In this section of reading, the part that interested me was the examination of film and editing.
It was the little bit on tempo that I found interesting, though it felt a little redundant to say that editing clips can lead to slower or faster scenes.
Rapid cuts would create a rush to the scene, especially when complimented with fast movement of the characters.
I liked the example of Star Wars, not because I felt it was an especially great example, but because the scene described is very much in the "middle". It isn't a fast or slow scene. To be honest, when I see that scene, it doesn't feel much like a fight scene.
Now given when it was directed, maybe I'm just overly saturated to movies with brutal fighting and constant fight music. But I can still look at it without that lens and see the tempo as it is.
(This was written a while ago but when I hit publish it went to drafts).
-Thomas Holland
Wednesday, November 13, 2013
Making a New Art Form
I came across this article the other day, and I thought it was pretty interesting.
I haven't had the chance to read the full thing, just the first two sections.
But I liked the first section about trying to create a new art form, and how anything that is made can't really be "new" or "original" because everything is invariably based off of something else.
We discussed this same issue of "originality" in art a few weeks ago, but I thought it was interesting to see it pop-up elsewhere.
I mean, it's a true statement, we can't separate ourselves from our backgrounds and knowledge. If you sit down to make art, you can't just "make" something original (and if you think you do, it's extremely unlikely that it hasn't been done before).
But it is interesting to see it elsewhere because you don't hear people talking about this kind of thing often.
Anyways, here's the article, take a look.
http://home.earthlink.net/~hsbecker/articles/lisbon.html
-Thomas Holland
I haven't had the chance to read the full thing, just the first two sections.
But I liked the first section about trying to create a new art form, and how anything that is made can't really be "new" or "original" because everything is invariably based off of something else.
We discussed this same issue of "originality" in art a few weeks ago, but I thought it was interesting to see it pop-up elsewhere.
I mean, it's a true statement, we can't separate ourselves from our backgrounds and knowledge. If you sit down to make art, you can't just "make" something original (and if you think you do, it's extremely unlikely that it hasn't been done before).
But it is interesting to see it elsewhere because you don't hear people talking about this kind of thing often.
Anyways, here's the article, take a look.
http://home.earthlink.net/~hsbecker/articles/lisbon.html
-Thomas Holland
Wednesday, November 6, 2013
DTC 356 POL 337-343
In this section, I read about the built environment, and what meanings can be derived from the changing styles of buildings.
For me, this section really bound together art and the rest of the world. Art infiltrates each and every aspect of life, even in places you wouldn't expect.
From branding to furniture, buildings to maps, the world is articulated visually by the arts.
While art is often seen as an exclusionary area of interest, its the creative ones in society who create representations of values and the current view of the world.
The AT&T building in New York on page 341 is even a social statement.
I feel like too often are artists undervalued, pushed below others in the social ladder.
-Thomas Holland
For me, this section really bound together art and the rest of the world. Art infiltrates each and every aspect of life, even in places you wouldn't expect.
From branding to furniture, buildings to maps, the world is articulated visually by the arts.
While art is often seen as an exclusionary area of interest, its the creative ones in society who create representations of values and the current view of the world.
The AT&T building in New York on page 341 is even a social statement.
I feel like too often are artists undervalued, pushed below others in the social ladder.
-Thomas Holland
DTC 355 Stewart pg. 311-331
When I got to the end of this section and read about causality, I knew what I would blog on.
Causality is a story's progression from A to B to C through one event causing the next to happen.
So naturally, my first thought was Quentin Tarantino. Specifically, Pulp Fiction.
That movie jumps around, proceeding in a non-linear manner. But the real beauty of the movie lays in how the events all interact.
While the viewer may not know by the end of their first time watching the movie, over time you realize each of the events snugly fit together. In a way, he is a master of causality. Each event chains to the next, explaining why each person is in the scene and how they got there.
I thought it was interesting to see this connection to Causality.
-Thomas Holland
Causality is a story's progression from A to B to C through one event causing the next to happen.
So naturally, my first thought was Quentin Tarantino. Specifically, Pulp Fiction.
That movie jumps around, proceeding in a non-linear manner. But the real beauty of the movie lays in how the events all interact.
While the viewer may not know by the end of their first time watching the movie, over time you realize each of the events snugly fit together. In a way, he is a master of causality. Each event chains to the next, explaining why each person is in the scene and how they got there.
I thought it was interesting to see this connection to Causality.
-Thomas Holland
Thursday, October 31, 2013
Tuesday, October 22, 2013
DTC 355 Stewart Pg. 231-256
As this section covers emphasis and the factors that need to go into construction of objects/sculpture, my mind is drawn to the sculpture on page 247 by Katherine Wetzel.
She created a robot sculpture from wood, glass, and porcelain. As I looked at the photo, I initially thought it was some kind of synthetic metal. When I noticed what it was made of, I was surprised. Aside from my initial thought not being anything other than metal, it's the wires and gears that are visible that stand out to me.
Either those are remarkably crafted, or the description left out some of the materials used to create the sculpture. Regardless, I think it's a beautiful sculpture and it has a wonderfully strange aura to it (at least in the photo).
As for the rest of the section, I think quite a few of the sculptures are wonderful, using materials in ways I wouldn't have thought of. I'm hopeless at sculpture so I have admiration for those who can create these things.
I think using nontraditional materials for sculpture is more impressive in a way, it shows innovation and an ability to work with a material that hasn't been proven time and again to be versatile enough to accomplish what you want.
It's a gamble, and that makes it more exciting!
-Thomas Holland
She created a robot sculpture from wood, glass, and porcelain. As I looked at the photo, I initially thought it was some kind of synthetic metal. When I noticed what it was made of, I was surprised. Aside from my initial thought not being anything other than metal, it's the wires and gears that are visible that stand out to me.
Either those are remarkably crafted, or the description left out some of the materials used to create the sculpture. Regardless, I think it's a beautiful sculpture and it has a wonderfully strange aura to it (at least in the photo).
As for the rest of the section, I think quite a few of the sculptures are wonderful, using materials in ways I wouldn't have thought of. I'm hopeless at sculpture so I have admiration for those who can create these things.
