Note pg. 5-17

• video installation = most complex art form
• the part that collapses whenever the instillation isn't installed, is the art....the video its self
• place where installation is ground over which a conceptual, figural, embodied, and temporalized space that is the installation breaks
• artist vacates the scene
•  however detailed a video installation becomes in conception, there remains an element of uncertainty and risk at the level of the material execution and installation of its elements conceived by the artist, and an element of surprise in the actual bodily experience of the visitor
• Video installation can be seen as part of a larger shift in art forms toward "liveness"
• distinguishing art from life (isn't life art?)
• a new built environment for the purpose of reflection
• the massive difference between the two worlds of a traditional theater, in which the audience receives the events on stage as happening safe in an "elsewhere," and a theater in which events happen on the same plane of here and now as the audience inhabits.
• two types of video instaltion:
• "Closed-circuit video plays with "presence." A "live" camera can relay the image and sound of visitors in charged positions in installation space to one or more monitors. Shifting back and forth between two and three dimensions, closed-circuit installation exp lores the fit between images and the built environment and the process of mediating identity and power."
•  "The recorded-video art installation, can be compared to the spectator wandering about on a stage, in a bodily experience of conceptual propositions and imaginary worlds of memory and anticipation. A conceptual world is made manifest as literal objects and images set in physical relation to each other. That is, the technique for raising referent worlds to consciousness is not mimesis, but simulation. In general, the mode of enunciation in video installation in terms of speech act theory is performative or declarative. ....It need not match the world outside (i.e., be constative), nor does installation video command the visitor nor commit the artist nor merely express some state of mind."
• can be further divded into referent worlds
• what truly differentiates video installations? viewer entering into a space created for them to experience the video or no space created
• not sure i agree with this but... tv monitor counts toward a new space being reated because of lighting of screen, unless it is used as a sculptural object
• "The physical arrangement of television monitors into sculptural objects continues to be significant in installation video" 
• replication and repetition of images as poetic to the world of video installation
• "To describe the things we can learn from installation art requires each experience itself and its interpretation"
• repeating cycles that allow the visitor to enter and leave at any point: cycle repetition and transcendence repetition
•  Installation art in this setting reinvigorates all the spaces- in-between, so that the museum visitor becomes aware of the museum itself as a mega- installation
•  self-critique: "an installation full of spatial positions charged with power, full of fetish-objects transposable anywhere, a site that oils the fluid transpositions of concepts and commodity-objects between ontological realms".

notes! pg 20-25, 36,54, 68, 76...oye

Movie Video pg. 20-25

• new ideas for film set ups to introduce a new aspect to intrigue audience
• 1990s- hand made uncut films..dogma
• 1965- projector with tiny pieces
• layers of film and new inspiring ways to get into different way of interpreting film and the viewer or listener
• multiple layering of images or sounds to make the viewer have to focus or not on several different layers
• screens that can be viewed from other sides and all around them hide the viewer from the perspective of the camera....inspired by the Trueman show
• younger generations coming back to the performative approach
• human body still a point of reference
• artists reacting to changing realities
• past ten years video has become and gotten the title of becoming original
• TODAY! video= contradiction, either exclusive or mass produced 

Mother + Father pg. 36

• Candice Breitz
• highlights the international community contioned by mass media
• two rows
• taken out of people from Hollywood films
• she focuses on pop scene
• sees pop music as an essential parameter of our globalized world

Dan Graham Video piece for two glass office buildings pg. 54

• pure presence and self suffiecny
• both feilds represent types of codes giving info about social orders and his own self esteem
• his work represents convergence of private and public spheres
• the subjected one dimensional view loses importance
• creates the process of continuous learning and the subjective sense of an endless present time in flux
• 1950s he reintroduced historical memory into his art

Arenout Mik Dispersion Room pg. 68

• random people doing random things and minding their business and then double projection starts this all over again
• instincts and unconscious reactions
•  unforeseeable reactions
• simultaneously humorous and shocking (kitchen and men beating each other)
• unfettered frame work of individuals
• imbeds his projects in architecture
• viewers caught in possible flow 
• expands the field of action and the world mass media network, copy, stage for the abyss  

Tony Oursler Get Away Number 2 pg. 76

• best known american video artist
• makes dolls (projection of guys face on fabric man at Carnegie)
• exists only as head shapes and have their own characteristics (despair of existence)
• head under mattress (trapped person)
• viewers ready-ness to help
• "hey you get out of here"
• similar to people passing homeless on street talking to themselves
• testifyies to human perspective of human eye and mechanical eye
• demonstrating the act of seeing
• "eye see"

hallelujah

What happens to humans when ALIENS TAKE OVER!

http://www.critical-art.net/books/ted/ted5.pdf

There are many facets to the world of plagiarism. We are taught from young ages to never plagiarize and that if we do so, the consequences are immense. Even now if caught plagiarizing we can be asked to resign out studentship. But, this article leaves me thinking, where would our society today be without “readymades, collage, found art or found text, intertexts, combines, detournment, and appropriation?” In art especially where would ideas spurn from if not from others. What should we call inspiration if not plagiarism. We are shifting meaning from one known object to a new idea. Duchamp is the best known artistic plagiarist. Turning a useful everyday bathroom accessory into a meaningful statue. His idea may have been original and unique but the production of his piece is completely taken from another.

