPS. This is then about commercial objects.
I think life itself, or being alive have a lot to say, and it is beautiful, to enable the visitors to give birth(virtually) to an artificial,(or out of nothing) through interactive pieces.
Well, to start, a striking artwork that deals with life and death is Demian Hirst's shark, "The Physical Impossibility of Death in the Mind of Someone Living" . Another piece is a blood head sculpture " Self" , by Marc Quinn. Interactive pieces would be "pulse park" or "Spiral ...." by Rafael Lozano Hemmer.
Back to my idea, what is life? What do I want to say? Why should people interact with it? What experience should be remarkable to them? What is the process of life? What would be the end of life? What does it mean to die?
Well, I am half consciously thinking, I am just jotting down what I am thinking.
Life is light.Life is pulse. Life is breath. Life is fluctuation & flow. Life has motion. Life is warm. Life is physical.Life is present and ephemeral. Life is never contiuous. Life is limited. Life is self recognition of the self. Life is energetic. Life is blood. Life can be red. Life is humid. Life is smooth. Life is seeing.
Death is the end. Death cannot be postponed or refused. Once happend, cannot bring it back. Death is no pulse or breath. Death is blue or black. Death is cold. Death is future, but could be past also. Death is the fear of present being left as past. Death means the end of physical self. Death is mysterious. Death is bone. Death can be white. Death is dry. Death is crackle. Death is closing.
OK. Back to think my idea.
#1. Moment of present becoming the Past, (and the recognition of self and the desire to be rebel).
Chair of red, hemoglobin shape, white, is in the room with a spotlight.
You walk in, sit(or lay down). It changes into red. It pulses your beat, by vibration and sound. You realize that the chair is alive, with you. The other scuptural objects inside the room blinks according to your biosigals, following the chair. Then, suddenly, it vibrates to strong, that meaning it is irritated by you and it wants you to get off. You stand up and try to leave. Suddenly, the chair starts to Burn on fire, becomes as an ash, or crackle, meaning it dead.
#2. Giving birth to make alive.
There is a straw( or a tube) which has light coming out, and you have to blow in. When you blow in, it takes a photo of your eyes, and makes a bubbly figure appear on a screen with the image of your eyes captured. It then follows the rhythm of how you blew or how was your heartbeat during you were blowing, and it floats around the screen projection in the room. The bubbles created by others are already up in the ceiling, and it has the eyes of other people. The bubbles are all looking at the creature I created. When it floats up towards the ceiling, it gets smaller, and bluer. If you want to keep it down, you have to keep breathing inside of it. If you shake the tubing, it gets its pins up, getting sharp, and it kills other stuffs that have been created by others. If you leave it, it slowly dissolves and die. When it dies, it dies from the highest ceiling, and it makes an ash, amber, debrea fall down the wall, accumulated in the floor.
#3. the self.
There is a huge shell in the middle of the room. You approach, put your hand on it, and give them your voice, by saying something.(tell it one most precious thing for you in your life is, or you want to keep it within your life.) (or I might ask people to say one last thing they want to say) After you finish talking, you get off your hand and it will turn on to red, repeating what you have just said, it will echo along the room, lighting up the virtual creatures. Then, once it reaches the end, it echos all what other have just said, and it blinks in turn, and it dies, by turning off the light, or breathing off. It will be also like a symphony of land, with all the other people, who experienced this in the past. At the end, it will go back to my words, echoing, and it will slowly dim, meaning it is dieing. ( I have to decide, whether to ask people to say something , or just make a sound with their voice. I have to think of what kind of question to ask.)
#4. Funny. Funny. Making things that are artificial, into life.
There is a shell. Whatever you put inside, will become alive and move around and if you take it out (inside the screen). There will be an invisible camera inside, and it will take an xray photo of it. It starts to move around the screen, and then it burns and disappears. OPS. This is then about commercial objects.
Friday, November 27, 2009
What I admire
I admire Demian Hirst.
I admire him, not because he is a successful artist, but because he did not lose his soul within dealing with the art business.
Gagosian, Ssatchi, etc..... These massive galleries and their support might be overwhelming enough for the artist to change his taste to the galleries's curator's taste, but Hirst didn't. He was within the center of the art market, but he did not lose his art.
Can art be for the sake of art? Can mere beauty be the reason of art? Can just awe towards beauty be the reason for everything? Need more? Yes. I need to know more. for why it makes it beautiful.
This is not relevant, but I admire Mark Rothko for his sublime paintings. I admire Bill Viola for everything. Also I like Toxi. Toxi is the reason why I dream of going to England.
Hm... What else?
I admire him, not because he is a successful artist, but because he did not lose his soul within dealing with the art business.
Gagosian, Ssatchi, etc..... These massive galleries and their support might be overwhelming enough for the artist to change his taste to the galleries's curator's taste, but Hirst didn't. He was within the center of the art market, but he did not lose his art.
Can art be for the sake of art? Can mere beauty be the reason of art? Can just awe towards beauty be the reason for everything? Need more? Yes. I need to know more. for why it makes it beautiful.
This is not relevant, but I admire Mark Rothko for his sublime paintings. I admire Bill Viola for everything. Also I like Toxi. Toxi is the reason why I dream of going to England.
Hm... What else?
Thursday, November 26, 2009
What am I doing
What am I doing...
Building, making an EEG is sooooooo difficult, and not cheap at all.
Buying a pre-maid device would be cheaper I guess, and better.
But still, too expensive.
I am not a producer to make such devices.
What should I do.
I want something fun.
This is $300, and it detects your facial expressions. and has 14 sensor within a headset. But it only give a pc version of software.
http://emotiv.com/
This is Cheaper. $200, gives a mac version software, but it has only 1 sensor, and more simpler.
neurosky.com
I prefer Emotiv, but it is not for mac.
But, it is not my intention to use these pre-made- correct sensor.
My idea is just an idea, to be fun, imaginative.
I guess I should not use these.
Building, making an EEG is sooooooo difficult, and not cheap at all.
Buying a pre-maid device would be cheaper I guess, and better.
But still, too expensive.
I am not a producer to make such devices.
What should I do.
I want something fun.
This is $300, and it detects your facial expressions. and has 14 sensor within a headset. But it only give a pc version of software.
http://emotiv.com/
This is Cheaper. $200, gives a mac version software, but it has only 1 sensor, and more simpler.
neurosky.com
I prefer Emotiv, but it is not for mac.
But, it is not my intention to use these pre-made- correct sensor.
My idea is just an idea, to be fun, imaginative.
I guess I should not use these.
Tuesday, November 24, 2009
Video in Public Spaces
Video is becoming an individual and democratic media within the development of Internet. Beforehand, there was only one person’s voice and opinion, dominating and effecting the public’s opinion, but now, it seems like people are trying to find a way to find a voice which can represent and be a collective of everyone’s voices.
For example, on Obama’s inauguration, the news media’s website not only reported what the newscasters have seen, but also gathered people’s responses and reported them as a collective information. CNN used software called “photosynth” to capture every perspective of the moment as a collective of the inauguration. Photosynth is a Microsoft technology that creates 3D spaces from anyone's 2D photos. You can click and zoom in, and explore around the photos taken from all different people and angles at the moment of the inauguration.
cnn.com/themoment
Within arts, interactivity gives people a lot of role as a creator. For example, within Aaron Koblin’s work, “ten thousand cents,” people draw each cell of what they are designated, and the art piece is a whole collective of people’s dedicated drawings.
http://www.tenthousandcents.com/
For example, on Obama’s inauguration, the news media’s website not only reported what the newscasters have seen, but also gathered people’s responses and reported them as a collective information. CNN used software called “photosynth” to capture every perspective of the moment as a collective of the inauguration. Photosynth is a Microsoft technology that creates 3D spaces from anyone's 2D photos. You can click and zoom in, and explore around the photos taken from all different people and angles at the moment of the inauguration.
cnn.com/themoment
Within arts, interactivity gives people a lot of role as a creator. For example, within Aaron Koblin’s work, “ten thousand cents,” people draw each cell of what they are designated, and the art piece is a whole collective of people’s dedicated drawings.
http://www.tenthousandcents.com/
Sunday, November 15, 2009
Random Inspirations
I still like to think of classical ideas of space and time.
Here are some information about the artist that I like, Anish Kapoor, and James Turrel. Their work opens up of a new space and time.
http://www.field.io/process/research/art/kapoor-turrell-perception-of-space
I also like to think of possibilities of new dimension.
http://www.field.io/process/research/science/calabi-yau
I just like to look at it. It makes me feel peaceful.
Here are some information about the artist that I like, Anish Kapoor, and James Turrel. Their work opens up of a new space and time.
http://www.field.io/process/research/art/kapoor-turrell-perception-of-space
I also like to think of possibilities of new dimension.
http://www.field.io/process/research/science/calabi-yau
I just like to look at it. It makes me feel peaceful.
What I like
Artists & Designers from UK seems very attractive and amazing to me.
http://postspectacular.com/
http://field.io/
http://www.memo.tv/
http://blog.soulwire.co.uk/
PPL say that Artists in UK are more concentrated in theoretical and conceptual work.
I think US is more into the user experience, fun, pop, positive dream towards the future, and pragmatic functionalism, which can very easily connect to commercial works.
I just want to concentrate on visuals.
PPL in UK concentrate more on their style of works, rather than the ppl who commissions them or asks them to make something for their ad.
Maybe that is why I get more attracted by the works in UK.
Blablabla. I don't know the truth, and this is all just my guessing from my short knowledge.
http://postspectacular.com/
http://field.io/
http://www.memo.tv/
http://blog.soulwire.co.uk/
PPL say that Artists in UK are more concentrated in theoretical and conceptual work.
I think US is more into the user experience, fun, pop, positive dream towards the future, and pragmatic functionalism, which can very easily connect to commercial works.
I just want to concentrate on visuals.
PPL in UK concentrate more on their style of works, rather than the ppl who commissions them or asks them to make something for their ad.
Maybe that is why I get more attracted by the works in UK.
Blablabla. I don't know the truth, and this is all just my guessing from my short knowledge.
Video As Art
Garry Hill “Around & About” http://www.youtube.com/watch?v=DnuHVAlpY2I
YOUNG-HAE CHANG HEAVY INDUSTRIES http://www.yhchang.com/
Garry Hill’s video art “Around and About” is an experiment in making a video piece that substitutes texts in our language within his own images. Breaking apart every word and reassembling them within his symbolic visual system, the video makes a rhythmical relay of images, which can be seen or read in a new way. Within his steady narration, the viewers hear what Hill thinks but one feels it is coming from Hill’s half conscious mind.
Young Hae Chang’s works use texts as images and rhythmical beats. Texts appear and swap to other text with a strong rhythmical beat. What the viewer reads becomes the image of what he or she saw and heard. Due to the strong beats coming towards the viewer, one is forced to read and get what Chang is saying.