I think using nontraditional materials for sculpture is more impressive in a way, it shows innovation and an ability to work with a material that hasn't been proven time and again to be versatile enough to accomplish what you want.
It's a gamble, and that makes it more exciting!
-Thomas Holland
DTC 355 Stewart 198-231
For this reading, the picture on page 231 stood out to me most. It's
Apennine by Giovanni Bologna. When I initially looked at it I saw a rock surface and not the sculpture. Then after a second I looked at the entire picture instead of a portion and I saw it.
I think the placement is excellent, it seems to be in nature, not in a heavily populated area. One can imagine some kind of demi-god landing on earth and encased in stone. I suppose I like that it isn't in a museum, that the context it is in allows an individual to draw more meaning from it than if it were placed in a gallery.
As for the rest of the reading, it covered composition, light, negative space, color harmonies, and scale.
What I found interesting from that is that most introductory art books devote chapter 2 or 3 entirely to color theory, while it gets a mention in this book but that's all. (I prefer it that way, I feel other books beat color theory to death before moving on)
-Thomas Holland
I think the placement is excellent, it seems to be in nature, not in a heavily populated area. One can imagine some kind of demi-god landing on earth and encased in stone. I suppose I like that it isn't in a museum, that the context it is in allows an individual to draw more meaning from it than if it were placed in a gallery.
As for the rest of the reading, it covered composition, light, negative space, color harmonies, and scale.
What I found interesting from that is that most introductory art books devote chapter 2 or 3 entirely to color theory, while it gets a mention in this book but that's all. (I prefer it that way, I feel other books beat color theory to death before moving on)
-Thomas Holland
Wednesday, October 16, 2013
DTC 356 POL 401-413
What comes up in this section is a discussion of global markets and their impact on cultures.
It examines how cultures accept/reject U.S. brands invading their culture, and how derivative products come out to stand against these large corporations.
In particular, my mind focuses on the word "local". This word is so abused in present context that I am loathe to see it anywhere. It is used to sell us every product under the sun, and has no concrete definition.
As a result, that word is nearly meaningless to anybody who is to a degree aware of its usage. I had to write a paper once on the advantages of local food over traveled food. While the prospect was good (removing preservatives from the food, less trucks on the road polluting the air, and support for local farmers), I quickly found out that "local" had never been defined. Neither had Organic, but that's a different argument.
The word is completely ambiguous, and could be used to indicate that the product was made in your neighborhood, your city, your state, your country, your hemisphere, your planet. That's a bit dramatic, but the scale can be indefinitely larger while still being "okay" to call local.
Corporations are the abusers of this word, as it is their descriptions that tag "local" onto products or services. It's a catch-all that consumers fall for, as it helps them feel better about the purchase (not incorrectly, it is understandable to be happy if you think your coffee came from the guy 10 miles away).
Thus, it makes the customer happy to hear the word, even if it isn't true (and can be used regardless of truth because it has no definition to be held to). Of course Big Businesses will drench the market with "local" if it will sell products and make consumers feel good.
For me personally, the whole thing leaves a bad aftertaste.
-Thomas Holland
DTC 356 Art Gallery Visit
When we went to the art gallery on Tuesday as a class, I thought that the work was interesting. I enjoyed the collage works, something I am familiar with. The photography on the other hand, was dark and I always have a weak spot for such things. They seemed somber, and as Sena Creston (the artist) said, they were surreal and imagined landscapes. She described them as windows to a little fantasy world, and as she said that I looked into one of her photographs of a little wooden bridge.
It made sense to me, and I could get that feeling of walking into that strange scene, walking that path, and having the feeling that anything could happen once inside. I thought the gallery got better the longer you spent inside of it, becoming less about the individual pieces and more about the entire room.
-Thomas Holland
Friday, October 11, 2013
People charging to see a Banksy
http://news.yahoo.com/as-banksy-tours-new-york-city--locals-are-charging-for-looks-at-his-artwork-134522157.html
News article got posted today about how a few people have decided to profit from one of Banksy's works.
They covered the work up with cardboard and are charging people $20 to get a look/photograph it.
Whereas other people carve banksy's work out of walls to preserve them, these people are motivated by sheer greed.
It's sad, because Banksy's work is on places it shouldn't be as a statement against the art institution and being told "where" to be creative. He has his own reasons for why he doesn't want to do work on a canvas and have people pay to get into a museum to see it. As such, these people are defeating the point of the work itself by charging for people to see it.
-Thomas Holland
News article got posted today about how a few people have decided to profit from one of Banksy's works.
They covered the work up with cardboard and are charging people $20 to get a look/photograph it.
Whereas other people carve banksy's work out of walls to preserve them, these people are motivated by sheer greed.
It's sad, because Banksy's work is on places it shouldn't be as a statement against the art institution and being told "where" to be creative. He has his own reasons for why he doesn't want to do work on a canvas and have people pay to get into a museum to see it. As such, these people are defeating the point of the work itself by charging for people to see it.
-Thomas Holland
Thursday, October 10, 2013
DTC 356 Lakoff Article
This article puts forward the question of the human mind using categories, what that means and how it isn't a humane way to go about cognitive reasoning.
As part of a book (presuming so through the reference of other chapters for the book to go to later), the scope of the argument isn't entirely shown.
For me personally, the idea is interesting. However; I'm not sure I'm on board with categorization as a evil or wrong. Yes, it leads to stereotyping and perhaps a less than worldly view.
But as the author describes, this kind of thinking is so far ingrained into our daily lives that this topic wasn't even a debate until recently.
Even if the entire debate convinces those who read it, I fail to see how a new way of thinking could be implemented. Few will understand the book, and I struggled to follow as I read (frequently wondering what the argument/problem was).
I'll say it's an interesting idea, but I don't see a constructive application of this information.
Perhaps this information merely existing is enough, which is fair.
-Thomas Holland
As part of a book (presuming so through the reference of other chapters for the book to go to later), the scope of the argument isn't entirely shown.
For me personally, the idea is interesting. However; I'm not sure I'm on board with categorization as a evil or wrong. Yes, it leads to stereotyping and perhaps a less than worldly view.
