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'2008/03'에 해당되는 글 12건

  1. 2008.03.29 Francis Bacon potrait + others (1)
  2. 2008.03.26 havent read yet
  3. 2008.03.24 read but....
  4. 2008.03.24 touch through Time
  5. 2008.03.23 the Touch through time
  6. 2008.03.23 ten myths of internet art
  7. 2008.03.23 plato's cave (2)
  8. 2008.03.11 vanishing point tutorial01
  9. 2008.03.06 links_ visual art
  10. 2008.03.04 FEB 2008 TV AD
COURSE/COURSE_INPUT2008.03.29 14:00
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all these images from - http://www.francis-bacon.cx/triptychs/three_studies.html
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Posted by minial
THEORIES2008.03.26 16:39
http://www.lclark.edu/~goldman/hypersig/hyperframe.htm
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Posted by minial
THEORIES2008.03.24 15:27
Touch through time
Raul Hausmann's televisual concept (optical and haptic) and Paik's video art

p214 Electronic recording lets us experience that the question of the musical "what" is already radically temporalized, yet, as paik saw it, this temporalization was also potentially suppressed in the medium of tape recording favored  by electronic composers: the closed-off and linear duration of the tape simply mimed the structure of a linear historical time in which the ever-new forms of music are always accorded a proper date and place.

P215 paik and yalkut's electronic moon
 In Paik's world, moonlight and TV light were then essentially the same phenomeon: both were understood to place a radicall experience of distance into the perceptual present of vision itself.

video space/ interface ( written by Jud Yalkut ) - could be linked with above article.
 + examples of late 1980's works in US.

video_reply
using two camera and repeat and re-recording person and video on TV stuff.
I just didn't get this.
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Posted by minial
THEORIES2008.03.24 14:21
p211
/ Television provides the model of such a tecnology. against the telephonic perspective,/
Hausmannn's concept of presentismus pointed to a differentiation in temporality, which is also a differentiation in the perceptual moment itself. Furthermore, this differentiation was understood in the terms of a new kind of tactility - a kind of ex-centric sensitivity that could be relized only by means of " haptical and telehaptical transmitters.''

According to Marcus, perceptions and sensations exceed the limits of the body proper: our sensations occur at the site of the object towards which our attention is directed, taking place "'in" the world rather than "in" us.

hausmann - new departure of optical and haptic(촉각) understanding
marcus -

( what is distant is brought right into our perceptual presence, yet at the same time it remains strangely removed.) The televisual implications of Hausmann's notion of tactility(촉감, 실재감) can then be understood in the following terms: In the (electronic) play of light, the moment of perception itself is experienced as self-differentiation.

television enders distance  as represented for instance by the timing of alls and reponses on the telephone - invisible by transposing distanct directly into the vision ti rransmits. This short-circuiting implies a radical separation that splits the unity of the body's time and place - a well-known feature of both film and photography as well. But in television this separation is combined with a presentness associated with sense perception that involves the actuality of the body in a very different way. ( happens all over the place at the same time) In contrast to film and photography, television( sith its live events and realtime emanations) does not transmit images of representations, but offers only the semblance of presentation as such.
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Posted by minial
THEORIES2008.03.23 21:34

p211
/ Television provides the model of such a tecnology. against the telephonic perspective,/
Hausmannn's concept of presentismus pointed to a differentiation in temporality, which is also a differentiation in the perceptual moment itself. Furthermore, this differentiation was understood in the terms of a new kind of tactility - a kind of ex-centric sensitivity that could be relized only by means of " haptical and telehaptical transmitters.''

According to Marcus, perceptions and sensations exceed the limits of the body proper: our sensations occur at the site of the object towards which our attention is directed, taking place "'in" the world rather than "in" us.

hausmann - new departure of optical and haptic(촉각) understanding
marcus -

( what is distant is brought right into our perceptual presence, yet at the same time it remains strangely removed.) The televisual implications of Hausmann's notion of tactility(촉감, 실재감) can then be understood in the following terms: In the (electronic) play of light, the moment of perception itself is experienced as self-differentiation.

television enders distance  as represented for instance by the timing of alls and reponses on the telephone - invisible by transposing distanct directly into the vision ti rransmits. This short-circuiting implies a radical separation that splits the unity of the body's time and place - a well-known feature of both film and photography as well. But in television this separation is combined with a presentness associated with sense perception that involves the actuality of the body in a very different way. ( happens all over the place at the same time) In contrast to film and photography, television( sith its live events and realtime emanations) does not transmit images of representations, but offers only the semblance of presentation as such.
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Posted by minial
THEORIES2008.03.23 20:09

1.The internet is a medium delivering miniature forms of other art mediums.

No, because 1 : internet art tend to be positioning outside of the mainstream so searching general term, such as visual art, is not a simple solution to find and appriciate internet art.
 2 : sometimes existing art work is hard to be delivered properly by technical reason.

2. Internt art is appreciated only by an arcane subculture.

No,  because 1: that disconnection contributed to its broad appeal and international followings through the links and online communitiy sites.

3. To make internet art requires expensive equipment and special training.

No, but some restrictions like data transfering speed can be a factor to redirect path toward achieving conceptual elegance rather than theatrical overkill.

