Sunday, April 1, 2018

PROJECT 3 - Mood Board and History

“Carry this piece of me with you, and no matter the games of the stars, I will be there.”

Born in 2047 before the dissenting members of her society fled to brighter futures, Phila blended well into the cultural and artistic haven that was the Ka’bu. Her family was a smaller but wealthy one, and she enjoyed many of the pleasures that came with a society built upon mechanized labor. She was pretty, talented—and lonely. The life of an only child was a boring one for most of Phila’s early childhood.

Her peoples’ obsession with beauty and perfection naturally drew her to the freedoms that came with art, which also served as a reprieve from the ceaseless monotony that greeted her at every sunrise. As she grew into her talents, Phila made a name for herself as a painter, exploring the shapes and landscapes of foreign worlds that she could only imagine. Only so much could be seen from the windows of the starships, and she made it her mission to illustrate those millions of possibilities to the very farthest extent of her abilities.

Over the course of most of her early life, no figure was more influential or crucial to her development than Eazora, her grandmother and most present companion at any time. The older woman’s face was wisened with years spent aboard the many ships of the Ka’bu, and her vast knowledge of places forever unknown to her granddaughter was a constant source of inspiration for Phila. As Eazora’s memories faded with age, Phila would replace them in every shade and color made available to her.

In 2066, Phila’s artist fellows and members of the warrior classes came at odds, and the Ka’bu society began to tear apart at the seams. The political flames incited by resistance and the newfound desire to explore both frightened and intrigued Phila, who felt that her dreams were finally beginning to come true, albeit at the cost of peace amongst her people.

Eventually, it was decided that a small party of Ka’bu would depart, in secret. Phila managed to arrange a place for herself inside their numbers through complicated favors and persuasion on her part. Her talents, she argued, would be essential for the Ba’ku—as the resistance called itself—to remember home, and all of the places that had once been considered as such.

Eazora guarded the secret well, but hesitated in agreeing to join Phila on the journey to the new land. Her health was failing, and she feared that she was beyond her time to engage in such a life-changing event. Phila pleaded with her, tearful and insistent that she simply could not go without her beloved grandmother. Knowing what it meant to Phila, Eazora eventually consented to joining the dissenters.

However, shortly before departure, Eazora’s health took a turn for the worse. Phila was heartbroken, and struggled to decide where her heart and responsibilities rested. The days until her assumed departure passed quickly, with no change in Eazora’s condition.

“Phila, you have always wanted to see those places,” the old woman breathed, her eyes glassy.

“Please, go see them. For me.”

The brooch placed into Phila’s hands by the dying woman was ornate and old, but it gleamed like the stars surrounding the Briar Patch planet that greeted her through the starship’s glass.

Tuesday, March 6, 2018

Rob Meyers Response

I mean, yeah, this guy's got all of his ducks in a row. Readymades and the sharing nature of 3D models alongside copyright restrictions and freedoms is a weird place to begin a discussion. But when the commissioning party has paid the artist and the artist has completed the work, their agreement is finished and the intended shareable file is then accessible to the public--that's the point. It was different in the 20th century when art was an exclusive club and it was much more likely that a person would pass a sculpture or painting on the street and think "wow, that person is more talented and better off at creating than me" compared to today. Art is most certainly democratized and when that file is shared to everyone it becomes possible for anyone to be that famous artist.

In an ideal world, credit would always be given where credit is due. It's a murky field when a) the original work is intended to be given to the masses and b) sometimes an original work can be remixed so extensively that hardly anything of the original remains. Where's the line drawn there? That's the question Meyers is asking. I believe it lies in the individual artist's value of original credit and/or the contract between the commissioner and the readymade's artist.

If Bob takes the dog balloon and incorporates it into a sculpture of a bounce house, he should of course say "Meyers' dog is in there somewhere, pay him." But when Sally takes that same balloon and 3D prints the pieces of it in the moment it is destroyed by an errant needle, what does she say then? One solution is to say "Meyers' dog was an inspiration for this piece," or to title the new work "Balloon Dog in the Aftermath of the Point," and describe the original form somehow or somewhere to give credit that way. Alternatively, if Sally points to the intent of the balloon dog as a mass-shared file and doesn't bother with crediting Meyers because that was the point, then isn't that valid too?

this doesn't make any sense


week 3 brought us the beginnings of furthering the understanding of the new aesthetic and what its demands are for the new era. since then, we have discussed, in a nutshell:

- the democratization of art and techniques that become readily available to the public
- the widespread nature of mass-produced works of art
- the ability of the people to influence major corporations' intent and marketing reach
- the proliferation and important of readymade art and the concept of original work vs copies (or, for our purposes, the "remixing" of original work)

the latter concept is the central idea of our second project. blending several types of 3D models (retrieved from sources who support and expand upon the first two principles i noted) to create a newer concept of a chimera is symbolic of this period in the semester. our focus has been on the individual's ability to manipulate the regulated nature of our world and remind ourselves of the power that comes with having the tools to do so. there is significance in google's providing that architectural program (i can't remember the name) to the masses, and similar reveals of public awareness.

last week (week 8), we traveled downtown for the Sea3D (mixed feelings about the name) tour, and it was an interesting experience. i was able to get a test model actually printed that i may use for the actual project, and we were able to see an actual industry-grade 3D space scanner in action. that was cool. we were also able to better understand the differing types of 3D printers and were instructed as to the variety of settings necessary for determining the outcome of the model. the most interesting and informative for me was the infill. there's a great difference between 15 and 100%--i.e., the heart and the model of the boots and gun that were displayed to us. madison, kayla and myself also got to try a macaroon for the first time afterwards, so it was a pretty successful trip.