But as the author describes, this kind of thinking is so far ingrained into our daily lives that this topic wasn't even a debate until recently.
Even if the entire debate convinces those who read it, I fail to see how a new way of thinking could be implemented. Few will understand the book, and I struggled to follow as I read (frequently wondering what the argument/problem was).
I'll say it's an interesting idea, but I don't see a constructive application of this information.
Perhaps this information merely existing is enough, which is fair.
-Thomas Holland
Wednesday, October 9, 2013
DTC 356 POL 289-301
This section was all about branding, from its history, usage, and meaning to what it has done to culture itself.
What I found most interesting in this portion was the term genericide and what it means.
The book says it is the term for when an owner of a brand loses control of the meaning, and the brand becomes a generic term.
The book uses Kleenex and Coke as examples for brands that the company no longer has control over. This was interesting to me because I do exactly this.
Whenever I see soda, I call it "coke". It doesn't matter if the carbonated beverage is actually a coke product, I refer to all carbonated soft drinks as "coke" as a generic term. It wasn't until a few years back that somebody pointed out that I was doing this.
I called it that because my mum has always called it that, asking me, "What kind of coke do you want?" as a generic question.
I always thought it strange how this happened, because now people think I'm strange if they catch me calling all soda "coke". To me, it feels natural and correct because for the longest time I didn't apply the term "coke" to anything more than carbonated soft drinks.
It is this idea of a company losing its control on their brand that amuses me. So much money is poured into maintaining brand integrity and updating/bolstering its image to the general public. When a brand becomes so successful it loses control of its own brand meaning, it must be incredibly frustrating for the owners.
In a way this shows how brands affect our culture, because corporate brands become our traditional lingo for certain things. This truly shows how pervasive the marketing and branding has been, as well as how successful.
So it's good and bad, because I'm not supportive of big companies (and thus like the idea of them losing control of something they tried so hard to hold) but at the same time it means they were very successful and managed to break into culture itself and set itself down in a more permanent way.
-Thomas Holland
Edit: I realized this was the wrong section to read, 100 pages off. So close.
What I found most interesting in this portion was the term genericide and what it means.
The book says it is the term for when an owner of a brand loses control of the meaning, and the brand becomes a generic term.
The book uses Kleenex and Coke as examples for brands that the company no longer has control over. This was interesting to me because I do exactly this.
Whenever I see soda, I call it "coke". It doesn't matter if the carbonated beverage is actually a coke product, I refer to all carbonated soft drinks as "coke" as a generic term. It wasn't until a few years back that somebody pointed out that I was doing this.
I called it that because my mum has always called it that, asking me, "What kind of coke do you want?" as a generic question.
I always thought it strange how this happened, because now people think I'm strange if they catch me calling all soda "coke". To me, it feels natural and correct because for the longest time I didn't apply the term "coke" to anything more than carbonated soft drinks.
It is this idea of a company losing its control on their brand that amuses me. So much money is poured into maintaining brand integrity and updating/bolstering its image to the general public. When a brand becomes so successful it loses control of its own brand meaning, it must be incredibly frustrating for the owners.
In a way this shows how brands affect our culture, because corporate brands become our traditional lingo for certain things. This truly shows how pervasive the marketing and branding has been, as well as how successful.
So it's good and bad, because I'm not supportive of big companies (and thus like the idea of them losing control of something they tried so hard to hold) but at the same time it means they were very successful and managed to break into culture itself and set itself down in a more permanent way.
-Thomas Holland
Edit: I realized this was the wrong section to read, 100 pages off. So close.
Tuesday, October 8, 2013
"Duffin" Trademark Controversy
After reading so far in Lessig, I stumbled across this article on yahoo news;
http://gma.yahoo.com/doughnut-muffin-hybrid-causes-controversy-uk-193743001--abc-news-lifestyle.html
This article details a controversy stirred up by Starbucks' new food item, the "Duffin".
A Duffin is a hybrid of a Doughnut and a Muffin, and as the article details, a Google search of Duffin brings up many recipe's and variations of the culinary blend.
The issue is not that Starbucks is selling Duffins, but rather that they copied the recipe of Bea Vo's Duffin in specific (owner of Bea's of Bloomsbury, a bakery that has sold Duffin's since 2011).
Starbuck's offered no credit to Bea in their debut of their Duffin, and even went so far as to trademark the name Duffin.
That is where it gets interesting for me. Taking the idea of what should be copyrighted and what shouldn't be in the art world is one thing. But thinking specifically on food items brings a new angle to the issue. The article includes Bea Vo commenting that we'd have 100 names for Caesar Salad if we started trademarking names of kinds of food.
She likens it to "owning" the word cupcake so that nobody else can make "Cupcakes".
(I must say here, that there is no question that Starbucks did not invent the Duffin, they were simply the first to Trademark it and tried to slip it through the masses.)
So on the one side, you have the very real and logical argument that it would be silly if only the first creator of an "Omelette" was allowed to sell "Omelette"s because they trademarked it after they cooked it. (And the fact that we would then have a thousand names for Omelette)
On the other side, we have large restaurant's and other food/drink establishments that need to preserve the integrity and value of certain creations. McDonalds wants a "Happy Meal" to only be available at their restaurant for example.
Yet again, some people need the Copyright, and in other cases it is just silly.
Even in the culinary world this stuff is important!
-Thomas Holland
Monday, October 7, 2013
DTC 356 Lessig 213-234
In this portion of Lessig, the problem of Congress extending Copyright laws indefinitely is discussed in depth.
This problem, as outlined, only benefits a small percentage of Copyright holders and otherwise assures the majority of copyrighted works will be forgotten.
The issue lies in the form that the materials are currently being held under copyright, and the lack of ability to track down and obtain permission from those who hold the copyright.
In essence, only a few works have any commercial worth at the end of their copyright life (in fact most stop gaining revenue after their first year). But because of the money that is still being made from a few works, the holders of those copyrights pour their money into campaigns for people in congress who will extend copyrights. When the law goes through to extend the Copyright, all the works that aren't making any revenue (98% from the text), are going to be destroyed due to the wear of time on print materials.
Problems in this issue lay in the loss of records of our culture, Congress being bribed, Congress having too much power, and interference with creativity and derivitive works.