To wrap up, both of the videos awaken the viewer by switching the way images and texts are used usually. They break words and texts, then recompose them into their own rhythm and language. Hill makes language out of images, and Chang makes languages into images. Hill is talking about his own aesthetic and world in his mind, and Chang is talking about her propaganda. They are both awakening my way of reading and seeing texts and images.
YOUNG-HAE CHANG HEAVY INDUSTRIES http://www.yhchang.com/
Garry Hill’s video art “Around and About” is an experiment in making a video piece that substitutes texts in our language within his own images. Breaking apart every word and reassembling them within his symbolic visual system, the video makes a rhythmical relay of images, which can be seen or read in a new way. Within his steady narration, the viewers hear what Hill thinks but one feels it is coming from Hill’s half conscious mind.
Young Hae Chang’s works use texts as images and rhythmical beats. Texts appear and swap to other text with a strong rhythmical beat. What the viewer reads becomes the image of what he or she saw and heard. Due to the strong beats coming towards the viewer, one is forced to read and get what Chang is saying.
To wrap up, both of the videos awaken the viewer by switching the way images and texts are used usually. They break words and texts, then recompose them into their own rhythm and language. Hill makes language out of images, and Chang makes languages into images. Hill is talking about his own aesthetic and world in his mind, and Chang is talking about her propaganda. They are both awakening my way of reading and seeing texts and images.
Wednesday, November 11, 2009
Crits from profs during the presentation
LB : Describe more about what happen, how is it going to be created?
What is the relationship btw the data and the outcome? (What is the process of the translation btw the data and the outcome?)
EX: Visual is great, how do I achieve it?
Do something with the object, trick.
Like the clinical setting. It is the artifact of the future.
Reference the eternal sunshine of a spotless mind.
ML : How much does it relies on the viewers participation?
User's experience, emotion, physical relation?
RB : Visualization of emotion, coming out from me? Particiapnt bring object to look at, natural outpu+ virtual reinterpt it. Too much aritificiallity. Emotions are not static. More time based. Yes. Get a visualization from other ppl, or from other's effectres. videos, images, etc.
Emotion be evoted. I dont know how much interesting it will be in having a visualization of my emotions.
PM: Set up a private experience. Think personally about feeling. No laboratory. Capsue too tricky. Want big size image.
PP : Better to be Private as Story corp. Clinical setting is not as beautiful as the idea of capturing emotion.
Thanks for all the faculties, and also all my classmates who helped me to write down the crits.
What is the relationship btw the data and the outcome? (What is the process of the translation btw the data and the outcome?)
EX: Visual is great, how do I achieve it?
Do something with the object, trick.
Like the clinical setting. It is the artifact of the future.
Reference the eternal sunshine of a spotless mind.
ML : How much does it relies on the viewers participation?
User's experience, emotion, physical relation?
RB : Visualization of emotion, coming out from me? Particiapnt bring object to look at, natural outpu+ virtual reinterpt it. Too much aritificiallity. Emotions are not static. More time based. Yes. Get a visualization from other ppl, or from other's effectres. videos, images, etc.
Emotion be evoted. I dont know how much interesting it will be in having a visualization of my emotions.
PM: Set up a private experience. Think personally about feeling. No laboratory. Capsue too tricky. Want big size image.
PP : Better to be Private as Story corp. Clinical setting is not as beautiful as the idea of capturing emotion.
Thanks for all the faculties, and also all my classmates who helped me to write down the crits.
Self recognition
Self recognition is an important factor to determine your intelligence.
Monkeys, pigs know themselves and the world. If you show the mirror, and if the animal knows that the animal inside the mirror is itself, then it is a bit intelligent. This can be also applied to a child. If you know the relationship between you and the world, then you are a bit intelligent.
Young child don't know that. They just think they are the center of the world. Animals don't even realize themselves as an individual life. They follow their instincts, they just know that they are painful, hungry, and they are part of the nature.
Audiences who think for whom is this artwork for, and whom does the life in the artwork means, is an intelligent audience. Most of the audience, including me, do not think that deeply.
If you see a creature in a virtual world, mostly would think that creature part of themselves. One step intelligent audience would question whether it is them projected as a creature, or they are looking inside of the artist, as a creature, or they are looking at the other creature that the artist created.
I am not intelligent, and now I am trying to answer these questions, who the intelligent profs and artists gave me. It is like a new insight that I have not known before.
I also think that animals, who know how to suicide is also intelligent. It means that they know how to kill themselves, which is opposed to their instinct, to live.
Also, I like to think how human beings are the most evolved creature.
Of course, they have the best intelligent.
Another thing interesting that I came to know is that they have the best cooling system, so that they run a long distance. In short, human bodies are designed for long distance running. So they follow the animals, until the animal heats up too much so that it cannot bear, and at that point, human capture them, and ... yummy.....
So.. I would say Endurance is another thing that made human being evolved.
1. Intelligence of self recognition, and finding the relationship between the world and themselves.
2. Endurance to stick to one goal, looking forward to the future and not giving up.
Well. I am glad that monkeys do not care of others, monkeys do not have endurance as much as human. If I see somebody who only cares of himself, and cannot endure or control himself, I would call him an ANIMAL.
Monkeys, pigs know themselves and the world. If you show the mirror, and if the animal knows that the animal inside the mirror is itself, then it is a bit intelligent. This can be also applied to a child. If you know the relationship between you and the world, then you are a bit intelligent.
Young child don't know that. They just think they are the center of the world. Animals don't even realize themselves as an individual life. They follow their instincts, they just know that they are painful, hungry, and they are part of the nature.
Audiences who think for whom is this artwork for, and whom does the life in the artwork means, is an intelligent audience. Most of the audience, including me, do not think that deeply.
If you see a creature in a virtual world, mostly would think that creature part of themselves. One step intelligent audience would question whether it is them projected as a creature, or they are looking inside of the artist, as a creature, or they are looking at the other creature that the artist created.
I am not intelligent, and now I am trying to answer these questions, who the intelligent profs and artists gave me. It is like a new insight that I have not known before.
I also think that animals, who know how to suicide is also intelligent. It means that they know how to kill themselves, which is opposed to their instinct, to live.
Also, I like to think how human beings are the most evolved creature.
Of course, they have the best intelligent.
Another thing interesting that I came to know is that they have the best cooling system, so that they run a long distance. In short, human bodies are designed for long distance running. So they follow the animals, until the animal heats up too much so that it cannot bear, and at that point, human capture them, and ... yummy.....
So.. I would say Endurance is another thing that made human being evolved.
1. Intelligence of self recognition, and finding the relationship between the world and themselves.
2. Endurance to stick to one goal, looking forward to the future and not giving up.
Well. I am glad that monkeys do not care of others, monkeys do not have endurance as much as human. If I see somebody who only cares of himself, and cannot endure or control himself, I would call him an ANIMAL.
To wrap up
To wrap up what I am thinking now.
1. I will first make the physical device, and make the correspond-able visuals.
2. Visuals, make it interesting, diverse, lively.
3. I am using people's body, to give life to my virtual world, and people are using their body to see and explore there. I am triggering people's physiological response to give life to this world, and they powers the world. Meaning? I can think when I am making.
Don't get afraid, don't run away. Get your hands dirty.
----------------------------------------------------------------------
Some ideas that I got from, after the critique.
1. The world, I am creating would be maybe of about the creature in Asian myths to bring happiness, within Utopia.
2. Maybe I can say that I need your body to explore this second utopia which I have created. What I am not sure is whether let them to see and control in real time or to hide them. If they can control their body, and see the result, then probably.....But my intention is not about curing their body, which is already there. And it is toooo simple and direct. Maybe I have to think more. I think it might be fun for people to see the result in real time, but that might end up with not good result for my drawings.But if it is not about emotion, and it is about they are seeing the second world, then it seems ok. Lets see. Testing!
3. Maybe I can say that this second nature I created is my ideal utopia. And I want you to give characteristics and life to the creatures in this utopia, the neverland, which will never grow old or die. ?
The faculty thinks the idea of preserving emotion is beautiful and meaningful.
But Yael was keep questioning why, which I assume was not meaningful enough for her.
I have to focus on my idea, what I think is better, but I think it is best to satisfy both. Only one is not enough. Also, what I am doing is not relevant to my idea, so that might be a problem of this conflict.
Ggggg. I should keep thinking.
1. I will first make the physical device, and make the correspond-able visuals.
2. Visuals, make it interesting, diverse, lively.
3. I am using people's body, to give life to my virtual world, and people are using their body to see and explore there. I am triggering people's physiological response to give life to this world, and they powers the world. Meaning? I can think when I am making.
Don't get afraid, don't run away. Get your hands dirty.
----------------------------------------------------------------------
Some ideas that I got from, after the critique.
1. The world, I am creating would be maybe of about the creature in Asian myths to bring happiness, within Utopia.
2. Maybe I can say that I need your body to explore this second utopia which I have created. What I am not sure is whether let them to see and control in real time or to hide them. If they can control their body, and see the result, then probably.....But my intention is not about curing their body, which is already there. And it is toooo simple and direct. Maybe I have to think more. I think it might be fun for people to see the result in real time, but that might end up with not good result for my drawings.But if it is not about emotion, and it is about they are seeing the second world, then it seems ok. Lets see. Testing!
3. Maybe I can say that this second nature I created is my ideal utopia. And I want you to give characteristics and life to the creatures in this utopia, the neverland, which will never grow old or die. ?
The faculty thinks the idea of preserving emotion is beautiful and meaningful.
But Yael was keep questioning why, which I assume was not meaningful enough for her.
I have to focus on my idea, what I think is better, but I think it is best to satisfy both. Only one is not enough. Also, what I am doing is not relevant to my idea, so that might be a problem of this conflict.
Ggggg. I should keep thinking.
Crit from the faculty
1. Testing, testing, testing.
I have to show the process of the generative drawings, of how it will connect with what data.
I have to think of how to drive emotions. What questions?
2. Setting.
I have to think, but not be so crazy. It has pros, cons, it is controversary.
3. Visuals.
Already there. Be confident, and clarify them.
4. Idea.
Capturing emotion is beautiful, and it is the right timing, the tech is close.
I have to show the process of the generative drawings, of how it will connect with what data.
I have to think of how to drive emotions. What questions?
2. Setting.
I have to think, but not be so crazy. It has pros, cons, it is controversary.
3. Visuals.
Already there. Be confident, and clarify them.
4. Idea.
Capturing emotion is beautiful, and it is the right timing, the tech is close.
Crit with YAEL KANAREK
I got a chance to get critiques from Yael.
It was really helpful, because she made everything simple, to understand, and asked me to explain it that way. Also, she has a sense to see what I am doing, which I cannot see by myself.
The whole theme of the body of my work would be "Happiness". Happiness can mean a lot of different things, according to the culture. She suggested me to look for happiness in broad ways, such as budhism, nirvana, bliss, in Asian culture, etc... Happiness can be not always happy. Cute creatures in Asian mythology,etc...