This article first and foremost, was very interesting to read. It has shown a new light on the double side to plagiarism. Completely taking some ones idea with no changes should be the number one definition of plagiarism. This being said however, if someone is trying to learn a new concept and does not understand the original, but understands a recreation of the original, then that knowledge is just being shared in a more interactive and adaptable manner. “Plagiarism is useful in aiding the distribution of ideas.” Would we still consider this plagiarism, if it improved something else? How should we look at consumer products? Should technology companies be “kicked out of school” when they all make some version of the same idea (i.e. ipad, tablet, etc.)? “Under such conditions, plagiarism fulfills the requirements of economy of representation, without stifling invention. If invention occurs when a new perception or idea is brought out—by intersecting two or more formally disparate systems—then recombinant methodologies are desirable.”

In the digital realm, appropriation acts under the same rules as any other form of art. It may seem obvious that one video was not made by the artist; such as it is obvious that Duchamp did not make any of his readymades. I think in terms of the digital realm alone we must ask ourselves, does the message change from the original to make it unique, or does it improve the originals meaning? If we consider social media, a repost or re-tweet can’t be considered original or improved ideas, therefore are not appropriations and always are cited by the original author. Art in general, including digital art, falls under the same rule of appropriation.  

Life Feed: Wedcams, Art, and People

From the very begging of the creation of a webcam, interpersonal life has been projected into society and given the okay for "peeping toms" or those interested in something they may not have been able to see before to experience a whole new world.  "In the disrupted transaction, the internet audience, not the therapist, becomes the silent listener, its presence anticipated by the act of recording. And with the recording, Ripps performs the subject of his therapy session: the projection of his selfhood in the internet's open space." We can now reach out into the open spaces of the internet, and find that other people are more interconnected then ever. We can see things we thought we would never see and experience something from someone elses point of view. After reading this article it is very evident that technology and the way in which we express ourselves from that technology is becoming vast. "It is the most expressive and open of mediums, a record of the immediate contact between the artist's body and the surface he's working with." The viewer of this new found art medium is completely ambiguous and unknown, which leaves the artist's intentions as they may see fit. If you are alone with a wedcam, are you truly alone and able to reflect an inner self to the world or would you be bombarded with the thought of unknown others watching? This is the question I suppose can only be answered by the artist.

human canvas #2

human canvas

Miles The dog

http://www.youtube.com/watch?v=Ar99AfOJ2o8

NOTES: Body Issues in Performance Art: Between Theory and Praxis

• related to a particular context
• only meanings give action a sense, without it the image or the action becomes nothing, "an empty joke"
• performer and spectator are interdependent or each other
• human being exists for three interactions:
• 1. the biological sphere
• 2. the social-ecological 
• 3. the inter-psychic
• action= urge
• body-body, mind-body, psyche-body
• these three subtypes are activated when the performer is in action
•  scales go further then material into inter-connective messages and impulses= more pure way to communicate
• an art action interferes with the limits of human abilities= meaning human ability may hold action back?
• todays work preformes much more with the need for instruments and a new way of thinking about there work, possibly to go beyond the images they are construing, going beyond the boundaries of action and human body, pushing for thought
• art performance connected to technology connected to globalization = communication
• Truth= a delicate encounter connected much more to the atmosphere and the environment  then to the presence (gathering of occasions and situations)
• Body?
• "what i want to do and what someone wants of/ about me"

• own body
• can performance art work without the body?
• aesthetic control and a manipulation of space that can drive both the performer and the participant
• new technologies and medicine= translates to mutation
• action art = a study of the capacity of the human body and its capabilities 
• "art manifests the invisible in the visible"
• ethics:
• values
• outcomes
• capabilities
• spirit/psyche
• action/representation
• reaction to ego, to work on inner self? (super ego or id?)
• performer is an artist and a poet of action
•  as a performer you must "do"
• humans are not machines but must be translate through body image
• technology incorporates  more and different versions of metaphor
• Aristotle: two different forms
• direct action
• moral action

• perfomance artists must have style
• style belongs to the individual and to the entire society

Video Art Notes: pgs. 6-20

"Video is a means of preservation that retains the recorded material in a state of permanent availability and manipulability."