I think this problem is in a way related to the 1%, where the people with the money can make the decisions because politics is about pouring money into campaigns more than individuals. The same money = power factor is in play in this Copyright law extension situation.
-Thomas Holland
This problem, as outlined, only benefits a small percentage of Copyright holders and otherwise assures the majority of copyrighted works will be forgotten.
The issue lies in the form that the materials are currently being held under copyright, and the lack of ability to track down and obtain permission from those who hold the copyright.
In essence, only a few works have any commercial worth at the end of their copyright life (in fact most stop gaining revenue after their first year). But because of the money that is still being made from a few works, the holders of those copyrights pour their money into campaigns for people in congress who will extend copyrights. When the law goes through to extend the Copyright, all the works that aren't making any revenue (98% from the text), are going to be destroyed due to the wear of time on print materials.
Problems in this issue lay in the loss of records of our culture, Congress being bribed, Congress having too much power, and interference with creativity and derivitive works.
I think this problem is in a way related to the 1%, where the people with the money can make the decisions because politics is about pouring money into campaigns more than individuals. The same money = power factor is in play in this Copyright law extension situation.
-Thomas Holland
DTC 355 Stewart 149-176
In this section of the reading I thought that the suggestions for creating artwork for helpful.
Adding certain things, or looking at three or four variations you can do to your piece seems like it could be a good idea for when a piece just doesn't "feel" right.
I also liked the artist focus at the end on Roger Shimomura, because he faces racial stereotyping directly after being affected by it as an Asian-American. His work is also visually pleasing, and while his message is a sad one, the pieces have an excellent style to them.
-Thomas Holland
Adding certain things, or looking at three or four variations you can do to your piece seems like it could be a good idea for when a piece just doesn't "feel" right.
I also liked the artist focus at the end on Roger Shimomura, because he faces racial stereotyping directly after being affected by it as an Asian-American. His work is also visually pleasing, and while his message is a sad one, the pieces have an excellent style to them.
-Thomas Holland
Monday, September 30, 2013
DTC 356 POL 265-279
In this section the book discusses advertisements, consumerism and
What I find most interesting is the complexities of advertisement.
Not only do they need to avoid any politically sensitive topics and angering certain groups of society, but they also have to become more and more complex to keep interest.
The book likens this to having to battle for a consumers attention because they're always about to fast forward their TiVo, change the channel, or go to another website.
The result of how hard advertisers are trying to maintain the focus of the consumer is both good and bad for the consumer.
It's good because the consumer then is growing smarter, realizing that an air freshener is not going to make a family happy, fulfilled and loving. Compared with the typical image of the masses as a mindless flock that'll buy up anything thrown at them, this is quite a good thing.
The flip side of that though, is that advertisers have to delve deeper into what people want from life, just to sell some soap or laundry detergent. This makes the advertisements stronger, almost making them into something more than an advertisement (Perhaps more like a social statement of what people find important).
The entire idea of advertisers having to come up with new and innovative ways to present the same products also touches on the general issue of society's members becoming more and more caluse through the mass production of. products and services.
Interesting stuff.
-Thomas Holland
What I find most interesting is the complexities of advertisement.
Not only do they need to avoid any politically sensitive topics and angering certain groups of society, but they also have to become more and more complex to keep interest.
The book likens this to having to battle for a consumers attention because they're always about to fast forward their TiVo, change the channel, or go to another website.
The result of how hard advertisers are trying to maintain the focus of the consumer is both good and bad for the consumer.
It's good because the consumer then is growing smarter, realizing that an air freshener is not going to make a family happy, fulfilled and loving. Compared with the typical image of the masses as a mindless flock that'll buy up anything thrown at them, this is quite a good thing.
The flip side of that though, is that advertisers have to delve deeper into what people want from life, just to sell some soap or laundry detergent. This makes the advertisements stronger, almost making them into something more than an advertisement (Perhaps more like a social statement of what people find important).
The entire idea of advertisers having to come up with new and innovative ways to present the same products also touches on the general issue of society's members becoming more and more caluse through the mass production of. products and services.
Interesting stuff.
-Thomas Holland
DTC 355 123-135 Stewart
From this section, I especially liked the Adam Kallish interview where he discussed Design Methods.
The diagram on page 127 illustrating the Design Method made a lot of sense to me.
It looks complicated, but as I read across the diagram it became clear that the process makes the initial thought process more complicated, but makes a more rewarding design in the end.
You could just jump into the design and roll with something you brainstormed.
But with this method, by the time you have an idea to present as an option to somebody, you've already thought through the implications it could have.
I can see how this process, if practiced enough, could be extremely helpful in coming up with designs that will jump through the political hoops of today's media.
-Thomas Holland
The diagram on page 127 illustrating the Design Method made a lot of sense to me.
It looks complicated, but as I read across the diagram it became clear that the process makes the initial thought process more complicated, but makes a more rewarding design in the end.
You could just jump into the design and roll with something you brainstormed.
But with this method, by the time you have an idea to present as an option to somebody, you've already thought through the implications it could have.
I can see how this process, if practiced enough, could be extremely helpful in coming up with designs that will jump through the political hoops of today's media.
-Thomas Holland
Thursday, September 26, 2013
DTC 356 POL 223-260
What this section makes me think about is the power that the video recording and images of the 9/11 attacks had on the American people.
With this event, as the book said, the terrorists got their desired affect. It wasn't about the buildings themselves, but the spectacle of it.
But this video also was able to stir the country into accepting far more radical and violent Anti-Terrorist policies to hold the people responsible for their horrendous actions. In the context of the book, this acceptance isn't just because of a political reality (people willing to act stronger immediately after something stirring) but rather an explanation and example of the sheer power a video can have on the public.
-Thomas Holland
With this event, as the book said, the terrorists got their desired affect. It wasn't about the buildings themselves, but the spectacle of it.
But this video also was able to stir the country into accepting far more radical and violent Anti-Terrorist policies to hold the people responsible for their horrendous actions. In the context of the book, this acceptance isn't just because of a political reality (people willing to act stronger immediately after something stirring) but rather an explanation and example of the sheer power a video can have on the public.
