Tuesday, April 26, 2011
Tuesday, April 12, 2011
stories for my project
hey everyone,
i just thought i'd post some instructions here on the blog about my project to help guide you through this process. i am going to be sending each one of you a story/memory for my project via email. what i need you to do is fill in the blank area with whatever you wish to piece the stories together. the emails will consist of a beginning and an end, time frames of the events taking place, and points in time which "i'm not sure about".
try to make your story as interesting and captivating as possible because it is crucial for keeping everyone's interest in the entire piece. you can make it as far fetched and ridiculous as you want, just make sure that it ties together with the final story. try to avoid writing mundane activities and locations. be as descriptive as possible. you can even include some of your own memories into the story. this is crucial because i will be incorporating an image that will illustrate the event taking place.
examples of things you can incorporate:
-time travel
-hallucinations
-recreational activities
-characters
-alternate dimensions
-foreign countries
-adventures
seriously the possibilities are limitless
for now, what i need each person to do is post their email. i will be sending you a piece of the story at some point this week.
also, please DO NOT talk about the story you were given or what you included in the story with anyone else in class.
thanks for your help, and i look forward to reading what you all decide to write about.
-Kevin Magarity
Monday, April 11, 2011
Studio Slam TOMORROW
Hi Digital Hand,
Make sure you have all of your progress ready to present to your peers for tomorrow's studio slam-- occurring in 103VAB at 11:15
Make sure you have all of your progress ready to present to your peers for tomorrow's studio slam-- occurring in 103VAB at 11:15
Tuesday, April 5, 2011
Reading Assignment for Thursday, Arpril 7
This will be handed out as a hardcopy today in class. It will accompany excerpts from "Attention's Loop: a sculptors reverie on the coexistence of substance and spirit", by Elizabeth King, sculptor and professor at Virginia Commonwealth University.
Phenomenology-
Loosely described is a discipline of philosophy that focuses on the structure of consciousness. In phenomenology, the structure of an objects experience is its intention and that intention is built from the internal core out. This material and building methods are used for their (projected) sensory affect onto both the maker and the object’s audience.
Sensate-
Able to perceive by the senses.
Question for consideration:
? How can a part that is designed on the computer and milled out from the computer contribute to a sensate experience when the “building” is based more on the sensation of “tracking” (the hand and eye path that one’s body does when mapping out space on the computer screen) vs. tactility?
In this assignment, sensation can come in a few ways, in the making of the object as well as how the object “performs” in space to the viewer.
In this assignment, sensation in making can come in the (known) and (unknown) integration or analog and digital, and using each approach to enhance the properties of one another.
1. In your idea, please describe how you are approaching the digital aspect of your Sensate: PLAN project and how the digital attributes are being used to heighten the total experience of your idea:
2. In the selected excerpts from Elizabeth’s King’s Attentions Loop, an articulation of materiality is a constant cord. Liz talks about the materiality of trying to make an object do two things at the same time. This sets up a string of excerpts that revolve around time and memory. As a maker, we deal with simultaneity often. How to prop a part up while another section is being secured is a very practical description of this. Being engaged with constructing while the material leads you to another place based on conscious and unconscious associations with that material/idea is another description of simultaneity when making. Creating an “all encompassing” experiential work (as in the case of Pipolotti Rist), is a “walk in” version of experiencing simultaneity. As Liz describes her effort to do two things at one time when constructing a hand, she relates the contest between
Image- What it looks like
And
Machine- What it does.
Think about your idea. Break it down as an image and a machine to the viewer: First, describe what the image of your work is like to the viewer. Then describe what it does to the viewer (note- “what it does” is not kinetic dependent, as an object “can do” something experientially)
3. Location.
In the excerpt, Cascade, Elizabeth describes in her mind, the problem of location as our fascination with finding a spot when one thing turns into another. A moment of change. When making an object, the gravity it shares with a viewer makes it both a collaborator of space as well as an alien to its surroundings. We make objects to provoke thought, salve personal narratives, construct meaning, and construct feeling. We make objects to turn the invisible into something visible for sharing and connecting.
