Poem Visualization

This is the final product of my poem visualization. The poem is about a dream that a pianist has one night, so I wanted the poem to seem dream-esque. I did this by hanging picture frames from the hall 'ceiling' thing. A normal book format would not have as accurately accomplished a dream-esque essence of the piece. I also chose to use picture frames because each 'scene' or line seemed like a frame to me. It did not all run together but rather, it seemed broken into frames.

The critique was very beneficial for me. If I was to do the project again, I would have made the images double sided, so that if the frames happened to spin, there would still be an image. I honestly did not even think of that (I also did not think that there would be a significant breeze in the hallway of the second floor!). I really do like how the piece turned out. I think it was worth the 17 hours of work...

Independence: Breaking the Restraints and Limitations of the Physical World

The title for the exhibition that Liz and I wanted to do was Independence: Breaking the Restraints and Limitations of the Physical World. We chose artists Q. S. Serafijn and Gerhard Mantz, two digital art masters.

The two artists complimented each in a unique way. While many exhibitions focus on the similarities between artists, our exhibition focused on how 'opposite' their works seemed to be. The created realities of Mantz were perfect for an exhibition setting. While Mantz worked beginning with realities and finishing with a digital piece, Serafijn began with his digital arts background and created pieces that ended in reality. The opposite processes of the artists, in addition to their similar categorization of 'digital artists,' made for an interesting potential exhibition.

Reality to digital, and digital to reality. The two artists used their unique talents and artistic perspectives to break the restrains and limitations of the physical world to create realities that related to the viewer (D-tower) or realities that were simply created (Mantz's works).

http://www.gerhard-mantz.de/f-home-flash.html

http://www.artnet.com/artist/720797/gerhard-mantz.html

http://www.publicartonline.org.uk/casestudies/environmental/muizengaatje/images.php

http://www.arcspace.com/architects/nox/d_tower/

THEIR Collaborative Presentations

Sci-Fi Night Club combined digital artists who worked with installations utilizing LED lights. Erwin Redl's light installations, specifically Matrix, reflected a the title of the exhibition. The environment created with Redl's LED lights gave the ambiance of a night club. Villareal's piece, Hive, stuck out in particular. The programming he did for each of the lights to link and move created a work that reflected the business of a bee hive. The two artists complimented each other and would create an effective exhibition.

Living Computer Mignonneau and Sommere/Hemmer was also an effective proposed exhibition. Pulse Park, which was located in a park that apparently no one knew existed, was a fascinating combination of lights and human interaction. The pulse of the lights were manipulated by the viewers, so it created an ever changing 'beat' for the viewers in the park.

Define Structure incorporated Redl and Asymptote architecture and the use of computer graphics, lighting, and architectural works. Thea architecture of Asymptote seem impossibly grand, and Redl's works seem impossibly surrealistic, even though the viewer is able to pass through his works. The exhibition would create a fun ambiance and environment; the combination of LED 'rooms' and architecture plans would make for an exciting exhibition.

Perceptions incorporated artists G. Scott and O. Wasow to create an exhibition that toyed with the viewer's perception of reality. Scott visual 'riddles' are engaging pieces that cause the viewer to think about what exactly the content is in the piece. The artists worked together nicely as many of their pieces represented somber feelings such as loneliness or discontent.

Mechanical Creations featured arists Renaldo and Feingold who played with human abilities and kinetics/robotics. The absurd talking heads complimented the robotic arms and would have made an effective exhibition of robotic 'humanizations.'

Future Schock Love Sounds featured digital artists Dan Deacon and Danny Perez. The installations would have utilized sound art and sound manipulation, similar to a concert, and digital video projections. The background of Dan Deacon with Animal Collective was something I found fascinating because I love Animal Collective, yet I have not heard of Deacon! The video projections would have matched the sound projects of Deacon, and would have made for an excellent, wild, exhibition. The title is genius.

Maquette? Like a Baguette?

No, a Maquette is not like a Baguette, Mom. In fact, a Maquette isn't even edible.

THIS is a maquette; it is the equivalent to a sketch for a painting. This is the "outline" to my project. It was really helpful to do this because it has hammered out what exactly I want to do and the dimensions that I will be working with. The poem seems like a web to me, and the speaker seems horribly peculiar. The sense I got was that he was sort of going through this scene, frame by frame. This lead me to want to articulate the piece in 8 "page", or frames. It will be hung in the hall and it will be much more spread out. I'm excited for it!