-Thomas Holland
DTC 355 Vector TripTyc
"Also Number 1"
The title is a play on Jackson Pollock's "Number 1", just a comment on his style in general.
The idea behind this piece is How it is easier to love than hate, but in the end those two emotions are strongest together. Nothing inspires hate like love, and nothing intensifies love like hatred of other things. It is vertical for the downward motion of this, hate being at the top, love in the middle, and a mash of the two together in the bottom. They have to exist together.
Monday, September 23, 2013
DTC 356 POL 200-220
I think that Copyright, while it gives me an unhappy feeling, can also go a long way to speak of the changing meaning of images.
I mean as the book explains more of the problems that the law encounters involving intellectual property and ownership, the history of Copyright law is inadvertently giving a live commentary to how people view images and their contextual meaning of the time.
For instance, the copyright issues involving Korda's photograph of Che Guevara only came about because of the cultural meaning the image was given. As time went on, the meaning of the image has been enhanced and changed into something that Korda isn't in control of.
Otto Wacker's forgeries of Van Gogh paintings on the other hand, in its copyright case, spoke about the value of the idea of paintings as well as the physical presence of paintings. Moving to Lugosi Dracula, an idea spun around an individual and created a new image to represent an old tale.
So while each of these instances involved a mess of legal issues, these issues arose because of the way that images change meaning and how they truly can take on a life of their own.
Copyright law ends up chronicling instances where the meaning and use of images are changed in new ways and can speak volumes about the cultural value of these images.
Confusing, but in a way an entertaining attempt to keep a lid on the use of images.
-Thomas Holland
I mean as the book explains more of the problems that the law encounters involving intellectual property and ownership, the history of Copyright law is inadvertently giving a live commentary to how people view images and their contextual meaning of the time.
For instance, the copyright issues involving Korda's photograph of Che Guevara only came about because of the cultural meaning the image was given. As time went on, the meaning of the image has been enhanced and changed into something that Korda isn't in control of.
Otto Wacker's forgeries of Van Gogh paintings on the other hand, in its copyright case, spoke about the value of the idea of paintings as well as the physical presence of paintings. Moving to Lugosi Dracula, an idea spun around an individual and created a new image to represent an old tale.
So while each of these instances involved a mess of legal issues, these issues arose because of the way that images change meaning and how they truly can take on a life of their own.
Copyright law ends up chronicling instances where the meaning and use of images are changed in new ways and can speak volumes about the cultural value of these images.
Confusing, but in a way an entertaining attempt to keep a lid on the use of images.
-Thomas Holland
DTC 355 Stewart 111-123
The differences of divergent and convergent thinking interested me the most in this section.
For the most part I think I work with rational and linear thought processes when designing my pieces. This would put me on the path of convergent thinking.
Divergent is more along the lines of the elusive way of just "coming up" with ideas that I tend to not fair well with.
I do like the idea of forcing yourself to pick seemingly unrelated things under a broad concept and then create a piece from the resulting chaos. This would force creativity and a unique perspective out of anybody should they choose to do the process in earnest.
I also like figure 5.15 on page 122 where Keith Smith has an exert where he chronicles his verbal connections to a strange conclusion. This is also a nice way to end up with some creativity, if you have the mind to keep the brainstorm rolling. I feel like if you stopped for a moment to think about your next sentence, you'd lose the essence of the brainstorm.
-Thomas Holland
For the most part I think I work with rational and linear thought processes when designing my pieces. This would put me on the path of convergent thinking.
Divergent is more along the lines of the elusive way of just "coming up" with ideas that I tend to not fair well with.
I do like the idea of forcing yourself to pick seemingly unrelated things under a broad concept and then create a piece from the resulting chaos. This would force creativity and a unique perspective out of anybody should they choose to do the process in earnest.
I also like figure 5.15 on page 122 where Keith Smith has an exert where he chronicles his verbal connections to a strange conclusion. This is also a nice way to end up with some creativity, if you have the mind to keep the brainstorm rolling. I feel like if you stopped for a moment to think about your next sentence, you'd lose the essence of the brainstorm.
-Thomas Holland
Thursday, September 19, 2013
Wednesday, September 18, 2013
DTC 356 183-200
The value of originals is interesting to me in this section, as the availability of reproduction affects this.
The book says that, "Value is a key factor in the status of reproduction, originals, and copies."
It makes me think of digital art and photography, and their potential to be infinitely copied and each be identical to the original.
As I enjoy making Digital art, it makes me think of the value of what I'm producing.
The book covers that a limited quantity is the way to make the work more valuable, and I would think a digital artist who wishes to sell his work would be well advised to print off a certain number, and keep the image off the web.
In that way, while there could have been many, there simply are only a few.
Through limited reproduction, the value would be maintained, because art should never become worthless.
-Thomas Holland
DTC 355 98-111
It is interesting to me to look at perspective in Animation, because my interest in design came from that.
When people watch animated films, they tend to be oppressed by the stigma of being childish.
In fairness, plenty are meant for children, and cartoons saturate the animation market with youth-centered animation.
It's because of that focus that some people can be distracted by the monumental achievement and beauty of these films. What animation often lacks in realism in characters faces, is more than made up for by sheer volume of images and painstaking backgrounds.
Hayao Miyazaki comes to mind, an animator, designer, and director of animated movies. In his works some of the most beautifully rendered backgrounds and scenes come to life.
It is a shame that some of the talent involved in Animation is overlooked by the art world, because it is as impressive of a creative endeavor as any other, yet doesn't receive the same praise.
-Thomas Holland
When people watch animated films, they tend to be oppressed by the stigma of being childish.
In fairness, plenty are meant for children, and cartoons saturate the animation market with youth-centered animation.
It's because of that focus that some people can be distracted by the monumental achievement and beauty of these films. What animation often lacks in realism in characters faces, is more than made up for by sheer volume of images and painstaking backgrounds.
Hayao Miyazaki comes to mind, an animator, designer, and director of animated movies. In his works some of the most beautifully rendered backgrounds and scenes come to life.
It is a shame that some of the talent involved in Animation is overlooked by the art world, because it is as impressive of a creative endeavor as any other, yet doesn't receive the same praise.