For my thesis project, she gave me a good insight.
1. What is emotion? For her, it is like bitter, sweet. So it can change within a small change.
2. What I am doing is Data visualization, but she wants it not to be too simple or direct. She wants something unexpected to happen. The visuals, should be diverse, to make people get interested, and not get bored. This would be a world I am creating, and I can make different variations with algorithms.
3. Also, what I am doing can be seen as I am using people's body, to draw an image. It is their body, that I am using, and they are using their body, to see my world or the second body that I created. So it is a different way of communication. I am differing communication by them, and I am making my own language for them to come and see. It is NOT they looking inside of their mind, or body. It is THEY coming in to see MY WORD.
4. I asked of how to trigger emotion. I am using people's body to play with. So I can do whatever to trigger people's emotion or change of body. The visuals might relate to emotion, but what is happening is not really about emotion. But you would have to see. I can read a poem, or a story. I can make a sound. I can ask them to grab something that is most meaningful from their bags. Also, when I am asking questions, I can use the questionnaire that are already out there.
5.If I am preserving emotion, why? And for whom is it preserved for? I could not answer, cuz I did not think that deeply. Probably it would relate to your memories, and it would be for you. Like photographs for memories. But actually, this was not the core of my initial intention.
I asked about visuals. She said in this case, abstraction might relate more. But I can look for Kandinsky, Jung (Architypical.....)
Anyway, I was happy to get everything simplified, because before, I was in a panic where everything was vague.
It was really helpful, because she made everything simple, to understand, and asked me to explain it that way. Also, she has a sense to see what I am doing, which I cannot see by myself.
The whole theme of the body of my work would be "Happiness". Happiness can mean a lot of different things, according to the culture. She suggested me to look for happiness in broad ways, such as budhism, nirvana, bliss, in Asian culture, etc... Happiness can be not always happy. Cute creatures in Asian mythology,etc...
For my thesis project, she gave me a good insight.
1. What is emotion? For her, it is like bitter, sweet. So it can change within a small change.
2. What I am doing is Data visualization, but she wants it not to be too simple or direct. She wants something unexpected to happen. The visuals, should be diverse, to make people get interested, and not get bored. This would be a world I am creating, and I can make different variations with algorithms.
3. Also, what I am doing can be seen as I am using people's body, to draw an image. It is their body, that I am using, and they are using their body, to see my world or the second body that I created. So it is a different way of communication. I am differing communication by them, and I am making my own language for them to come and see. It is NOT they looking inside of their mind, or body. It is THEY coming in to see MY WORD.
4. I asked of how to trigger emotion. I am using people's body to play with. So I can do whatever to trigger people's emotion or change of body. The visuals might relate to emotion, but what is happening is not really about emotion. But you would have to see. I can read a poem, or a story. I can make a sound. I can ask them to grab something that is most meaningful from their bags. Also, when I am asking questions, I can use the questionnaire that are already out there.
5.If I am preserving emotion, why? And for whom is it preserved for? I could not answer, cuz I did not think that deeply. Probably it would relate to your memories, and it would be for you. Like photographs for memories. But actually, this was not the core of my initial intention.
I asked about visuals. She said in this case, abstraction might relate more. But I can look for Kandinsky, Jung (Architypical.....)
Anyway, I was happy to get everything simplified, because before, I was in a panic where everything was vague.
Tuesday, November 3, 2009
Thesis Feedback from profs
I talked with the professors, individually, about my thesis, of about generating images using bio-signal data such as brainwave.
I talked with Liubo first. I told him that I will be making generative drawings, and it came from this imagination of what the form to store and exchange, embed emotion would be within the technology of telecommunication and artificial intelligence.
He asked me what the viewers would be looking inside, and what the connection would they be able to find. Would it be the avatar of themselves, or would another existence. If it was an avatar, then what makes me to connect to that creature.
If they were looking at their brain, then to give a situation reasonable.He told me about the movie "avatar" , which made the situation that a person got injured by an accident, and had to embed himself into the avatar, using lots of wires and electronics. He gave an example to make the exhibition space to look like people walking into someone's brain, if they were poking into the brain of someonelse.
Also he asked me why they would have to see it but it was left without any answer. He also said that as an artist, I have to make a statement.
I talked about that it does not necessary have to be brain, but it is just an interface to capture the emotion. I also talked about motion, which can be the interface to convey emotion. He gave me the example to make a setting that people have to lay down still, without any movement, in order to make drawing images to trigger. Otherwise, using lots of crazy motion works would be hard to relate to emotion.
I liked all the ideas, which seemed very psychologically important for me to think.
After that, I talked with Peter Patchen, about generative drawings drawn by human emotion, which can be detected by people's mind, and he asked me of "why" the first, which made me speechless. There is a technology already there, why do I have to do it. We already have spoken language, is that not enough to exchange emotion? Or, if it is because of telecommunication problem within non face to face communication, then maybe I can put biofeedback devices to the keyboard and make the background change according to my emotion.
But the main point I came to realize of why I want to do this was because I wanted to be able to "store" and give, exchange, emotion.
He liked that statement. Store emotion and open it up again. What would the device be? Would you give a drawing? Would u give a USB? or a CD? How would people deal with that emotion? If it was sadness, would they be able to throw it away? or would they be able to crunch it? etc...
What is the most happy moment that you want to store? I said it was the moment getting enough sunlight, giggling with my friends. "sunlight" would be a simple information and "the moment with friends, in Korea" would be a complicated information.
He also said that in this situation, the way to call up the emotion of the viewers is also important. Also, to make that experience meaningful, people should be able to find the connection of their emotion and the generative drawings. If it is just people's emotion triggering, and the drawings just go by itself, then what would the association be within people's emotion and the drawings?
He suggested me to perform as a doctor, wearing a white gown, and let people were the biofeedback devices, and to confess the moment of happiness or sadness. If I make like 20~30 drawings, and show them, then it can also be a way to tell whether people are lying their emotion or not.
I asked of some artists that might be helpful for me, and he recommended me of "Keingold, Lynn Hershmen, Tony Oursler, Duchamp, Clavilux Jr. Thomas Wilfred c.1930(Color Organ),
Gregory Lam-Niemeyer (Gravity, Elevator Installation)"
Anyway, I have to think more and more, how to make the experience meaningful, and how to make delicate desires fulfilling through my work.
It was worth to talk with. I think it was the exact good spot.
I talked with Liubo first. I told him that I will be making generative drawings, and it came from this imagination of what the form to store and exchange, embed emotion would be within the technology of telecommunication and artificial intelligence.
He asked me what the viewers would be looking inside, and what the connection would they be able to find. Would it be the avatar of themselves, or would another existence. If it was an avatar, then what makes me to connect to that creature.
If they were looking at their brain, then to give a situation reasonable.He told me about the movie "avatar" , which made the situation that a person got injured by an accident, and had to embed himself into the avatar, using lots of wires and electronics. He gave an example to make the exhibition space to look like people walking into someone's brain, if they were poking into the brain of someonelse.
Also he asked me why they would have to see it but it was left without any answer. He also said that as an artist, I have to make a statement.
I talked about that it does not necessary have to be brain, but it is just an interface to capture the emotion. I also talked about motion, which can be the interface to convey emotion. He gave me the example to make a setting that people have to lay down still, without any movement, in order to make drawing images to trigger. Otherwise, using lots of crazy motion works would be hard to relate to emotion.
I liked all the ideas, which seemed very psychologically important for me to think.
After that, I talked with Peter Patchen, about generative drawings drawn by human emotion, which can be detected by people's mind, and he asked me of "why" the first, which made me speechless. There is a technology already there, why do I have to do it. We already have spoken language, is that not enough to exchange emotion? Or, if it is because of telecommunication problem within non face to face communication, then maybe I can put biofeedback devices to the keyboard and make the background change according to my emotion.
But the main point I came to realize of why I want to do this was because I wanted to be able to "store" and give, exchange, emotion.
He liked that statement. Store emotion and open it up again. What would the device be? Would you give a drawing? Would u give a USB? or a CD? How would people deal with that emotion? If it was sadness, would they be able to throw it away? or would they be able to crunch it? etc...
What is the most happy moment that you want to store? I said it was the moment getting enough sunlight, giggling with my friends. "sunlight" would be a simple information and "the moment with friends, in Korea" would be a complicated information.
He also said that in this situation, the way to call up the emotion of the viewers is also important. Also, to make that experience meaningful, people should be able to find the connection of their emotion and the generative drawings. If it is just people's emotion triggering, and the drawings just go by itself, then what would the association be within people's emotion and the drawings?
He suggested me to perform as a doctor, wearing a white gown, and let people were the biofeedback devices, and to confess the moment of happiness or sadness. If I make like 20~30 drawings, and show them, then it can also be a way to tell whether people are lying their emotion or not.
I asked of some artists that might be helpful for me, and he recommended me of "Keingold, Lynn Hershmen, Tony Oursler, Duchamp, Clavilux Jr. Thomas Wilfred c.1930(Color Organ),
Gregory Lam-Niemeyer (Gravity, Elevator Installation)"
Anyway, I have to think more and more, how to make the experience meaningful, and how to make delicate desires fulfilling through my work.
It was worth to talk with. I think it was the exact good spot.
Monday, November 2, 2009
Defining stuffs
I need to know of what is what, such as definitions, etc.
I was thinking what if emotions can be artificial intelligence. Oguz liked this statement, but I even do not understand what I meant, cuz I was not sure of the definition. The kind of artificial intelligence that I understand and Oguz thinks can be different.
Let's start with emotion.
What is emotion?
Emotion is not phenomenon, but a construct
Components of emotion: cognitive processes, subjective feelings, physiological arousal, behavioral reactions
Emotion is a concept involving three components , which would be Subjective experience, Expressions (audiovisual: face, gesture, posture, voice intonation, breathing noise), Biological arousal (ANS: heart rate, respiration frequency/intensity, perspiration, temperature, muscle tension, brain wave)
Affect of the emotion would be some more than emotions, including personality factors and moods
Mood is a long-term emotional state, typically global and very variable over the time, dominates the intensity of each short-term emotional states.
Different emotional expressions produce different changes in autonomic activity:
Anger: increased heart rate and skin temperature
Fear: increased heart rate, decreased skin temperature
Happiness: decreased heart rate, no change in skin temperature
Relative emotional cues are like this.
HR: anger, fear, sadness > happiness, surprise > disgust
HR Acceleration: anger > happiness
Temp: anger > happiness, sadness > fear surprise, disgust
There are several ways to capture the physiological information.
The next is Artificial Intelligence.
It is kind of hard to define. But I will just say for me.