on thursday (3/1), we finally had critique for the first project. some really spectacular work was produced and put on display, but it was clear that few people were fully prepared for it, which is likely a symptom of a) the timeline upset we had for this class early on, b) the CNC machine's tool breaking which pushed many people back, and c) perhaps most significantly, the spring semester in general. it's tough. i'm trying to maintain a balance between putting in a good effort and reminding myself that my own time is important and really getting intooi doing the things i want to do for myself. it's hard.

mine was one of two projects that thomas' didn't have any extensive feedback for, which was a relief. i'm doing okay. ilan's was fantastic.

over spring break i'll be putting more work into project 2 and seeing what i can come up with.
i hope it's fruitful.


another chimera project. well played, thomas.

instead of taking a strictly literary approach this time like i did in intro, my plan for this semester is work with blending fantasy and reality. i was able to have a test piece printed at the Sea3D lab last week of a VW-looking car with mouse-like appendages that will likely count as a piece of this project (think Stuart Little if he REALLY loved his little red car), but on a secondary note, i play a lot of dungeons and dragons and want to include that little piece of myself wherever i can.

the scanner is an interesting idea, and i'm pleased to know that i have multiple options for that. the obvious choice is to use a cell phone and upload those artifacts as their own 3D model. the most enjoyable of those ideas is to use a friend and manipulate the model that way. ever seen an illithid?

Related image
fantasy is a huge breeding ground for things like chimeras, and i want to play with the boundaries between fantasy and reality by combining elements of both. long story short, scan of person + characteristics of fantastical creatures and elements, boom. humans can and often do become so attached to these fantastical realms and the reprieve they bring that sometimes their worlds tend to blend together, and aspects of both can be found in each.

we'll see how successfully i can bring this concept to life.

Friday, February 2, 2018

New Aesthetic Response

I don’t know how I feel about Bruce. Bruce wasn’t saying things that made a lot of sense or that didn’t offend my adoration for the New Media aesthetics for most of this article. In short, I feel like Bruce is just mad about the use of technology to create art. He’s a guy in a stuffy suit with tiny glasses who wrote this on his silver MacBook Air and occasionally asked Siri how to spell things like “metaphysics,” just to be sure he didn’t look dumb when this was thrown on the editor’s desk. Or maybe not, because apparently AI is an outdated wet dream now worthy only of sci-fi fame.

Despite his tweed, Bruce did well in explaining the New Aesthetics in a way that summarized my understanding of them, as well. The crowdsourcing, tech-fueled and paranoid phenomenon that is the New Aesthetic is exactly all of those things, and little more. It’s built for amateurs, a straight path that allows non-creatives with skills in tech or science to become relevant to the art world. It’s built to allow the incorporation of unnatural means of production as norms when it comes to creative forms and expression. Creatives don’t need to paint or take photos to be deemed worthy of exhibition. They can all be Duchamp and live blissfully with the same kind of absurdity and disharmony that Surrealists and Dadaists enjoyed.

According to Bruce, “the New Aesthetic is trying to hack the modern aesthetic, instead of thinking hard enough and working hard enough to build one.” He worries about the anthropomorphizing of computers and the ignorance of the fact that these sorts of technologies were built to reflect and support the human part of the aesthetics equation. The metaphysics of aesthetic are nowhere near comprehensible to machines. Because artists and those who are not necessarily artists want to and do rely on machines to create, aesthetic doesn’t truly exist as far as Bruce is concerned, because he seems to fear that the machines are making everything for us. I’d argue otherwise.

This kind of freedom is what I love about the New Aesthetic, and about New Media: it’s possible to do anything, create anything, in any number of ways and without the restrictions of modernity or contemporary appeal that might otherwise limit that creative exploration. This is both with and without the use of machines, although in our digital age, to find a work described as part of the New Aesthetic without one would be quite the task. You take everything but the clouds out of a Super Mario cartridge, or design your own digital sprays in an online MMO, and that’s it. You enjoy a work for what it is. It’s something to look at and appreciate. The demand for art to be something, to have a function, is inherently disappointing and one that I can’t agree with. Art doesn’t need to serve anyone. It certainly can, because of course art can change the world. But it doesn’t have to.

We live in such an interesting time that is so incredibly complex. It’s a time of such massive coloration in its variety and importance, and to say the New Aesthetic isn’t worth its salt because it hasn’t actually built itself yet is uninspired. Why does the New Aesthetic have to be different from the modern one? Sure, Bruce, it’s a hack—but it’s a hack because we’re trying to figure it out, understand how it works, and exploit the hell out of it. You said it yourself, “they want something of their own to happen”—well here it is. It’s the New Aesthetic.
And we can do whatever we want with it.

Wednesday, January 31, 2018

Project 1 Ideas

1. Lace collar [Elizabethan/tudor style]Image result for queen elizabeth 1533 1603

Image result for petit trianon

Image result for high neck lace collar

2. Ruby's Horned Helm - "Glam"

Image result for papercraft horns

3. Quiver (& Arrows)

Related image

Monday, January 29, 2018



I've done the lineart/vector for my CNC decal idea and discovered that my art style is very attuned to using the pen tool, which I feel I successfully taught myself how to use in about 30 minutes and two separate vector attempts. I'm going to be asking around as to which would be more successful. This is going to go on the front of my computer which is why it's so small. The 12x12 sheet of vinyl seems like it'll be a little wasted, but maybe I can keep and repurpose it later?

I came up with two versions of the decal, with the white being 1) the color of the vinyl and 2) what doesn't get cut out so as to give the decal depth. This image is a tracing of my woof elf ranger, Zandr, whom I also made the focus of several pieces in last semester's studio class.

I think I prefer the first option, but we'll see what happens.

I also made a second one in case the first won't work well for whatever reason.