-Thomas Holland
Monday, September 16, 2013
DTC 356 Lessig 53-79
Copyright is a frustrating thing to learn about, as I found out about a year ago when I watched a two hour presentation on Copyright laws.
That one in particular was at an Anime convention, and explained that everybody dressed up as a character is technically breaking a law (it did note the value of such things, through free advertising though).
It seems to be good at first, the law protects individuals who create something. But the gritty part of it comes in where things seemingly unrelated are then either violations or things that require payment to the owner.
Tinkering was brought up in this section, with the example of previous generations tinkering. Then there was physical tinkering, whereas people of this generation are more digital, tinkering digitally.
It's interesting and sad to read the example of a college student being sued for tinkering, and makes me think about how the ability to mess around and play are increasingly viewed as "criminal" despite their pure intentions.
As the text continues to prove, tinkering can create fantastic things. Great inventions come from play, yet play is being viewed as a violation of some law.
Personally, It seems flat out wrong for a person to need to learn the ins and outs of the Copyright and legal world just to be able to see what happens when you mess with something.
-Thomas Holland
DTC 355 Stewart 81-95
I like to point out one thing in particular from each of the readings that stands out to me, mostly because in honesty the one thing that will stick, or that is remembered best, is that which stands out to you.
For this section, it was this piece;
Michael Bierut, Save our City
I've always been fascinated with this kind of work, using powerful black and white in interesting ways.
When pieces use negative space interchangeably as the positive space, it isn't only visually pleasing, but it makes me think to myself that I couldn't have thought of that.
I like them simply because they are so clever. In this piece, I like the weight of the black square pushing down on the "Save our City" text and I like the cityscape made of text.
-Thomas Holland
Data Visualization - Thoughts
When I thought of Data Visualization, I had some simple graphs in mind.
I know that data is constantly being compiled into varied representations, but didn't think of it as a terribly innovative area.
After looking around at some examples, I think I've changed my mind.
The work can be very creative, with subtle details in the visual representation having a meaning that coincides with the data itself.
For instance, I was inspired by this Visualization in particular;
It's a Graph involving data about nature. What I love is the surreal plant-like vibe it gives off, the lines themselves feel organic and add to the data itself.
Even stranger is that some of these Visualizations are more like art than data!
Here's the link where I found this image, as well as other great examples;
http://www.webdesignerdepot.com/2009/06/50-great-examples-of-data-visualization/
-Thomas Holland
I know that data is constantly being compiled into varied representations, but didn't think of it as a terribly innovative area.
After looking around at some examples, I think I've changed my mind.
The work can be very creative, with subtle details in the visual representation having a meaning that coincides with the data itself.
For instance, I was inspired by this Visualization in particular;
It's a Graph involving data about nature. What I love is the surreal plant-like vibe it gives off, the lines themselves feel organic and add to the data itself.
Even stranger is that some of these Visualizations are more like art than data!
Here's the link where I found this image, as well as other great examples;
http://www.webdesignerdepot.com/2009/06/50-great-examples-of-data-visualization/
-Thomas Holland
Friday, September 13, 2013
The Ambition of Artists
I came across this poll today on Deviantart, and it made me think a bit.
As an artist, you can choose to represent anything, create anything.
Yet most people don't like to do things they aren't comfortable with.
It's understandable, and I myself for a long time have done the same.
I still stray from things I'm bad at, and try and use techniques and elements I am familiar with.
It's just strange to think that the only thing that holds people back from creating their wildest imaginations on a canvas is more or less fear and a comfort zone.
I wonder what the art world would look like if every artist lived up to their imaginations and went for it, even if it's vastly beyond their capabilities.
Most people here said "3", but that says they are "kinda ambitious".
That pretty much says they're probably creating in their comfort zones for the most part, something I wish all artists could break out of.
As an artist, you can choose to represent anything, create anything.
Yet most people don't like to do things they aren't comfortable with.
It's understandable, and I myself for a long time have done the same.
I still stray from things I'm bad at, and try and use techniques and elements I am familiar with.
It's just strange to think that the only thing that holds people back from creating their wildest imaginations on a canvas is more or less fear and a comfort zone.
I wonder what the art world would look like if every artist lived up to their imaginations and went for it, even if it's vastly beyond their capabilities.
Most people here said "3", but that says they are "kinda ambitious".
That pretty much says they're probably creating in their comfort zones for the most part, something I wish all artists could break out of.
-Thomas Holland
Storyboard DTC 356
This is the storyboard I did, and I thought it should go on here!
-Thomas Holland
Tuesday, September 10, 2013
DTC 355 Stewart 66-81
The most interesting thing for me in this section was Radial Symmetry.
I've read other books covering Symmetry and Asymmetric, but I don't recall hearing the term Radial Symmetry.
As it sounds, it radiates from the center of the image and is an image where the lines and shapes are mirrored both vertically and horizontally with the center of the composition as a focal point.
I went and found a few images to illustrate this point.
-Thomas Holland
I've read other books covering Symmetry and Asymmetric, but I don't recall hearing the term Radial Symmetry.
As it sounds, it radiates from the center of the image and is an image where the lines and shapes are mirrored both vertically and horizontally with the center of the composition as a focal point.
I went and found a few images to illustrate this point.
-Thomas Holland
Friday, September 6, 2013
DTC 356 POL 42-62
One part of this reading that I enjoyed was the lava lamp.
Hearing how it went in and out of style several times, and that it was originally unpopular seems amusing to me.
I always assumed the lamp was a bi-product of the 60s, created by somebody who wanted to stimulate psychedelic situations.
To think it was considered ugly from the time it was actually made is pretty funny.
Similarly, the lava lamp follows a discussion about "kitsch" art.
I can see the reasoning in Clement Greenberg's criticism of kitsch works, because all around us are cheap replications famous artwork, or sloppily designed and mass produced pieces.
What comes to mind for me is the back of Ross or T.J. Max, where they have clumps of cheap artistic decorations.
There is nothing wrong with these decorations (aside from feeling as cheap as they actually are), but I can see how from an artistic viewpoint that that kind of kitsch work and reproduction further deteriorates the value of real art pieces.