1. It should have its own opinion, and also know what it is doing.
2. It should have the tendency to grow or reproduce, and react to its environment, to enhance the chance of survival.
3. It should have a certain flow or fluctuation as an analog data, not a form as digitally 0, 1.
4. It should have randomness and flaw. It should never be the same every time, and should have a chance to fail, which makes it more precious when it is successful.
I was thinking what if emotions can be artificial intelligence. Oguz liked this statement, but I even do not understand what I meant, cuz I was not sure of the definition. The kind of artificial intelligence that I understand and Oguz thinks can be different.
Let's start with emotion.
What is emotion?
Emotion is not phenomenon, but a construct
Components of emotion: cognitive processes, subjective feelings, physiological arousal, behavioral reactions
Emotion is a concept involving three components , which would be Subjective experience, Expressions (audiovisual: face, gesture, posture, voice intonation, breathing noise), Biological arousal (ANS: heart rate, respiration frequency/intensity, perspiration, temperature, muscle tension, brain wave)
Affect of the emotion would be some more than emotions, including personality factors and moods
Mood is a long-term emotional state, typically global and very variable over the time, dominates the intensity of each short-term emotional states.
Different emotional expressions produce different changes in autonomic activity:
Anger: increased heart rate and skin temperature
Fear: increased heart rate, decreased skin temperature
Happiness: decreased heart rate, no change in skin temperature
Relative emotional cues are like this.
HR: anger, fear, sadness > happiness, surprise > disgust
HR Acceleration: anger > happiness
Temp: anger > happiness, sadness > fear surprise, disgust
There are several ways to capture the physiological information.
The next is Artificial Intelligence.
It is kind of hard to define. But I will just say for me.
1. It should have its own opinion, and also know what it is doing.
2. It should have the tendency to grow or reproduce, and react to its environment, to enhance the chance of survival.
3. It should have a certain flow or fluctuation as an analog data, not a form as digitally 0, 1.
4. It should have randomness and flaw. It should never be the same every time, and should have a chance to fail, which makes it more precious when it is successful.
Friday, October 30, 2009
Thesis plan
Aesthetic, Purpose
My intention is to illustrate what and how we feel, rather in our subconsciousness or either in consciousness. I want to explore the correlation between our physical and mental actions, using the metaphor of cells building up a living organism. Our physiological action and reaction of imaginations and imagery, which have been submerged under our consciousness will be revealed through the surrealistic imagery through my project.
Description
My work will be a screen projection of 3D virtual imagery illustrating the visitor’s mental state. The system I am building is an interactive database, which will generate unique images according to the data collected from the sensors. Eventually, a collective of generated organisms, formed and interacting with the visitor’s physiological state, will be shown.
Technology
I will be using various biofeedback devices such as a brainwave sensor (ex. Neurosky’s mindset), pulse sensor, etc., to detect the visitor’s physical and mental states. I will be using python (or c++) to connect and convert the data from the sensors to visual imagery. A screen projection with real time generative drawings will be filling up a wall.
Courses
Graphic Programming, Interactive Installation, Physical Computing, Interactive Media, Advanced Interactive Media, Fundamental for computer Graphics, Digital Art in Context, Video Editing, Audio for Digital Media
Flow Chart
Installation Plan
Time Line
Monday, October 26, 2009
Artists
Artists that I came to know more, who explores the intersection btw technology, nature.
Ken Rinaldo
http://www.kenrinaldo.com/
Olafur Eliasson
http://www.olafureliasson.net/
Brian Knep
http://www.blep.com/
Thecla Schiphorst
http://www.sfu.ca/~tschipho/
Ken Rinaldo
http://www.kenrinaldo.com/
Olafur Eliasson
http://www.olafureliasson.net/
Brian Knep
http://www.blep.com/
Thecla Schiphorst
http://www.sfu.ca/~tschipho/
Thesis Plan
Introduction
We replicate nature through code, by finding out the algorithmic structure. Nature is a huge system. Everything is connected to each other, and some animals such as ants can communicate and transmit their physiological state or environmental conditions through pheromones. Can humans also do this through our emotions?
Aesthetic, Purpose
My intention is to visualize the action of emotions and activate (amplify) them. Your feelings that have been submerged will be brought out through surrealistic imagery. The concept of visualizing and replicating nature by Form can be traced back to the Platonic definition for Form. Awe (homage) towards the structural beauty of nature is also what drove me into this project.
Description
My work will be a screen Projection of 3D Virtual landscape and creatures generated by the visitor’s mind. The system I am building is an interactive imagery data bank, which will generate a unique image according to the data collected by the sensors. It will first start up with presenting several random sounds or images. When a visitor’s reaction is strong for a certain image, either negative or positive, then that imagery will lead the visitor to another stage. Eventually, collective landscape of generated creatures growing up, interacting with the visitor’s physiological state, will be shown.
Technology
I will be using various biofeedback devices such as a brainwave sensor (ex. Neurosky’s mindset), galvanic skin response, pulse sensor, etc., to detect the visitor’s physical and mental states. I will be using python (or c++) to generate and call up a 3D imagery in real time. The physiological state, such as pulse, and brainwave will be giving the energy for the virtual creature to grow up. A screen projection of 3 angles will be filling up the whole room. I will use the algorithmic design of George Stiny, while I am drawing a live screen projection.
Experience
You walk into the room and you are tired. You wear the sensors. You see several different creatures coming out. You do not care. Suddenly, you are immersed into the image. The creatures start to grow and fluctuate, following your heartbeat. Suddenly you are surprised by an unexpected sound. The whole environment changes and the creatures change their state. You get bored. Everything slows down. You take off the sensors and leave. You see how the creatures are accumulated, forming a universe.
We replicate nature through code, by finding out the algorithmic structure. Nature is a huge system. Everything is connected to each other, and some animals such as ants can communicate and transmit their physiological state or environmental conditions through pheromones. Can humans also do this through our emotions?
Aesthetic, Purpose
My intention is to visualize the action of emotions and activate (amplify) them. Your feelings that have been submerged will be brought out through surrealistic imagery. The concept of visualizing and replicating nature by Form can be traced back to the Platonic definition for Form. Awe (homage) towards the structural beauty of nature is also what drove me into this project.
Description
My work will be a screen Projection of 3D Virtual landscape and creatures generated by the visitor’s mind. The system I am building is an interactive imagery data bank, which will generate a unique image according to the data collected by the sensors. It will first start up with presenting several random sounds or images. When a visitor’s reaction is strong for a certain image, either negative or positive, then that imagery will lead the visitor to another stage. Eventually, collective landscape of generated creatures growing up, interacting with the visitor’s physiological state, will be shown.
Technology
I will be using various biofeedback devices such as a brainwave sensor (ex. Neurosky’s mindset), galvanic skin response, pulse sensor, etc., to detect the visitor’s physical and mental states. I will be using python (or c++) to generate and call up a 3D imagery in real time. The physiological state, such as pulse, and brainwave will be giving the energy for the virtual creature to grow up. A screen projection of 3 angles will be filling up the whole room. I will use the algorithmic design of George Stiny, while I am drawing a live screen projection.
Experience
You walk into the room and you are tired. You wear the sensors. You see several different creatures coming out. You do not care. Suddenly, you are immersed into the image. The creatures start to grow and fluctuate, following your heartbeat. Suddenly you are surprised by an unexpected sound. The whole environment changes and the creatures change their state. You get bored. Everything slows down. You take off the sensors and leave. You see how the creatures are accumulated, forming a universe.
Sunday, October 25, 2009
Thesis Research Presentation
I was nervous of my thesis presentation.
It was because I did not have a concrete idea of what I will be doing, and also I did not know what was possible, and I was just not confident enough.
I said what I get interested and I like.
1. Aggregation within lives of being a way of expansion, and eventually the object itself becoming and forming as part of the environment.
2. Emotion as a cellular activity, and as a electronic transmission
3. Biological growth and Metamorphosis
But I did not provide a proper image for this.
Theoretically, I said I want to get sensors to detect people's emotion and generate a surrealistic imagery corresponding to that.
Questions aroused. Is it really possible, how diverse and sensitive is it. I actually did not know well. I realized I have to research more.
Also, Oguz gave me this idea to put an object to trigger people's emotion better. Linda said that I have to think of a real walk through of what the feeling would be within interacting with my work.
I really just think I have to know more and experiment more. Cuz the less you know, the more you get scared of. I am pretty amazed at how I can really detect people's emotion! It is not that far, and a lot of people are interested in it already!
It was because I did not have a concrete idea of what I will be doing, and also I did not know what was possible, and I was just not confident enough.
I said what I get interested and I like.
1. Aggregation within lives of being a way of expansion, and eventually the object itself becoming and forming as part of the environment.
2. Emotion as a cellular activity, and as a electronic transmission
3. Biological growth and Metamorphosis
But I did not provide a proper image for this.
Theoretically, I said I want to get sensors to detect people's emotion and generate a surrealistic imagery corresponding to that.
Questions aroused. Is it really possible, how diverse and sensitive is it. I actually did not know well. I realized I have to research more.
Also, Oguz gave me this idea to put an object to trigger people's emotion better. Linda said that I have to think of a real walk through of what the feeling would be within interacting with my work.
I really just think I have to know more and experiment more. Cuz the less you know, the more you get scared of. I am pretty amazed at how I can really detect people's emotion! It is not that far, and a lot of people are interested in it already!
Ways to sense emotions
I was afraid of which kind of software or hardware to use to capture emotion. I thought it would be expensive or hard to get. But actually not! The artist that I saw in eyebeam used Neurosky, and when I checked online, it was $200, which is payable. I think I should also get that.
But the problem is that it only give an information of stressfulness and relaxation, which is not a diverse range of emotion.
When I searched online, there were several other ways to capture emotion, such as speech recognition, ECG, which is detecting heart beat and stuffs like that, and also Galvanic Skin response. It also seemed like to capture emotion, more than one kind of sensors were needed.
There are also DIY websites of how to make cheap sensors, but I am quite afraid to make it. What if I make a mistake and shock the users! What if it looks scary, not user friendly! I should see and try more. There are forums and communities, which helps people to go and do something. I also want to know how for humans to communicate with plants.
But the problem is that it only give an information of stressfulness and relaxation, which is not a diverse range of emotion.
When I searched online, there were several other ways to capture emotion, such as speech recognition, ECG, which is detecting heart beat and stuffs like that, and also Galvanic Skin response. It also seemed like to capture emotion, more than one kind of sensors were needed.
There are also DIY websites of how to make cheap sensors, but I am quite afraid to make it. What if I make a mistake and shock the users! What if it looks scary, not user friendly! I should see and try more. There are forums and communities, which helps people to go and do something. I also want to know how for humans to communicate with plants.
Brainwaves reacting with images
Brainwaves, which is also known as EEG, gives you the information of relaxation or stress.
