Tuesday, November 16, 2010
Where Cinema and Biology Meet was very visually captivating. I was going to steal the pictures from the newspaper but Drew cut it out before I could haha so I had to get another one.
GORGEOUS. I LOVE this. I thought it was just because of the forms but the ideas attract me. The idea that these things are miniature, microscopic, indiscernible... things... and we've translated them into something much more tangible. I guess I'm more interested in the aesthetics of this than the science... I'm an art major; so shoot me.
Keeping this one in the books for future influences?
As for When the Mind Wanders, Happiness Also Strays, this hits home for me. My mind is always wandering. They calculated some way to figure that people were thinking aimlessly 47% of the time. And something about people being happiest during sex but ehhhh whatevs hahah. They had this app that allowed the Harvard researches to randomly prompt people to rate how happy they were.
“We see evidence for mind-wandering causing unhappiness, but no evidence for unhappiness causing mind-wandering,” Mr. Killingsworth says.
The best thing to do is to be fully engaged in what you are doing. Unless I have music on loud or unless there are other people around, my mind wanders a lot. Even when I have music and people, I'll wander but not for long at all because I get snapped back into being engaged. I guess mind wandering does kind of make me unhappy. Not to the sad crying depressive point but I'm not as satisfied because I'm thinking about all the things that I wished I could fix or things I'm stressed out about... that being school.
The unhappiness produced by mind-wandering was largely a result of the episodes involving “unpleasant” topics. Such stray thoughts made people more miserable than commuting or working or any other activity.
"But the people having stray thoughts on “neutral” topics ranked only a little below the overall average in happiness. And the ones daydreaming about “pleasant” topics were actually a bit above the average, although not quite as happy as the people whose minds were not wandering."I'd like an iPod app that goes off every so often saying "Don't worry, be happy" (danke Bobby McFerrin).
Quality of Life Questions.... this illuminates an issue different from the actual topic of this article. They begin to talk about how if physicians/doctors don't inquire past the "how are you" "okay", they are not doing their job. And yes, their time has become more and more limited but with peoples lives in their hands, its one of those things that should have the time made for.
I've also heard a lot about shitty bedside manner. I've heard so many stories about doctors dismissing peoples' complaints... I'm sure they get a lot of complaints about pain that aren't really that bad or are just plain lies but at the same time, you can't let the rest who really are in pain suffer. And then I get to thinking about elderly abuse... How did we get those people into the care field??? WHyyyyy would you even do it?
Apparently I'm very apathetic today.
Sunday, November 14, 2010
Monday, November 8, 2010
cluster rings on the way! just waiting on silver from Elise for ring shanks
epoxy dust all over, yayyayayayay
from sanding our molds
Rigged, via the John Shea way
Amy Klainer: Special Skills- assembling cardboard torsos, hula hooping, and kickin ass
Saturday, November 6, 2010
As I write this, I'm feeling guilty about that slice of cheese I just put on my egg/spinach sandwich.
And really regretting how much I splurged today. I really really ate way too much; I haven't done this in FOREVER. Tomorrow; back to normal. Wednesday; yoga with Anna and Brianna.
This article uses Domino's Pizza as a starting point to demonstrate yet another disregard for "the right" in favor of money. Money rules the world. Domino's found that their sales were horribly poor, and so they developed this new pizza with 40% more cheese. Which meant more oil, too. Their sales sky rocketed in comparison. And yet another push to add more saturated fats into the diet of America.
One slice contains two-thirds of a day's maximum amount of saturated fats.
I can't wait until I eat in Italy where the food should be significantly healthier by default (because everything in the US is "MORE MORE MORE!")
Tuesday, November 2, 2010
I'm stuck in the same spot, except for the fact that I've sent my models out to be cast in silver... once those come back, I can just hammer out 15 rings. I already have all the cups prepped but I have to finish up the rest of the jump rings. The show is soon; mid-December! :)
The most beautiful thing about metal is its duality. It is fluid in ways the audience would never expect. The processing of the material itself is a substantial portion of the art as opposed to just the end product. By calling on the fluidity and organic way of nature, I can only begin to translate through metals in hammering soft curves into something so rigid.
A. When do you first remember making art?
It was the simplest thing. I was in first grade and every day, we had to finish a sentence starter. I don’t remember what the sentence was at all but I remember it was one of the first few pages, and I had drawn myself in art class at a table with 4 of my classmates. Looking back, it obviously wasn’t the most beautiful thing but I could not be prouder of my attempt at three-dimensionality of that table.
- What were the experiences like?
I was never much of a drawer even after that. I loved crafting things, and I would convince my mother to buy me a truckload of little wooden shapes and boxes to paint and decorate with acrylics and pom-poms, pipe cleaners, glitter, and the like.
- What compelled you to return to art throughout your life?
I never grew out of the crafting. I fell in love with scrapbooking, which isn’t really an art but a challenge to composition and design. However, in fifth grade I fell in love with photography and followed it through until my senior year of high school. There was something inexplicable about why I loved it so much. Through the framing of the lens, I found everything to be beautiful. Especially after I began to use black and white photography. Everything was reduced down to bare basics, and it depended on composition, lines, and values. Somehow the stillness of a photograph could convey so many things I had difficulty verbalizing.