• video dissociates itself in a further technical step= showing reality
• images increase in today's culture time millions
• video= dialogical memory -Vilem Flusser
• inter medium
• 1960s
• art transforming in many mediums
• visual art was forming (ex: Paik's "Exposition of Music- Electronic Television")
• television as an artists instrument
•  Fish Tank first reality tv?
• video is cinema that can appear everywhere  

•  Technology and image
• step from analouge to digital
• NTSC =30 pictures/sec
• 1971= play back, rewind, and fast forward
• digital approach to electronic image editing
• binary code= code based on only two numbers (stored on CDs, cassets, DVD, DV)
• images projected in art world
• video picture is a procedural, non-discrete image type
• 1970s
• social and political renewal
• became an important system by which artists reflected both upon themselves and the viewer's position
• technology and video art grow together and reflect one another
• Body and Preformance
• " I am a man or I am  machine?"- jean Baudrillard
• view of just camera in studio, or camera from bodily view
• body-related action art
• the image of woman
• such artists use the female body as a means of pointing out entrenched role models and patterns of behavior
• "femininity" became more varied and complex
• entering intermedial space
• spatial and temporal components corresponded with eachother on different levels
• images of people that would allow them to experience themselves
• dan graham
• rest on floor mats and lose themselves in tapestry of images= sitting on the couch and watching tv
• Time Codes
• time-based media
• performances in real time
•  the loop is one possibility in which generally shorter periods of time can be placed in a series of endless repetitions 
•  hyper-slow perceived as a still image

• 1980s
• label video artists
•  camera was now an instrument of visualizing complex narratives and fictions
• MTV
• Video art had taken on the short clip aesthetic

MAGIC SHOW by STEFANY MANDARINO

The Incedible Hare...Spray

Project Proposal

For this project I am interested in drawing and re drawing the same image on an adventure through the world of notes. In so many of my psychology classes I find myself doodling all over my notes. There are actually recent studies that suggest doodling while learning/listening to a lecture helps memory and cognition, which in turn helps with learning the material. All my life I knew there was a reason if I didn't doodle in class I would be able to pay attention and take in the information. It sounds counter intuitive, but its been suggested to be true! I would like to take a character that I enjoy drawing and have them come to life within my notes. Going from page after page picking up new information and using it to get through the next series of challenges. The story of a doodle, psychology class meets art class.  

Stop Action

http://www.youtube.com/watch?v=1om0SlZiorc

(this one is mine!)


http://www.youtube.com/watch?v=qBjLW5_dGAM

(this one is my favorite)

Final cut pro X essential training

Ch 1: Taking a tour of the FCP X Interface

• -event library holds our media which is different from the project library which only holds projects
• - final cut events forlders on desktop need to be named "Final Cut Projects" or "Events" so that final cut can recognize them, if they aren't named correetly final cut won't be able to see them
• -shit+S turns on and off audio, for audio skimming
• -show and length in the clip viewer by sliding the time button on the bottom
• - You can split your viewer but selecting event viewer which allows you to see both the clips and the project view.

Ch 2: Creating and organizing events from scratch

• -From the drive that your media is in to right click and create a new folder for your clips
• -"copy files to Final Cut events Folder" copies media to folder without needing to have the medias original placement
• -importing the folders with keywords allows you to organize your media outside of final cut and then final cut uses your keywords and organization

Ch 3: Playing and Marking Clips in preparation for editing

• - help to take notes and put together an idea of how you might want your video to come together
• -also very helpful to organize clips into seperate sections you may want for how you want your video to come together
• -"JKL" J= reverse, K= pauses L=forward
• -"IO" I= eded shot is going to start (IN) O= wanted edited to end (OUT)
• -hold down K button and press K and L to move through the clip in slow motion
• -saving sound bit press f and favorite section

Ch 4: Understanding different types of editing tools

• Command N is create new project
• tell it what format, select custom and then choose media type
• When you have nothing else in your project you can just drag and drop or press W to make sure that the clip is what you want
• shift Z expands your project
• command z = undo
• where you have your play head if you drop in a clip it will put it in the middle
• Append editi will insert clip at the end of the sequence

Lynda.com (shooting with DSLR)

Chapter 1.

• photography you can change resolution - HD video is different only two resolutions 1080 HD 720 HD (referring to the frame size and how many pixels you can fit in the frame)
• cannot crop a video (30 frames per second, not single images)
• megapixels have nothing to do with resolution of video
• 1080= 2 megapixels / 720=1 megapixel /resolution in image area- not how large or small the image will be on the screen
• higher resolution for editing or special effects
• experiment with frame rate (usually always 30)
• 24 frames give film look ("Hollywood look")

Chapter 3.

• fast shutter/wide appature =stop action
•  1/30th of sec is the slowest for video very smooth
• 1/640th is choppy
• check details need high shutter speed
• choose 1/30th-1/90th shutter speads
• ideal is 2 times the frame rate
• exposure: camera (go for just under the too exposed lighting)
• bright= small f-stops
• large f-stop when you want shallow depth of field (use lens if needed)
• change ISO to increase camera sensetivity
• fast prime lenses