I went to eyebeam open studio and saw this artist Scott Kildall using brainwaves as to capture what people feel from images from mass media. I also participated in the survey and it was quite fun and amazing to see the results. They(the surveyors who are watching at my brainwave) actually knew of how I feel towards the image, even before I realize or feel how I feel. I think I did not feel, but unconsciously feeling something, and they captured it precisely. I was very happy to see a guy's masculine naked body, and also a cute puppy. I was stressed to see a gun, a patient in a hospital, and a wedding cake.
I was thinking of doing my thesis project, using people's emotion, and Oguz gave me an idea to put some objects to trigger people's emotion, and actually I think was a fresh idea, and this project also makes me a broader view.
I went to eyebeam open studio and saw this artist Scott Kildall using brainwaves as to capture what people feel from images from mass media. I also participated in the survey and it was quite fun and amazing to see the results. They(the surveyors who are watching at my brainwave) actually knew of how I feel towards the image, even before I realize or feel how I feel. I think I did not feel, but unconsciously feeling something, and they captured it precisely. I was very happy to see a guy's masculine naked body, and also a cute puppy. I was stressed to see a gun, a patient in a hospital, and a wedding cake.
I was thinking of doing my thesis project, using people's emotion, and Oguz gave me an idea to put some objects to trigger people's emotion, and actually I think was a fresh idea, and this project also makes me a broader view.
Saturday, October 24, 2009
plants in urban life
This might be irrelevant with my thesis project, but I enjoy seeing plants submersed(?) within urban life. I also want to plant something in my window.
I went to the open studio in eyebeam, and was pretty amazed to see this planting system designed appropriate for farming in urban life. It uses hydroponic planting.
The musee du quai branly in Paris, which was designed by architect Jean Nouvel is awesome. The whole facade of a building is covered with plants like moss.
When I went to siggraph 2009, New Orleans, the project "Biological Instrumentation" by
Nina Tommasi was interesting, in terms of using real life within media art.
I went to the open studio in eyebeam, and was pretty amazed to see this planting system designed appropriate for farming in urban life. It uses hydroponic planting.
The musee du quai branly in Paris, which was designed by architect Jean Nouvel is awesome. The whole facade of a building is covered with plants like moss.
When I went to siggraph 2009, New Orleans, the project "Biological Instrumentation" by
Nina Tommasi was interesting, in terms of using real life within media art.
Sunday, October 18, 2009
Video
Soliloquy from jean chu on Vimeo.
This is the video work that I have done for the video editing class.
I shoot the moon jellies from the NY Aquarium. I like the way how they look like cells.
I used blurring, to make them depict the mental stage between consciousness and unconsciousness.
What I am not sure is how to treat the texts. Should I make them merge more with the image? Should I make them unreadable?
Wednesday, October 14, 2009
Thinking about the interface, the experience, what is the limit?
As I keep thinking, I realize that my idea is becoming a mixture and a cluster of too many things so that it gets not clear. I should free my limit or boundary, but should make a frame of the way how my ideas would flow through.
I need to cut off stuffs now, and concentrate more on one strong theme. I want everything to be simple and coherent. I do not want to put too much of settings. I want to make my interface as minimal as I can.
Whatever I do, I will be drawing generative images that can be considered alive. What I am not sure is how much interactive I will make them to be, and what will the interaction or the interface , input be. Also, what I should think is what and how to display. It does not necessarily have to be interacting with human, it does not necessarily have to be showing the interaction in real time. I can even utilize real alive amoeba or the data of the nature as the data of interaction. I can just show the result of the diary afterward. It can be only just a screen projection or a set of monitors. This setting makes me more free.
I am interested in replicating the nature visually within coding and randomness. Also, I am interested in putting metaphors within my work, such as communication of the visitor's emotion, because somehow I want the interaction to be meaningful. I also want to be able to configure shapes and build up my algorithm of drawing shapes. I think I can make them to become all 1, such as make the emotions feed in to the virtual world and make creatures grow by eating them. But I am not clear yet of how to make it more interesting and fun, and artistic. I think I should not make what things happen to direct or apparent. Maybe filter it to be abstract, yet beautiful. I want the images to be ephemeral and organic, yet structured. I should draw some images to think of the scenes of the metamorphoses.
This might sound stupid but what I am not clear enough and would like to think more is how do I define something to be "alive". It should know what it is doing, what is going on outside, and it should be doing something responding to the current stage of circumstance. Also, it should have the possibility to die, which means it should somehow have random reactions that might screw up everything. It is because death makes existence and life more precious.
I need to cut off stuffs now, and concentrate more on one strong theme. I want everything to be simple and coherent. I do not want to put too much of settings. I want to make my interface as minimal as I can.
Whatever I do, I will be drawing generative images that can be considered alive. What I am not sure is how much interactive I will make them to be, and what will the interaction or the interface , input be. Also, what I should think is what and how to display. It does not necessarily have to be interacting with human, it does not necessarily have to be showing the interaction in real time. I can even utilize real alive amoeba or the data of the nature as the data of interaction. I can just show the result of the diary afterward. It can be only just a screen projection or a set of monitors. This setting makes me more free.
I am interested in replicating the nature visually within coding and randomness. Also, I am interested in putting metaphors within my work, such as communication of the visitor's emotion, because somehow I want the interaction to be meaningful. I also want to be able to configure shapes and build up my algorithm of drawing shapes. I think I can make them to become all 1, such as make the emotions feed in to the virtual world and make creatures grow by eating them. But I am not clear yet of how to make it more interesting and fun, and artistic. I think I should not make what things happen to direct or apparent. Maybe filter it to be abstract, yet beautiful. I want the images to be ephemeral and organic, yet structured. I should draw some images to think of the scenes of the metamorphoses.
This might sound stupid but what I am not clear enough and would like to think more is how do I define something to be "alive". It should know what it is doing, what is going on outside, and it should be doing something responding to the current stage of circumstance. Also, it should have the possibility to die, which means it should somehow have random reactions that might screw up everything. It is because death makes existence and life more precious.
Tuesday, October 13, 2009
Draft of plan for my thesis project
Introduction
We can replicate nature through randomness by coding. I am trying to replicate nature as a way that is similar to how ants and primitive creatures talk with pheromone. How can I do this when my subject is the human? This is the focus of my work.
Aesthetic, Purpose
My intention is to find a way to enable visualization and communication of diverse perceptions of objects between other people in a setting that is similar to a play set. The concept of visualizing and replicating the nature by Form can be traced back to Platonic definition for Form. Awe (homage) towards the structural beauty of the nature is also what drove me into this project.
Description
Within the play set I mentioned above, I will present the experience of a different way to sense or perceive the world, and translate them into forms. People will interact with that setting, and the sensors that are triggered by the visitors as they interact with the objects. According to the various reactions there will simultaneously be a line projection with a corresponding sound which will appear on a screen, reflecting the reaction as read by the system I am building.
Technology
I will be using various sensors such as touch sensor, galvanic skin response, a sound sensor, and a proximity sensor to detect the visitor’s physical and mental states. I will be using vibration motors, speakers, an LCD monitor table or a screen projection on a table to make the reaction happen. I will use the algorithmic design of George Stiny, while I am drawing a live screen projection.
We can replicate nature through randomness by coding. I am trying to replicate nature as a way that is similar to how ants and primitive creatures talk with pheromone. How can I do this when my subject is the human? This is the focus of my work.
Aesthetic, Purpose
My intention is to find a way to enable visualization and communication of diverse perceptions of objects between other people in a setting that is similar to a play set. The concept of visualizing and replicating the nature by Form can be traced back to Platonic definition for Form. Awe (homage) towards the structural beauty of the nature is also what drove me into this project.
Description
Within the play set I mentioned above, I will present the experience of a different way to sense or perceive the world, and translate them into forms. People will interact with that setting, and the sensors that are triggered by the visitors as they interact with the objects. According to the various reactions there will simultaneously be a line projection with a corresponding sound which will appear on a screen, reflecting the reaction as read by the system I am building.
Technology
I will be using various sensors such as touch sensor, galvanic skin response, a sound sensor, and a proximity sensor to detect the visitor’s physical and mental states. I will be using vibration motors, speakers, an LCD monitor table or a screen projection on a table to make the reaction happen. I will use the algorithmic design of George Stiny, while I am drawing a live screen projection.
Radio Head music video “house of cards”
This is a music video which has been done with collaboration with a new media artist Aaron Koblin, using the new media technology. I like this piece because it visualizes the sound really well, as well as showing the singers. It is abstract, yet shows a lot of what is there in the real world. Using the new technology of 3D scanning, it presents a new way of video taking. This piece experiments in the new technologies, but still follows the structure of the usual music video. The camera goes back and forth of the closed up scene of the face of the singer, to the whole group of people and the scenery of a village.
http://code.google.com/creative/radiohead/
http://www.aaronkoblin.com/work/rh/index.html
Wednesday, October 7, 2009
Never loose yourdream.
I realized that if I loose my dream, I get lost of what I want to do and should be doing with this digital media.
Nowadays, everybody is sharing their codes, and it is very natural to use libraries developed by others. The result is that your work can easily become similar with others.
I am a person who is easily amazed and do works driven by technolgy. But now is the time that I need a shift of paradigm, because technology changes so fast, and then I really want to find my own style or aesthetic of work.
I want a more interesting idea or concept. That is what I think is most important in digital artworks. Technologies, or visuals are easy to modify or change. The core is always what drives you here, what is unique in your mind.
I want to establish my own manifesto.
Nowadays, everybody is sharing their codes, and it is very natural to use libraries developed by others. The result is that your work can easily become similar with others.
I am a person who is easily amazed and do works driven by technolgy. But now is the time that I need a shift of paradigm, because technology changes so fast, and then I really want to find my own style or aesthetic of work.
I want a more interesting idea or concept. That is what I think is most important in digital artworks. Technologies, or visuals are easy to modify or change. The core is always what drives you here, what is unique in your mind.
I want to establish my own manifesto.
Researching of Artists, Aesthetics, Techonolgies
I have been researching artists who have been doing works that bridge text, emotion, bodies, and computer graphic images within a certain algorithm.
Camille Utterback
http://www.camilleutterback.com/
Camille Utterback's work is an attempt to bridge the conceptual and the corporeal. She said “How we use our bodies to create abstract symbolic systems, and how these systems (language for example) have reverberations on our physical self is a matter of great concern to me.”
Central to her work “Text Rain” is the tension between the abstract realm of ideas and the corporeality in which we live and interact with these ideas. The falling letters are not random, but form lines of a poem about bodies and language. 'Reading' the phrases in the Text Rain installation becomes a physical as well as a cerebral endeavor.
This is a very old, classic project, but I still think it is effective and strong, and I like it really much as an interactive poetry.
