Conceptual Progress 4.5.2009 Still struggling with the objecthood of the project. I do not directly want to create a "costume" or a "prosthetic". I understand that this course focuses on the realm of the body in art, but I would like to find a way to create work that does not require "wearing" as a direct relation between the work, the creator, and the participant, but still encompasses the three in a communicative performance. Can I bring a box into a noisy space and walk away, imparting dialogue? And walk back to it without it being connected to me like a tail? Sample solved would be: make it a really really really really really really really long tail, to provide enough distance between work and the creator so that both can behave and move as if they were in two different places.
these are the photos of my latest conception. they are more along the lines of an installative work, kind of sculptural, interactive as the function of the "frames" limits a participant's view of other participants, and makes viewing odd. i am still having a difficult time making own body as a part the work, other than always participating in the installation.
alright, I've ordered the silvered mylar, 2.0 optical density. the science sounds great, let's see if it works. essentially, the work will exist as a mirrored belt that rotates vertically. it is activated when TWO people on opposite sides of the belt step on the pad, which sends a message through to PICO, and through the relay that I have yet to build. after the message is sent as in impulse through the relay, it can then power much stronger motors to send the belt into rotation. the mirrored belt itself, will have breaks in it, to be constructed of CLEAR MYLAR, allowing the two participants to engage in a moment's worth of visual dialogue, MEANWHILE, the viewers are also engaged in their own reflections. I am hoping that the experience pushes the participants to align their bodies with what environments their bodies are seeing/hearing/conversing in. my interest focuses on disorientation, and spacial perception, an underlying theme unifying many of the works we've studied throughout this semester! i don't want words like "trippy" to encourage this experience. in the past, i've learned that "discomfort" and "confusing", as much as "re-seen" open up a more complex discussion for what heightened awareness may feel like. I want the interactivity to not only function as a toy, but also as a communicative method for critical and creative progress. i wonder if this makes sense. it did when i wrote it!
I get very enthusiastic when I experience a moment of success in art making, or, with any kind of goal, just especially with art projects. It was advised to me by Colleen to use alcohol to dissolve the metallic surface of the silver mylar, to seamlessly create a "window" in the material. My project is focused on building ways for a dialogue between two sides of an opaque, reflective wall, therefore, having simply one piece of material sans the cutting and the taping and the handling of such large scale portions of that material just makes smoother and less exhausting the process. Aside from the ease, the manipulation of the silver mylar is so much more interesting, I find it to have an effect on visual perception. Instead of there being two piece of mylar taped together, with visible seams, there is now only one piece, with "inherent windowing", putting less focus on the distractions of the construction, and more on the eye-crossing effect. The goal is to keep it from being nerdy.
silver mylar+ alcohol+cotton ball+gloves = opacity and transparency embodied in one divine material! THANKS COLLEEN!
Conceptual Progress 4.5.2009
ReplyDeleteStill struggling with the objecthood of the project.
I do not directly want to create a "costume" or a "prosthetic".
I understand that this course focuses on the realm of the body in art, but I would like to find a way to create work that does not require "wearing" as a direct relation between the work, the creator, and the participant, but still encompasses the three in a communicative performance.
Can I bring a box into a noisy space and walk away, imparting dialogue? And walk back to it without it being connected to me like a tail? Sample solved would be: make it a really really really really really really really long tail, to provide enough distance between work and the creator so that both can behave and move as if they were in two different places.
these are the photos of my latest conception. they are more along the lines of an installative work, kind of sculptural, interactive as the function of the "frames" limits a participant's view of other participants, and makes viewing odd. i am still having a difficult time making own body as a part the work, other than always participating in the installation.
ReplyDeletealright, I've ordered the silvered mylar, 2.0 optical density. the science sounds great, let's see if it works. essentially, the work will exist as a mirrored belt that rotates vertically. it is activated when TWO people on opposite sides of the belt step on the pad, which sends a message through to PICO, and through the relay that I have yet to build. after the message is sent as in impulse through the relay, it can then power much stronger motors to send the belt into rotation.
ReplyDeletethe mirrored belt itself, will have breaks in it, to be constructed of CLEAR MYLAR, allowing the two participants to engage in a moment's worth of visual dialogue, MEANWHILE, the viewers are also engaged in their own reflections. I am hoping that the experience pushes the participants to align their bodies with what environments their bodies are seeing/hearing/conversing in. my interest focuses on disorientation, and spacial perception, an underlying theme unifying many of the works we've studied throughout this semester!
i don't want words like "trippy" to encourage this experience. in the past, i've learned that "discomfort" and "confusing", as much as "re-seen" open up a more complex discussion for what heightened awareness may feel like. I want the interactivity to not only function as a toy, but also as a communicative method for critical and creative progress. i wonder if this makes sense. it did when i wrote it!
I get very enthusiastic when I experience a moment of success in art making, or, with any kind of goal, just especially with art projects. It was advised to me by Colleen to use alcohol to dissolve the metallic surface of the silver mylar, to seamlessly create a "window" in the material. My project is focused on building ways for a dialogue between two sides of an opaque, reflective wall, therefore, having simply one piece of material sans the cutting and the taping and the handling of such large scale portions of that material just makes smoother and less exhausting the process. Aside from the ease, the manipulation of the silver mylar is so much more interesting, I find it to have an effect on visual perception. Instead of there being two piece of mylar taped together, with visible seams, there is now only one piece, with "inherent windowing", putting less focus on the distractions of the construction, and more on the eye-crossing effect. The goal is to keep it from being nerdy.
ReplyDelete