As we live in a culture that values appearances of our possessions and home as a representation of ourselves, everyone decorates in some way. These cheap decorations make this goal achievable, and satisfy the demand.
But as a aftermath, I wonder how this affects how people view art and the value of it. I imagine it lowers the general public's view of art's value, with thoughts such as;
"Well it looks nice, but I don't see how it's worth 5 grand when I have something similar for $15."
While the originality of a piece, as well as it being the only one, adds immense worth in the art community, I fear the general public doesn't see the value of the original over the reproduction (and will see it less with the continued flooding of cheap art in stores and homes).
-Thomas Holland
DTC 355 Stewart 54-66
A section on the importance of color and how it can aid composition, which is pretty general information.
What I did like though was the artwork on page 59 entitled "Radioactive Cats".
The color usage is blaring against the cold grays and add a creepy feeling to the cats.
The quantity of cats also adds to the unsettling feeling, but the characters in the artwork don't seem to be bothered at all by it.
To me, they look like clay, and I'm a fan of claymation work.
-Thomas Holland
What I did like though was the artwork on page 59 entitled "Radioactive Cats".
The color usage is blaring against the cold grays and add a creepy feeling to the cats.
The quantity of cats also adds to the unsettling feeling, but the characters in the artwork don't seem to be bothered at all by it.
To me, they look like clay, and I'm a fan of claymation work.
-Thomas Holland
Tuesday, September 3, 2013
DTC 356 Lessig 15-30
As I read, I increasingly want the author to be clear.
He says himself that he isn't trying to be mysterious, but simply mapping out his book and points before delving into it.
However, as far as I've read, he hasn't clearly stated the problem.
This detrimental problem that he is doing so well at presenting as ominous and horrible, has not been stated.
He says it is between "property" and "piracy", so I can understand/assume some of his argument to be about the copyright and "property" laws making the everyday citizen increasingly needed to be "approved" to use certain images and say certain things due to the exponentially growing trademarks and things that are "owned".
I would quite appreciate if he would state his message clearly though, as a reader it feels like I'm being strung along to lead up to some big reveal of his real point.
-Thomas Holland
DTC 355 Stewart 38-54
Color is one of the most important things in our society
But also the most commonly overlooked parts.
In a typical day we don't think about the symbolism of colors that tell us to stop, go, be happy or feel sad.
It is in art that some of this lack of attention to the colors around us is undone.
When people look at art, they examine the colors with meaning to draw more from the work.
All of a sudden these things we become so oblivious to usually are in the front of our mind, giving weight to a piece to provide a sense of balance (or lack there of).
What I find most interesting are color combinations such as complimentary or split complimentary.
They seem somewhat strange to me, to why these colors work so well together just because in a circle they lay across of each other.
Color is an amazing thing and it is a shame that it has to be used in art to be noticed, when art draws these colors from the world around us.
-Thomas Holland
But also the most commonly overlooked parts.
In a typical day we don't think about the symbolism of colors that tell us to stop, go, be happy or feel sad.
It is in art that some of this lack of attention to the colors around us is undone.
When people look at art, they examine the colors with meaning to draw more from the work.
All of a sudden these things we become so oblivious to usually are in the front of our mind, giving weight to a piece to provide a sense of balance (or lack there of).
What I find most interesting are color combinations such as complimentary or split complimentary.
They seem somewhat strange to me, to why these colors work so well together just because in a circle they lay across of each other.
Color is an amazing thing and it is a shame that it has to be used in art to be noticed, when art draws these colors from the world around us.
-Thomas Holland
DTC 355 Self Portrait
-Thomas Holland
Monday, September 2, 2013
Free Culture Prologue (DTC 356)
In this prologue, the author describes situation in which the culture we live in is invariably being affected by the Internet.
Like it or not, use it or not, the internet is affecting our daily lives.
I personally agree with this, because in recent years, and likely more so in future years, things are becoming more and more online.
As business leans towards online features and services, it becomes harder to stay offline.
I don't doubt that in the future, we could find ourselves unable to operate in society without being online.
The author then turns to say that our creativity itself is being controlled, and through this creativity, our culture is not as free as it should be.
He says he stands for the balance between control and anarchy, but doesn't want either of them.
That idealism, before the book gets too technical, is simple and easy to agree with.
Anybody who creates wants their work to be protected, but not restricted.
-Thomas Holland
Like it or not, use it or not, the internet is affecting our daily lives.
I personally agree with this, because in recent years, and likely more so in future years, things are becoming more and more online.
As business leans towards online features and services, it becomes harder to stay offline.
I don't doubt that in the future, we could find ourselves unable to operate in society without being online.
The author then turns to say that our creativity itself is being controlled, and through this creativity, our culture is not as free as it should be.
He says he stands for the balance between control and anarchy, but doesn't want either of them.
That idealism, before the book gets too technical, is simple and easy to agree with.
Anybody who creates wants their work to be protected, but not restricted.
-Thomas Holland
Wednesday, August 28, 2013
DTC 356 POL 26-46 Reading
As with the controversy on the definition of art itself, I wasn't surprised through the reading to see the complexities of the meanings and value of art in society.
The idea that the words we apply to things have no natural meaning, that the word itself means nothing out of context, was interesting to me. The example in the reading was that the word "cat" didn't actually have a true connection to the animal it represents. It's merely a way of referencing or symbolizing that animal through speech.
Even further, is that the word itself would carry connotations and cultural attitudes towards the animal, which vary through different eras/cultures.
I hardly had thought of the word "cat" as capable of such complexity.
As for the value of art, it seems to be based largely on the desirability of the work. When others desire a work of art, or revere it, it can begin to accumulate value in the public's eyes. Over time, these values appended to famous art become common.
We even assume that a famous artist' work should be worth thousands, or hundred of thousands of dollars.
If they have passed away and are famous, we assume it should be worth even more.
To a degree, I'd say the value of art is determined by what individuals themselves dub it worth. And over time, that worth becomes a fact that can't be easily controlled or changed.
-Thomas Holland
The idea that the words we apply to things have no natural meaning, that the word itself means nothing out of context, was interesting to me. The example in the reading was that the word "cat" didn't actually have a true connection to the animal it represents. It's merely a way of referencing or symbolizing that animal through speech.