Diane Gromala
http://www.lcc.gatech.edu/~gromala/art.htm
http://www.heelstone.com/meridian/gromala/gromalab.html
http://transliteracies.english.ucsb.edu/post/research-project/research-clearinghouse-individual/research-reports/biomorphic-type%E2%84%A2-2
BioMorphic Typography is Diane Gromala’s term for a family of fonts that continually morph in real-time response to a user’s changing physical states, as measured by a biofeedback device. Part of a larger initiative, Design for the Senses, the goal is to develop approaches to experiential design that focus on the senses and “the history of the body.” The writer is hooked up to a biofeedback device, which measures her heart rate, respiration, and galvanic skin response. As she writes, these continuous streams of data affect the visual character of the typeface.
In traditional caligraphs, the writer's emotion and physical state was able to get captured, and the readers were able to read it. But through digital typing, there is no way to capture the writer's emotion or characteristic. Through this biofeedback technology, the writer, reader, and the action of writing is able to be reconnected.
I have been searching on diverse devices, that I can detect human emotions.
Biofeedback Devices
http://en.wikipedia.org/wiki/Galvanic_skin_response
Galvanic skin response (GSR), also known as electrodermal response (EDR), psychogalvanic reflex (PGR), or skin conductance response (SCR), is a method of measuring the electrical resistance of the skin. GSR measurement is one component of polygraph devices and is used in scientific research of emotional arousal. You can easily think of a lie detector.
Brain Wave Sensors
http://www.neurosky.com
Brain Wave Sensors detect different wavelengths of the brainwaves and it can indicate different emotional states, like a focused awareness, a meditative state, or drowsiness. It is used also on psychological experiments of human emotions. A game using brain wave sensor as a device is actually already on developement by neurosky's MindSet.
Breath Detection
“Back to the mouth” is a game system activated by breath and mouth odor. The user eats/drinks something to control the user’s mouth odor. Then it is possible to kill monsters on a screen by blowing/sucking a blowgun-type device.
It was fun for me to think as a good example to connect the virtual monster and the real physical state of my body.
http://www.youtube.com/watch?v=fwYriNtuhW0&feature=PlayList&p=2C6C0F8A0D22160E&index=6
Kinetic Memory
http://www.topobo.com/
(Construction Kit with Kinetic Memory)
Topobo is a toy that people can sculpt a behavior through a kinetic memory within the toy. I was amazed by its constructive assembly system within kinetic memory.
This might be irrelevant to my work, but I am just inspired by this technology of being able to sculpt motions.
I have also been researching on how to derive a computational image which can be deconstructed or constructed under a certain structure and formula as a life pattern. This is a brief history of computation on forms.
•1950–cellular automata (Ulam, von Neuman)–generative grammars (Chomsky)
•1960–pattern grammars (Fu)
•1970–shape grammars (Stiny, Gips)
•1980–artificial life (Langton), self-organizing systems
Shape Grammers
http://radicalart.info/AlgorithmicArt/grammar/ShapeGrammar/index.html
http://ocw.mit.edu/OcwWeb/Architecture/4-520Fall-2005/LectureNotes/
http://www.shapegrammar.org/
The Shape Grammar formalism, developed in the 1970's by George Stiny and James Gips, was inspired by the rewrite grammars of Chomskyan formal language theory.
It is about special algorithms, about applying rules to generate figures. The earliest Shape Grammars worked with line segments, but extensions were developed that deal with color and with three-dimensional shape. It has been inspiring forms of architecture.
Yet, I still more time to absorb his idea, and apply it into my own way to build up a structure of unique emotional icons and characteristics.
Fid.Gen
http://postspectacular.com/code/start#fid.gen
Toxi's works are always inspiring and fabulous. Toxi's fiducials and his forever sculpture uses algorithm to generate a random yet never repeating figures.
It was interesting for me because I have never thought that a computer generated figure can be an identical from each other, and work as an ID marker. I came to think to generate characters of artificial lives which are random, but has each individual characteristic on it.
Camille Utterbackhttp://www.camilleutterback.com/
Camille Utterback's work is an attempt to bridge the conceptual and the corporeal. She said “How we use our bodies to create abstract symbolic systems, and how these systems (language for example) have reverberations on our physical self is a matter of great concern to me.”
Central to her work “Text Rain” is the tension between the abstract realm of ideas and the corporeality in which we live and interact with these ideas. The falling letters are not random, but form lines of a poem about bodies and language. 'Reading' the phrases in the Text Rain installation becomes a physical as well as a cerebral endeavor.
This is a very old, classic project, but I still think it is effective and strong, and I like it really much as an interactive poetry.
Diane Gromalahttp://www.lcc.gatech.edu/~gromala/art.htm
http://www.heelstone.com/meridian/gromala/gromalab.html
http://transliteracies.english.ucsb.edu/post/research-project/research-clearinghouse-individual/research-reports/biomorphic-type%E2%84%A2-2
BioMorphic Typography is Diane Gromala’s term for a family of fonts that continually morph in real-time response to a user’s changing physical states, as measured by a biofeedback device. Part of a larger initiative, Design for the Senses, the goal is to develop approaches to experiential design that focus on the senses and “the history of the body.” The writer is hooked up to a biofeedback device, which measures her heart rate, respiration, and galvanic skin response. As she writes, these continuous streams of data affect the visual character of the typeface.
In traditional caligraphs, the writer's emotion and physical state was able to get captured, and the readers were able to read it. But through digital typing, there is no way to capture the writer's emotion or characteristic. Through this biofeedback technology, the writer, reader, and the action of writing is able to be reconnected.
I have been searching on diverse devices, that I can detect human emotions.
Biofeedback Devices
http://en.wikipedia.org/wiki/Galvanic_skin_response
Galvanic skin response (GSR), also known as electrodermal response (EDR), psychogalvanic reflex (PGR), or skin conductance response (SCR), is a method of measuring the electrical resistance of the skin. GSR measurement is one component of polygraph devices and is used in scientific research of emotional arousal. You can easily think of a lie detector.
Brain Wave Sensors
http://www.neurosky.com
Brain Wave Sensors detect different wavelengths of the brainwaves and it can indicate different emotional states, like a focused awareness, a meditative state, or drowsiness. It is used also on psychological experiments of human emotions. A game using brain wave sensor as a device is actually already on developement by neurosky's MindSet.
Breath Detection“Back to the mouth” is a game system activated by breath and mouth odor. The user eats/drinks something to control the user’s mouth odor. Then it is possible to kill monsters on a screen by blowing/sucking a blowgun-type device.
It was fun for me to think as a good example to connect the virtual monster and the real physical state of my body.
http://www.youtube.com/watch?v=fwYriNtuhW0&feature=PlayList&p=2C6C0F8A0D22160E&index=6
Kinetic Memoryhttp://www.topobo.com/
(Construction Kit with Kinetic Memory)
Topobo is a toy that people can sculpt a behavior through a kinetic memory within the toy. I was amazed by its constructive assembly system within kinetic memory.
This might be irrelevant to my work, but I am just inspired by this technology of being able to sculpt motions.
I have also been researching on how to derive a computational image which can be deconstructed or constructed under a certain structure and formula as a life pattern. This is a brief history of computation on forms.
•1950–cellular automata (Ulam, von Neuman)–generative grammars (Chomsky)
•1960–pattern grammars (Fu)
•1970–shape grammars (Stiny, Gips)
•1980–artificial life (Langton), self-organizing systems
Shape Grammershttp://radicalart.info/AlgorithmicArt/grammar/ShapeGrammar/index.html
http://ocw.mit.edu/OcwWeb/Architecture/4-520Fall-2005/LectureNotes/
http://www.shapegrammar.org/
The Shape Grammar formalism, developed in the 1970's by George Stiny and James Gips, was inspired by the rewrite grammars of Chomskyan formal language theory.
It is about special algorithms, about applying rules to generate figures. The earliest Shape Grammars worked with line segments, but extensions were developed that deal with color and with three-dimensional shape. It has been inspiring forms of architecture.
Yet, I still more time to absorb his idea, and apply it into my own way to build up a structure of unique emotional icons and characteristics.
Fid.Genhttp://postspectacular.com/code/start#fid.gen
Toxi's works are always inspiring and fabulous. Toxi's fiducials and his forever sculpture uses algorithm to generate a random yet never repeating figures.
It was interesting for me because I have never thought that a computer generated figure can be an identical from each other, and work as an ID marker. I came to think to generate characters of artificial lives which are random, but has each individual characteristic on it.
Wednesday, September 30, 2009
Perceptions and Emotions
My work is about our perceptions and the reactions upon a coincidence when meeting a different existence or when accounting to a change of environment.
Our emotions or physical state changes when we encounter a stimuli.
I want to depict this moment of metamorphos through interactive generative drawings.
I want to create an underwater-like environment, and use the primitive sea creatures as a metaphor.
I want to find a structure of how our emotions or perceptions are built up, as part of a nature. I want to find a pattern of our emotions.
But I just feel like I have no good idea.
I have to know more, I have to explore more. That is what I think now.
I want to make something that is out of my range. I mean, I want something that can be out of gallery space, and be fun and functional also. or either striking with none sense of humor. Like http://www.aaronkoblin.com or http://tomgerhardt.com/mudtub/
But I still do like absolute beauty and want to explore that field.
Like or Casey reas or toxi http://postspectacular.com/ or flight 404 or http://www.anthonymattox.com/
But I do think I have to think of more of my aesthetics as http://www.camilleutterback.com/ or Christa Sommerer & Laurent Mignonneau . or Diane grammala.
Our emotions or physical state changes when we encounter a stimuli.
I want to depict this moment of metamorphos through interactive generative drawings.
I want to create an underwater-like environment, and use the primitive sea creatures as a metaphor.
I want to find a structure of how our emotions or perceptions are built up, as part of a nature. I want to find a pattern of our emotions.
But I just feel like I have no good idea.
I have to know more, I have to explore more. That is what I think now.
I want to make something that is out of my range. I mean, I want something that can be out of gallery space, and be fun and functional also. or either striking with none sense of humor. Like http://www.aaronkoblin.com or http://tomgerhardt.com/mudtub/
But I still do like absolute beauty and want to explore that field.
Like or Casey reas or toxi http://postspectacular.com/ or flight 404 or http://www.anthonymattox.com/
But I do think I have to think of more of my aesthetics as http://www.camilleutterback.com/ or Christa Sommerer & Laurent Mignonneau . or Diane grammala.
Tuesday, September 29, 2009
Metamorphose and energy
What I keep doing is to visualize or to track the energy of stuffs.
This is a video of that kind of things
http://vimeo.com/6826517
This is a video of that kind of things
http://vimeo.com/6826517
Saturday, August 8, 2009
exhibition at siggraph space time student gallery
Just came back after having my piece up at Siggraph space time student gallery.
The gallery had a nice spot that people can just come in without buying any pass.
It was near the job fair and the booths of creative industries.
As a result, just ordinary people without any specific interest would enjoy pretty much of them.
But the bad thing was that it was too bright so that often the physical installations did not show up as well as expected.
Anyway, it was a great experience for me.
First of all, I realized that in these kind of things, you should always be prepared more than you think.