Using Elizabeth’s perspective on location, where do you think the point of transformation is in your idea? You are making a mimesis of something. Why? What do you want it to say or make people feel that isn’t apparent in the “real” location point?
The Virtues and Misfortunes of Interruption
? Point for consideration-
listen to your process. Know when to interrupt and follow your instincts and when to politely listen. This is a skill, based on repetition, revisitation, sharing, and directing. Making art is in the end, about building a relationship. The more invested you are in seeing where that relationship can go in your work, the higher the likely hood that the experiential result will be not what you plan, nor what became happenstance, but a third “known and unknown” manifestation, one based on merging the ghost and the machine of your mind, your material, and most importantly, your heart.
Phenomenology-
Loosely described is a discipline of philosophy that focuses on the structure of consciousness. In phenomenology, the structure of an objects experience is its intention and that intention is built from the internal core out. This material and building methods are used for their (projected) sensory affect onto both the maker and the object’s audience.
Sensate-
Able to perceive by the senses.
Question for consideration:
? How can a part that is designed on the computer and milled out from the computer contribute to a sensate experience when the “building” is based more on the sensation of “tracking” (the hand and eye path that one’s body does when mapping out space on the computer screen) vs. tactility?
In this assignment, sensation can come in a few ways, in the making of the object as well as how the object “performs” in space to the viewer.
In this assignment, sensation in making can come in the (known) and (unknown) integration or analog and digital, and using each approach to enhance the properties of one another.
1. In your idea, please describe how you are approaching the digital aspect of your Sensate: PLAN project and how the digital attributes are being used to heighten the total experience of your idea:
2. In the selected excerpts from Elizabeth’s King’s Attentions Loop, an articulation of materiality is a constant cord. Liz talks about the materiality of trying to make an object do two things at the same time. This sets up a string of excerpts that revolve around time and memory. As a maker, we deal with simultaneity often. How to prop a part up while another section is being secured is a very practical description of this. Being engaged with constructing while the material leads you to another place based on conscious and unconscious associations with that material/idea is another description of simultaneity when making. Creating an “all encompassing” experiential work (as in the case of Pipolotti Rist), is a “walk in” version of experiencing simultaneity. As Liz describes her effort to do two things at one time when constructing a hand, she relates the contest between
Image- What it looks like
And
Machine- What it does.
Think about your idea. Break it down as an image and a machine to the viewer: First, describe what the image of your work is like to the viewer. Then describe what it does to the viewer (note- “what it does” is not kinetic dependent, as an object “can do” something experientially)
3. Location.
In the excerpt, Cascade, Elizabeth describes in her mind, the problem of location as our fascination with finding a spot when one thing turns into another. A moment of change. When making an object, the gravity it shares with a viewer makes it both a collaborator of space as well as an alien to its surroundings. We make objects to provoke thought, salve personal narratives, construct meaning, and construct feeling. We make objects to turn the invisible into something visible for sharing and connecting.
Using Elizabeth’s perspective on location, where do you think the point of transformation is in your idea? You are making a mimesis of something. Why? What do you want it to say or make people feel that isn’t apparent in the “real” location point?
The Virtues and Misfortunes of Interruption
? Point for consideration-
listen to your process. Know when to interrupt and follow your instincts and when to politely listen. This is a skill, based on repetition, revisitation, sharing, and directing. Making art is in the end, about building a relationship. The more invested you are in seeing where that relationship can go in your work, the higher the likely hood that the experiential result will be not what you plan, nor what became happenstance, but a third “known and unknown” manifestation, one based on merging the ghost and the machine of your mind, your material, and most importantly, your heart.
Monday, April 4, 2011
Mazda Furai
I have the illustrator file brought into Rhino but I'm having trouble at this stage. Hopefully I can figure this out.
splash
I have my form as a surface, but I've had a lot of trouble turning it in to a reasonable polygonal object for unfolding in Pepakura. I might just end up doing it by hand for the broad part, which is ok.
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