Even further, is that the word itself would carry connotations and cultural attitudes towards the animal, which vary through different eras/cultures.
I hardly had thought of the word "cat" as capable of such complexity.
As for the value of art, it seems to be based largely on the desirability of the work. When others desire a work of art, or revere it, it can begin to accumulate value in the public's eyes. Over time, these values appended to famous art become common.
We even assume that a famous artist' work should be worth thousands, or hundred of thousands of dollars.
If they have passed away and are famous, we assume it should be worth even more.
To a degree, I'd say the value of art is determined by what individuals themselves dub it worth. And over time, that worth becomes a fact that can't be easily controlled or changed.
-Thomas Holland
DTC 355 Stewart 10-38 Reading
This reading covered the basics of design and composition, including volume, value, contrast, and gradients/shading (among others).
It's sometimes daunting, even if you create art, to step back and look at the number of things that are to be considered when beginning to do a work of art.
Sometimes the process can be far more complicated than a simple idea. That idea or concept may not even scratch the surface in terms of possible design and effect that could be achieved.
Thinking about all these elements you could incorporate, it makes my work feel shallow and underdeveloped (even with some of the aspects included)!
Also, in the interview with Phillia Yi, she says that she met people doing 5' X 7' paintings a day.
I'm sure there are people who do that, but I can scarcely imagine the amount of creativity that must take to do!
-Thomas Holland
It's sometimes daunting, even if you create art, to step back and look at the number of things that are to be considered when beginning to do a work of art.
Sometimes the process can be far more complicated than a simple idea. That idea or concept may not even scratch the surface in terms of possible design and effect that could be achieved.
Thinking about all these elements you could incorporate, it makes my work feel shallow and underdeveloped (even with some of the aspects included)!
Also, in the interview with Phillia Yi, she says that she met people doing 5' X 7' paintings a day.
I'm sure there are people who do that, but I can scarcely imagine the amount of creativity that must take to do!
-Thomas Holland
Tuesday, August 27, 2013
Andy Warhol "New" art
Yahoo news posted a new article earlier, showing some photos that he took in The Factory (his workshop).
Because he only made one print of each photograph, each is considered a work of art.
See the slideshow here;
http://news.yahoo.com/photos/warhol-snap-shots-slideshow/warhol-snap-shots-photo-1377532949694.html
-Thomas Holland
Because he only made one print of each photograph, each is considered a work of art.
See the slideshow here;
http://news.yahoo.com/photos/warhol-snap-shots-slideshow/warhol-snap-shots-photo-1377532949694.html
-Thomas Holland
Monday, August 26, 2013
An Interesting Artist
This artist is one who I follow on DeviantArt, and I simply enjoy his work.
It's unique and I can't get over the atmosphere in his work.
If you'd like to check him out, here's a link to his DA gallery; http://davespineapple.deviantart.com/gallery/
Posting purely for the benefit of others getting to see his work, with the hopes they'll like it as much as I do!
-Thomas Holland
DTC 356 POL Representation and Realism
The question of the truth of Photography, and how it represents either reality or an objective personal view, was a new thought to me.
I had never really given it that kind of thought. I see photography as art, another form of expression.
But it also is a record of what was.
The problem of deciding whether a photograph is evidence of reality or an objective view seems to belittle the photograph itself.
Can't it be both? Why can't a photograph present truthful evidence of a past event, but also show an objective view of the Photographer?
In every facet of life, when a story is retold in any way, the person telling it has their own views. The truth is always filtered through an objective lens, but it can still be true.
As for the realism section, it is strange to think that people tried to regulate it. Even stranger, is to think that a person could believe representing depth to be deceptive to realism rather than enhancing it.
-Thomas Holland
DTC 355 "Practices of Looking" Pg. 2-10
In this section the various uses of line is discussed, and it reminds me of an important point.
Any class I have ever taken that contains art or art-related material starts with Line.
It really emphasizes how important a line can be. In one stroke, you can create an image, a thought, an emotion.
Then when you look at complex artwork and graphics, if you think of line, there's an entire novel contained inside a single picture.
A picture is worth a thousand words, but i'd say it's worth an infinite amount.
-Thomas Holland
Any class I have ever taken that contains art or art-related material starts with Line.
It really emphasizes how important a line can be. In one stroke, you can create an image, a thought, an emotion.
Then when you look at complex artwork and graphics, if you think of line, there's an entire novel contained inside a single picture.
A picture is worth a thousand words, but i'd say it's worth an infinite amount.
-Thomas Holland
Tuesday, August 20, 2013
DTC 355 "Launching the Imagination" Preface and Intro
Reading this part of the book, I notice a few things.
Firstly, the fact that when I have done art, I have both "created" it and "designed" it. Without knowing it, the majority of my work is "designed" around an initial concept rather than created through the duration of it.
Secondly, the mention of only being a beginner once. I would hold this to be true, because I often over think things or end up restricting myself based on what I know are my strengths and weaknesses.
Lastly, there's a spelling error in this book on page V of the preface, "...it is not enough to recognize the elemtns and principles..."
-Thomas Holland
Firstly, the fact that when I have done art, I have both "created" it and "designed" it. Without knowing it, the majority of my work is "designed" around an initial concept rather than created through the duration of it.
Secondly, the mention of only being a beginner once. I would hold this to be true, because I often over think things or end up restricting myself based on what I know are my strengths and weaknesses.
Lastly, there's a spelling error in this book on page V of the preface, "...it is not enough to recognize the elemtns and principles..."
-Thomas Holland
DTC 356 Introduction of "Practices of Looking"
This introduction raised a question I have asked myself before in relation to the exposure we get to advertising.
In the past, I've thought that if a person were to grow sick of the exposure to advertisements, that they wouldn't be able to get away from them. They are on most surfaces and constantly in our faces, and I thought to myself that that situation would be extremely frustrating.
(and hoped I'd never have a day where I felt like that)
(and hoped I'd never have a day where I felt like that)
Otherwise, the book seems to be an interesting read, and I look forward to learning about how visual images represent/change culture around us.
-Thomas Holland
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