Do not expect too much for them to give you all the hardware tools or so. They were too busy to take care of those trivial things unless you took the first prize.
Second, expect what people would need. People would like to know how to play with. They lifted over my name card and were disappointed to see only my email address. They would like to see instructions rather than my email address.
Third, let people would interact with it according to their previous assumsions. They would place the objects in a row, or pile it up, which I had not expected before. I guess this is the way how they play with building blocks. I got some ideas of to apply this also into my interaction scenario. Also, people would roll around the balls, and bounce(kick?) with their fingers as they are playing with marbles. This also, gave me some ideas that the shape of the object determines the interaction a lot.
Also, I came to think of other parameters.
Should the interaction time be long or short? I mean, will it be better to make people play longer? or will it be better to make people just easily play and go fast? If it is too easy, they will get bored. If it is too difficult, they will not want to play with.
Should there be a structure or not? If there is a structure, then they should be able to understand better, but also it might determine the way how they play. If there is not a structure, then they will play according to their instinct, but might make everything vague and abstract.
Well, anyway, what I feel is that the story or the concept or meaning is important within the space time gallery student exhibition. And of course, people should be able to have fun with it.
Tuesday, June 23, 2009
story of stuffs
http://www.storyofstuff.com/
This I saw during the class.
It was striking,and I realized the importance of green design, sustainable design.
But I am afraid that it is hard to change things in this competitive industrialized society.
I am afraid that someone who cares the environment might end up as to become a loser.
I am afraid that there is not much I can do.
This I saw during the class.
It was striking,and I realized the importance of green design, sustainable design.
But I am afraid that it is hard to change things in this competitive industrialized society.
I am afraid that someone who cares the environment might end up as to become a loser.
I am afraid that there is not much I can do.
Friday, June 5, 2009
Fuerzabruta
Awesome cool!
I think it is making all the digital effects in real in front of my eyes, which I have been seen before through the digital screens in movies
I think it is making all the digital effects in real in front of my eyes, which I have been seen before through the digital screens in movies
Monday, May 18, 2009
Soft interface
I want to make a soft interface.
i want to create natural interaction where real and digital merge in together.
Well. but my brain seems to stop.
NO more interesting ideas coming out. It seems like i am just simulating others.
OK. calm down and think
What does a soft interface mean to me?
1. it means organic. As for organic, I mean that it is changeable. Changeable by human and time.
2. it means that it is comforting. Comforting in touch and interaction.
3. it means that it is friendly and easy to anyone. it means that it can be used not only by specialist, but also by children or elders.
Well. then how would i make a soft interface?
My strategy is now this.
1. Merge it with real world physics, or physical experience.
2. Make sure that the physical interaction and the virtual screen projection has a reasonable connection and makes sense.
i want to create natural interaction where real and digital merge in together.
Well. but my brain seems to stop.
NO more interesting ideas coming out. It seems like i am just simulating others.
OK. calm down and think
What does a soft interface mean to me?
1. it means organic. As for organic, I mean that it is changeable. Changeable by human and time.
2. it means that it is comforting. Comforting in touch and interaction.
3. it means that it is friendly and easy to anyone. it means that it can be used not only by specialist, but also by children or elders.
Well. then how would i make a soft interface?
My strategy is now this.
1. Merge it with real world physics, or physical experience.
2. Make sure that the physical interaction and the virtual screen projection has a reasonable connection and makes sense.
Tuesday, May 12, 2009
I will make art, not money
Without getting any reply from the places I applied for internships, my conclusion is that maybe I am born to be a hungry artist.
OK. then.
I will make art, not money.
OK. then.
I will make art, not money.
Saturday, May 9, 2009
Monday, May 4, 2009
Issues
What will the new issues should be when surface computing arise as the usual interface of life?
microsoft surface is shocking for me.
in fact, I feel i have to think more of issues or new possible contents or interfaces or functional revolutions and possiblities within multi touch computing, rather than getting excited by the technique itself.
First of all, I am interested in toys and animations with multiple story lines. For example, according to where people put the toys representing each characters will draw a different animation or stories in real time.
Secondly, I am interested in making a colony within creating the creatures.
lastly, I am interested in the audio and video effects to enable expressive entertainments.
To add more, mixing up real and virtual is interesting for me.
Such as adding shadow to a real object within the touch screen, or adding texture sound to where it will be touched seems interesting for me.
But most important, i should be more fresh and honest towards myself of what i like to do.
microsoft surface is shocking for me.
in fact, I feel i have to think more of issues or new possible contents or interfaces or functional revolutions and possiblities within multi touch computing, rather than getting excited by the technique itself.
First of all, I am interested in toys and animations with multiple story lines. For example, according to where people put the toys representing each characters will draw a different animation or stories in real time.
Secondly, I am interested in making a colony within creating the creatures.
lastly, I am interested in the audio and video effects to enable expressive entertainments.
To add more, mixing up real and virtual is interesting for me.
Such as adding shadow to a real object within the touch screen, or adding texture sound to where it will be touched seems interesting for me.
But most important, i should be more fresh and honest towards myself of what i like to do.
Thursday, April 16, 2009
body paint
http://memo.tv/body_paint
this one i think is really interesting.
it reminds me of Ive claing's work and Kandinski's Idea of color and motion and inspirational real time merge and come as an interactive installation awa an interactive performance.
this one i think is really interesting.
it reminds me of Ive claing's work and Kandinski's Idea of color and motion and inspirational real time merge and come as an interactive installation awa an interactive performance.
Friday, April 10, 2009
Motion detection and Blob detection
I wanted to do blob detection and motion detection in flash, and make kind of a touch table and a reactable object.
Still, I am experimenting, but I think I found a very good way, and pretty satisfied.
I will use 2 cameras. 1 camera will be infrared light camera underneath the table, to detect the object. I will put some aluminum foil or reflectable markers underneath the object, so that the camera will only see the object, and not the hand. The second camera will be just ordinary camera, detecting dark shadows of human. I hope the rear projection will be able to be a strong light source for people to cast shadow, enabling the camera to see.
For the first IR camera, I will use an external blob detecting program called "tbeta" and use DI technique to detect blobs of the object. Because tbeta is suitable for small blobs, and also, in my unstablized interface, tbeta would not detect the fingers as well as expected.
For the second camera, I will use flash for capturing and detecting the motion of human, because movement of the visitor is more meaningful information as a reaction, rather than a stand still shadow. (honestly speaking, it's simply because the code and the effects are easier to use :P)
I hope i will be able to utilize it well. I should now figure out how to match the stage, and how to draw beautiful image out of the blobs.
Saturday, April 4, 2009
Ongoing project
Ongoing project can be viewed here.
Nightylizer (Interactive installation)
http://lemmonmint.com/project/nightylizer/
Reacting flower (Kinetic sculpture)
http://lemmonmint.com/project/reactibleflower/
Nightylizer (Interactive installation)
http://lemmonmint.com/project/nightylizer/
Reacting flower (Kinetic sculpture)
http://lemmonmint.com/project/reactibleflower/
Monday, February 23, 2009
What is Design? What is Interaction design?
"Design is the Conception and planning of the Artificial"
-Richard Buchanan-
"Interaction design is about shaping our everyday life through digital artifacts-for work, play, and entertainment."
-Gillian Crampton Smith-
"Design is a plan for arranging elements in such a way as to best accomplish a particular purpose... The design is an expression of the purpose... It may(if it is good enough) later be judged as art... Design may be a solution to some industrial problems but it is not a craft for industrial purposes."
-from Charles Eames in conversation with Madame Amic-
A narrow definition of interaction design is "The design of the subjective and qualitative aspects of everything that is both digital and interactive, creating designs that are useful, desirable, and accessible."
A broad definition of interaction design is "The design of everything that is both digital and interactive"
Prototypes
What I hear, I forget.
What I see, I remember.
What I do, I understand.
-Lao Tse-
Language is convincing.
Seeing is believing.
Touching is reality.
-Alan Kay-
from Designing and Interactions
-Richard Buchanan-
"Interaction design is about shaping our everyday life through digital artifacts-for work, play, and entertainment."
-Gillian Crampton Smith-
"Design is a plan for arranging elements in such a way as to best accomplish a particular purpose... The design is an expression of the purpose... It may(if it is good enough) later be judged as art... Design may be a solution to some industrial problems but it is not a craft for industrial purposes."
-from Charles Eames in conversation with Madame Amic-
A narrow definition of interaction design is "The design of the subjective and qualitative aspects of everything that is both digital and interactive, creating designs that are useful, desirable, and accessible."
A broad definition of interaction design is "The design of everything that is both digital and interactive"
Prototypes
What I hear, I forget.
What I see, I remember.
What I do, I understand.
-Lao Tse-
Language is convincing.
Seeing is believing.
Touching is reality.
-Alan Kay-
from Designing and Interactions
Wednesday, February 18, 2009
Flow Chart
Jean Chu
Blog address for interaction scenario : http://jeanhochu.blogspot.com/2009/02/interaction-scenario-jean-chu-inside.html
Inside the room, a dim light is shinning on an object on a pedestal. You go closer and perceive the ambiguous light and sound. There is a screen showing on top of the object, projecting a video of an abstract image, which has a moderate and calm movement. The object is made up of a soft and changeable material such as rubber or cloth. It can be easily squeezed or stretched, changing its figure. When you move and change the figure, the video will be showing a corresponding movement.
After you finish the experiencing, you will feel like coming out from a short rest of your mind. You will be remembering the feeling of the soft object and the dreamlike images projected with the object.
If you keep interacting, then the object on the screen will grow its size and get a more complex figure. If you stop interacting, then the screen will shatter as a broken glass, and the sound will tune down.
Scope of Work list
Visual assets : generative figure projected, the object on a table
Sound assets : ambient sounds reminding of the underwater or a metallic eco
physical components : Camera and light to sense the location or movement, speaker
Think of equipment needed to detect the shape or location of the object. (lights (infrared lights or led), infrared light camera or just camcorder). Also I would need to prepare a speaker or a headset for the sound.
Special technologies or programming widgets : Flash, Maxmsp
For this project, I will be using flash mostly for generating the video. For the interacton, I might be using blob detection and further effects, but I need to experiment more with both Flash and Maxmsp before choosing which to use for that.
max msp flash server resource : http://www.nullmedium.de/dev/flashserver/
Libraries
For generating graphics, I will be get some help by the codes already made by others, such as blob detection, perlin noise, Gen Murphy’s “fluid”, other fluid dynamics, etc
motion tracking resource : http://www.actionscript.org/resources/articles/613/1/Camera-motion-controlled-ball/Page1.html
blob detection library by Andrei Thomas:
http://andreithomaz.com/labs/?p=11
Monday, February 16, 2009
Communicating Max msp and Flash
I did not know Max MSP could be connected with flash!
I feel that it would be fun! But I just don't know how yet.