The Marionettes of Distant Masters

The Marionettes of Distant Masters

Russell Edson

A pianist dreams that he's hired by a wrecking company to

ruin a piano with his fingers . . .

On the day of the piano wrecking concert, as he's

dressing, he notices a butterfly annoying a flower in his window

box. He wonders if the police should be called. Then he thinks

maybe the butterfly is just a marionette being manipulated by

its master from the window above.

Suddenly everything is beautiful. He begins to cry.

Then another butterfly begins to annoy the first butterfly.

He again wonders if he shouldn't call the police.

But, perhaps they are marionette-butterflies? He thinks

they are, belonging to rival masters seeing whose butterfly can

annoy the other's the most.

And this is happening in his window box. The Cosmic

Plan: Distant Masters manipulating minor Masters who, in turn,

are manipulating tiny butterfly-Masters who, in turn, are

manipulating him . . . A universe webbed with strings!

Suddenly it is all so beautiful; the light is strange . . .

Something about the light! He begins to cry . . .

This is the poem I intend to use for the artist book/poem visualization. I found this poem after a long search through contemporary poets. It was difficult for me to decide between Russell Edson and W.D. Snodgrass. Both poets had spectacular poems that would have been great to visualize. I chose this poem because I had the most peculiar "vision" while reading it.

When I read something, it is very easy for me to "vision" the text. For instance, fictional novels work as movies for me in my mind. It is spectacular, really. I have my own motion pictures while I read books. This happens better during some book.

The "scenes" I pictured while I was reading the poems were all very different. I chose this poem because the scene I was able to see was spectacular. It was an art in itself. A rush of a million project ideas came to my head. I love the idea of marionettes. There is something youthful and energetic about them. Better yet, the idea of two warring Master Marionetteers was enthralling.

I will have fun creating the piece for this poem. I intend to make it hand from the ceiling. I'd like to keep the rest a surprise.

Whitney Biennial Artist Comparison

Robert Williams and Charles Ray were two featured artists at the Whitney Biennial.They were not featured near eachother in the museum, but they were two pieces I noted and found interesting when I put them side by side on my laptop desktop. Ray’s “Untitled” was exhibited with a series of other works very similar. The works were either flowers, trees, or “garden-esque” subjects. He did not feature and real “foreign object;” each work was relatively recognizable. I could relate to the piece beacuse I was so familiar with the subject matter. He uses vibrant colors and colors that work in complimentary fashions (not in the sense that they were “opposite colors,” but they complimented each other). I loved seeing the series of works taking over the room. It was an explosion of colorful flowers and trees. It felt like a delft garden to me. I enjoyed his work.

Robert Williams’s work, “Astrophysically Modified Real Estate” was fantastic as well. I loved the series of works displayed on the wall. They were humerous and honestly reminded me of some of the sketches of a friend of mine. The ideas were impossible and rather absured. I love peculiarities. This artist certainly fit my taste. Like Ray’s work, the subjects of his pieces were recognizable. There is nothing outlandish about houses and real estate and cul-de-sacs. Each thing is very recognizible, like in Ray’s work. Also similar to Ray’s work, their pieces came in a sort of series. Ray’s work were featured in a room, taking up much space. Williams’s came in a series as well... but on a much smaller scale. Also, the medium of the artists work seemed “relateable.” Ray’s flowers seemed to be colored by markers, which evoke a sort of reminescence of kindergarten when I always drew multi-colored daisies. Williams’s works also evoked a sort of reminiscence, as their medium is a simple watercolor on paper. Watercolor was a common medium for me as a kindergartner and yound elementrary student. I could relate very well to to pieces of both artists through their medium

Their works are also very different. First of all, the scale of their works differ in that Ray worked rather large scale, with his “Untitled” at 47 x 32 1/2 inches, and Williams’s work at 36,8 x 44.5 centimeters. Color is also a great difference. Williams’s works have a soft coloration to them. He uses primarily neutral tones with no unusual colorations for the objects in his work. Ray uses a breadth of colors in his flowers. In nature, Daisies with a different color for each petal are likely non-existant. His colorations are unusual and not representative of the colors of flowers in real life.

I really enjoyed the simplistic works of these two artists. They’ll definitely go in my “faves” folder.

Word Visualization: HYPER AND STRESSED

Feeling hyper? I most certainly am not. In fact, I went to bed at 3:30 AM. I chose this word because it is the complete opposite of how I am feeling (and do not worry, I am happy). I also did the word stressed. I feel pretty stressed, so articulating the word felt real nas. I scratch things subconsciously when I'm stressed.