4. Internet art contributes to the 'digital divide".
Yes - some cases like ordering specific materials by internet to produce art work.
but in terms of distribution digitalisation can narrow the gap.

5. internet art = web art
No, because Web is a form of internet art. there are something else such as e-mail, peer to peer, messanger, etc.
and among these forms they can be switched here and there easily.

6. Intenet art is a form of web design.
P486  It may fashionable to view artists as " experienced designers", but there is more to art than design.
The distinction between the tow does not lie in differences in subject matter or context as much as in the fact that design serves recognized objectives, while art creates its objectives in the act of accomplishing them.....Design is a necessary, but not sufficient, condition for art.

7. Internet art is a form of technological innovation.
No, even so called internet artist work for making new application or plug-ins, that innovation itself is not art. P487 To use a tool as it was intended, whether a screwdriver or spreadsheet, is simply to fullfil its portential, by misusing that tool- that is , by peeling off its ideological wrapper and applying it to a purpose or effect that was not its maker's intention - artists can exploit a technology's hidden portential in an intelligent and revelatory way.
----    example - Jodi.org

8.Internet art is impossible to collect.

9. internet art will never be important because you can't sell a website.

10. looking at internet art is a solitary experience.
no, some internet work try to contain other audiences' alternations.

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Posted by minial
THEORIES2008.03.23 11:31


usable quotations


3p  --  To collect photographs is to collect the world. Movies and television programs light up walls, flicker and go out;but with still phtographs the images is also an object,light-weight, cheap to produce, easy to carry about, accumulate, store.

4p  -- To photograph is to appropriate the thing photgraphed. It means putting oneself into a certain relation to the world that feels like knowledge - and, therefore,like power.

     -- Photographed images do not seem to be statements about the world so much as peices of it, miniatures of reality that anyone can make or acquire. Photograhs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out.

8p  --  As industrialization provided social uses for the operations of the photographer, so the reaction against these uses reinfored the self-consciousness of photography-as-art.


9p  -- As photographs give people an imaginary possession of a past that is unreal, they also help people to take possession of space in which they are insecure.( Thus, photography develops in tandem with one of the most characteristic of modern activities;tourism)

    -- A way of certifying experience, taking photographs is also a way of refusing it - by limiting experience into an image, a souvenir......Most tourist feel compelled to put the camera between themselves and whatever is remarkable that tey encounter. Unsure of otheer responses, they take a picture.

??? what about the attitude of people look for the right angle and better picture ruin their own experience?

11p  -- A photography is not just the result of an encoundter between an event and a photographr; picture-taking is an event in itself..... After event has ended, the picture will still exist, conferring on the event a kind of immortality ( and importance) it would never otherwise have enjoyed.

12p -- The person who intervenes cannot record; the person who is recording can not intervene.

14p -- Manufacturers reasure their customers that taking pictures demands no skill or expert knowledge,that the machine is all-knowing, and responds to the slightest pressure of the will. It's as simple as turning the ignition key or pulling the trigger.
 
   14-15p -- Just as the camera is sublimation of the gun, to photograph someone is a sublimated murder - a soft murder, approptiate to a sad, frightened time.

15p -- Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always has been- what people needed protection from. Now natue - tamed, endangered, mortal - needs to be protected from people.

  -- All photographs ar memento mori. To take a photgraph is to participate in anothr person's( or thing's) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photgraphs testify to time's relentless melt.

16p -- While an untold number of forms of bilolgical and social life are being destryed in a brief span of time, a device is available to record what is disappering.

17p -- Photographs may be more memorale than moving images, because they are a meat slice of time, not a flow.

+++ scenes from movies to be used for their posters can bring back all the story back to the viewer, like photographer can be reminiscent of. This is mass scale of reminisecence for the people who watched them. so experiencing film is sharing story without any restriction of time and space.

      more about documentary photo & photo jurnalism
22p -- The "realistic" view of the world compatible with bureaucracy redefines knowledge - as techniquew and information.
     -- The presumption is that, for such readers, a photograph could only illustrate the analysis contained in an article. A new sense of the notion of information has been constructed around the photographic image......In a world ruleed by photographic images, all borders("framing") seem arbitrary. Anything can be separated, can be made discontinuous, from anything else; all that is necessary is to frame the subject differently.( conversely, anything can be mae adjacent to anything else.)

23p -- The camera makes reality atomic,manageable and opaque. it is a view of the world which denies interconnectdeness, continuity, but which confers on each moment the character of mystery.

24p -- The omnipresence of photographs has an incalculable effect on our ethical sensibility. By furnishing this already crowded world with a duplicate one of images, pphotography makes us fell that the world is more available than it really is. Needting to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted.

  -- Ultimately, having an experience becomes identical with taking a photogaph of it, and participating in a public event comes more and more to be equivalent to looking at it in photographed form.

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COURSE/COURSE_INPUT2008.03.11 13:11


another tutorial site link
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THEORIES2008.03.06 09:18
http://www.dmoz.org/Arts/Visual_Arts/Installation_Art/Artists/
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VISUAL_DESIGN/OTHERS2008.03.04 14:23
 


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