Anyway, I think this, of a pong with voice is kind of fun and creepy. Check this out.
http://www.youtube.com/watch?v=uo2FXTvMvRE
I feel that it would be fun! But I just don't know how yet.
Anyway, I think this, of a pong with voice is kind of fun and creepy. Check this out.
http://www.youtube.com/watch?v=uo2FXTvMvRE
Wednesday, February 11, 2009
Interaction Scenario
Inside the room, a dim light is shinning on an object on a pedestal. You go closer to that and perceive the ambiguous light and sound coming from the surroundings. There is a screen on front (or showing on top of) the object, and when you approach, the screen starts to show a video of an abstract image, which has a moderate and calm movement. Soon you recognize that it represents the object in front of you. The screen shows the organic figures which had been the environment starting to interact with the object. You realize that you can also interact with the object. The object is made up of a soft material like rubber or sponge, which can be easily squeezed to change its form. By squeezing, the object changes its figure, and the video will be showing the after effect as ripples.
If you keep interacting, then the object on the screen will grow its size and get a more complex figure. If you stop interacting, then the screen will shatter as a broken glass, and the sound will tune down. If you again approach, and interact, then the object in the screen will again start to grow again.
After you finish the experiencing, you will feel like coming out from a short rest of your mind. You will be remembering the feeling of the soft object.
For this project, I will be using arduino for physical interaction, and I will be using flash (or processing) for screen interaction.
Interaction style
http://openprocessing.org/visuals/?visualID=323
http://openprocessing.org/visuals/?visualID=268
http://complexification.net/gallery/machines/bonePiles/
Visual style
http://www.vimeo.com/user889167
http://www.vimeo.com/2183172
http://complexification.net/gallery/machines/selfdividingline/
Tuesday, February 10, 2009
Anthony mattox
anthonymattox.com
http://www.vimeo.com/user889167
I really like his work. It is beautiful. And I visited his web and realized that he is just a media art student!!!!!!
His "Wiki Web" is also really clear in concept, also visualization.
It is just "wow".
He uses particle system or perlin noise or fluid motion,flow field, etc....... but I just do not understand.
And I cannot find his code shared.
Wednesday, February 4, 2009
Ideation #2 audio visual
audio visual
I would like to explore the relationship between musical and visual elements such as color, shape and texture, and eventually make a joyful experience to the visitors. I would like to make people's gesture or object to create a sound and I wish the sounds they create to get well enough to be heard as music so that they can enjoy it. The circumstance should be dark and light should be emitting out from the interface to make the creation be mystical. But I have not yet decided how the interface would be like.
Screen based work would be easy to capture people's movement or gesture.
Object based work would be easy to let people play and make music with them.
But I think I should think more of what circumstance I should make to make people engaged into that experience.
I would like to explore the relationship between musical and visual elements such as color, shape and texture, and eventually make a joyful experience to the visitors. I would like to make people's gesture or object to create a sound and I wish the sounds they create to get well enough to be heard as music so that they can enjoy it. The circumstance should be dark and light should be emitting out from the interface to make the creation be mystical. But I have not yet decided how the interface would be like.
Screen based work would be easy to capture people's movement or gesture.
Object based work would be easy to let people play and make music with them.
But I think I should think more of what circumstance I should make to make people engaged into that experience.
Ideation #1_mind scape
mind scape, traveling inside the mind
I like imagining the mysterious ambience, full of ambiguous sound and dim light. It is relaxing to stay there, inside the new space of fantasy in my mind. I imagine myself to be eliminated into a small floating organic figure inside a space of mind. In there, the only existing would be emotion and ideal (intellectual). I would like to visualize that as into an organic figure of sound, light. It would endlessly transform, metamorphose, and evolve into another form, as a proof a life. But I have not focused yet to think of “why” and “what kind of life and transformation” I would show. But what I am thinking now is the transformation of that towards digital and computational as cyber creatures. But I should find the connection and relationship between our everyday lives and the cyber(lookin) creatures.
I would also like to get human engaged play with them which would trigger the sound and make the screens change. I would like people to come and touch the touch sensor which would be hidden inside my installed organic shapes of artwork. But I am afraid that nobody would like to come and touch it. In that case, I am also thinking of just make it as a screen projection and make it interact with movement of the people.
This is an example of how the organic shapes would be looking like.
I like imagining the mysterious ambience, full of ambiguous sound and dim light. It is relaxing to stay there, inside the new space of fantasy in my mind. I imagine myself to be eliminated into a small floating organic figure inside a space of mind. In there, the only existing would be emotion and ideal (intellectual). I would like to visualize that as into an organic figure of sound, light. It would endlessly transform, metamorphose, and evolve into another form, as a proof a life. But I have not focused yet to think of “why” and “what kind of life and transformation” I would show. But what I am thinking now is the transformation of that towards digital and computational as cyber creatures. But I should find the connection and relationship between our everyday lives and the cyber(lookin) creatures.
I would also like to get human engaged play with them which would trigger the sound and make the screens change. I would like people to come and touch the touch sensor which would be hidden inside my installed organic shapes of artwork. But I am afraid that nobody would like to come and touch it. In that case, I am also thinking of just make it as a screen projection and make it interact with movement of the people.
This is an example of how the organic shapes would be looking like.
Monday, February 2, 2009
Digital Artist / Designer I like
Joshua Davis
It is just beautiful and fun to look at. His style reminds me of Japanese painting (or Printing). I think Joshua Davis applied Japanese style with his creative coding and made up a new style which would be universal and post modern.
Yugo Nakamura
His work is commercially fancy but also artistically pleasurable and fun and which is a kind never seen before.
his web : www.yugop.net
his company tha ltd : http://tha.jp/
It is just beautiful and fun to look at. His style reminds me of Japanese painting (or Printing). I think Joshua Davis applied Japanese style with his creative coding and made up a new style which would be universal and post modern.
Yugo Nakamura
His work is commercially fancy but also artistically pleasurable and fun and which is a kind never seen before.
his web : www.yugop.net
his company tha ltd : http://tha.jp/
Artist I came to know
Edwin van der Heide
water pavillion
I did not see his real work. So I cannot say anything about his work but just quote what is written in his web.
"The concept of the water pavilion is based on the idea of creating a living organism. The organism expresses itself through architecture, light, images, water and sound. The behaviour of the organism is based on literal processes and metaphores about water. The fluid structure of the inside of the building is a shell for a continiously flowing and transforming world of water realised both with real water and virtual environments."
http://www.evdh.net/water_pavilion/index.html
water pavillion
I did not see his real work. So I cannot say anything about his work but just quote what is written in his web.
"The concept of the water pavilion is based on the idea of creating a living organism. The organism expresses itself through architecture, light, images, water and sound. The behaviour of the organism is based on literal processes and metaphores about water. The fluid structure of the inside of the building is a shell for a continiously flowing and transforming world of water realised both with real water and virtual environments."
http://www.evdh.net/water_pavilion/index.html
Saturday, January 31, 2009
Artist I like
Mark Rothko
His work is damn sublime. It makes me feel guilty. His work is a gate towards the other space, to the absolute.
Marlene Dumas
I just saw her work at moma special exhibition of her "Measuring your own grief". Her paintings are like the last breath coming out from the flame
James turrell
James turrell works with light, and it opens up a new space and time to the visitor, and of course filled with his idea of light.
His work lets the visitors to take time to enjoy and rest. People stare and stay at his work longer than other works.
You can see his work in Moma PS1 after 4 o'clock when the sun light gets ready to dim.
His work indeed made me realize the light itself as a natural element of visual art.
Bill Viola
"There is no stillness until the moment of death."
"Every human beings transform."
-Bill Viola-
Wassily Kandinsky, Improvisation 31 (Sea Battle), 1913,
National Gallery of Art, Ailsa Mellon Bruce Fund
Quotes from Wassily Kandinsky (1866–1944)
Quotes from the artist credited as having created the first abstract watercolour.
http://painting.about.com/library/biographies/blartistquoteskandinsky.htm
"Colour is the key. The eye is the hammer. The soul is the piano with its many chords. The artist is the hand that, by touching this or that key, sets the soul vibrating automatically."
"The true work of art is born from the 'artist': a mysterious, enigmatic, and mystical creation. It detaches itself from him, it acquires an autonomous life, becomes a personality, an independent subject, animated with a spiritual breath, the living subject of a real existence of being."
"When [blue] sinks almost to black, it echoes a grief that is hardly human. When it rises towards white ... its appeal to men grows weaker and more distant." -- Kandinsky in his Concerning the Spiritual in Art from 1911.
His work is damn sublime. It makes me feel guilty. His work is a gate towards the other space, to the absolute.
Marlene Dumas
I just saw her work at moma special exhibition of her "Measuring your own grief". Her paintings are like the last breath coming out from the flame
James turrell
James turrell works with light, and it opens up a new space and time to the visitor, and of course filled with his idea of light.
His work lets the visitors to take time to enjoy and rest. People stare and stay at his work longer than other works.
You can see his work in Moma PS1 after 4 o'clock when the sun light gets ready to dim.
His work indeed made me realize the light itself as a natural element of visual art.
Bill Viola
"There is no stillness until the moment of death."
"Every human beings transform."
-Bill Viola-
Wassily Kandinsky, Improvisation 31 (Sea Battle), 1913,
National Gallery of Art, Ailsa Mellon Bruce Fund
Quotes from Wassily Kandinsky (1866–1944)
Quotes from the artist credited as having created the first abstract watercolour.
http://painting.about.com/library/biographies/blartistquoteskandinsky.htm
"Colour is the key. The eye is the hammer. The soul is the piano with its many chords. The artist is the hand that, by touching this or that key, sets the soul vibrating automatically."
"The true work of art is born from the 'artist': a mysterious, enigmatic, and mystical creation. It detaches itself from him, it acquires an autonomous life, becomes a personality, an independent subject, animated with a spiritual breath, the living subject of a real existence of being."
"When [blue] sinks almost to black, it echoes a grief that is hardly human. When it rises towards white ... its appeal to men grows weaker and more distant." -- Kandinsky in his Concerning the Spiritual in Art from 1911.
Interior designer/architect I like
Karim Rashid
http://www.karimrashid.com/
I just like his style. The organic shapes and the hyper vivid color is so futuristic.
Frank O. Gerry
This is Billbao guggenheim museum. I admire his ability to making the lively curved surface out of steel.
Zaha Hadid
It is just wow!
http://www.karimrashid.com/
I just like his style. The organic shapes and the hyper vivid color is so futuristic.
Frank O. Gerry
This is Billbao guggenheim museum. I admire his ability to making the lively curved surface out of steel.
Zaha Hadid
It is just wow!
LED Dress
Phiipse skin probe dress
Experiment of emotional sensing
Cool!
Also check this out.
Hussein Chalayan
Indeed, dresses can be another screen.
http://www.coolest-gadgets.com/20070426/a-video-dress-that-combines-fashion-and-technology/
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