- When did you first consider yourself an artist?
It’s hard to say. Since a young age in elementary school, I was always encouraged as a creator, at the very least, which evolved into being an artist. I suppose I began to be genuinely proud of my work in tenth grade when I took my first upper level photography class (aside from the fifth grade class).
B. Experience with Specific Artwork
Although this does not shine through any piece of my work, I have always been in awe of the sculpture of Laocoon and His Sons in Rome. The folds of the fabric, the dynamics of the human figures with the fluid snakes, and the small and intricate details of the hair, fingers, and toes will never cease to amaze me. The way someone’s hands can create such fluidity with such a concrete material is astounding.
There is no single person who has influenced me. I found that I have developed my own taste as to what is attractive. I can say right off the bat what I think is beautiful and what poor, but as for my own work, it is so diverse that I can’t say what has influenced me. It all comes from my own mind and decision of my eyes without regards to what I have seen or studied in the past. I do love the motifs of the Art Deco period but that has yet to be clearly emulated through my work.
D. How does your work relate to art that has been produced in the past?
I suppose any period that utilizes a lot of curves and perhaps with the combination of linear elements might be connected to my work. The best periods to compare could be Art Deco and Art Nouveau.
-How does it relate to art that you are seeing in your community, exhibitions, or in art publications? what is similar? what do you consider to be unique to you?
In all honesty, I am not one for museums, exhibitions, or anything of the like. Any times I visit those institutions, it is more often than not, to study pieces I have absolutely no interest in. I like to draw from the online community of photography and metalwork that I have saved or connected to, and found that some of my artists have similar themes. From this, I have created a genre for them in my mind and consider them my “community.” Outside of this, I draw from nature as art.
A. What inspires you to create? Is it the materials you use? The places you see and visit? The people you know and meet? Your emotional state? Other artists’ work? The mark you make on the page? Form specific ideas about the act of making art, not generalized phrases that appear in so many statements
I have been making art with all kinds of materials since I was a kid. It was mainly the childish arts and crafts wood, film as I got older, and then I moved on to metal. I fell in love with the metal and its deceiving solidity. I found metal could be as fluid as clay, and as brute as it initially seems, I learned to work with metal in delicate ways.
B. How has your art evolved in the 5 years? 1 year? 6 months? Pick those that are appropriate to the length of your career and write about them. What has stayed the same? What are common threads? What has changed a little? What has changed dramatically? How have you felt about your art along the way?
The beginning of my artistic life would be 5 years ago when I first took my official photography class. I had always been creating art in my own juvenile ways but I began to take photography seriously and considered elements of design more closely through composition and light. It began as a recording of everything I found beautiful or aesthetically intriguing, but now through more interactive creation with metals, I am creating what I find beautiful or aesthetically intriguing.
C. Describe the process of thinking about your work and how it comes together in your mind. Do not describe the actual making of the work. How do you begin an artwork? What inspires you to start it? Then, what is the first step? Is it a drawing? a photograph? a single mark?
When I begin my art, whether it be a painting or metalwork, I often find inspiration from the original, clever, and ingenious around me. I spill out whatever is in my head onto the paper in rough outlined sketches. I have images of what I am drawing from ingrained in my head as I sketch, and then I go on with my work. The first work would usually be a maquette to leave room for modifications and improvements.
D. How do you physically go about putting a work of art together? What are the steps that are involved? Is this a process understood by the majority of people? Or would it be helpful for you to define it somehow? If so, try to find the words. Do you approach a traditional medium in a unique way?
Maquettes (or prototypes) are key to my process. As much as I have worked with the material, I still barely have a strong grasp on how it will react to my pushing and pulling. I am still very young in the field of metals so I am still learning the full potentials and extent of what can be done.
E. Thinking back and looking back on what you have written so far this week, select the points that you feel are most relevant and unique about how you work.
The main theme that seems to rise from my process would be recording (whether it be through photography or sketches of internal images) and practice through maquettes until I have perfected my work. This may not be the most unique thing as it seems to be the generic model for many artists, but at the same time I am still growing and developing my process.
Write five sentences about your working methods.
I’ll pass across something strikingly beautiful that I’ll want in my own life. From this, my head will spout a million ways and ideas of how to do the same thing, but spin on my own creative way to interpret it. I’ll pull out originality and sketch it down to the exact science. Then come the maquettes which will all teach me all the things that could go wrong. In the end, I will have all of this to draw on and produce my best work.
A. Are there any emotions you are trying to elicit? What are the formal qualities (line, shape, color, texture, etc.) you would like people to recognize? What do you want them to say about your use of materials? Or your subject matter? What would you really like for people to say about your art?
There are no usual emotions I am trying to elicit from my audience. Other than the uplifting feeling of seeing something attractive, I would like my pieces to be viewed as something beautiful to have around, as a reminder of all the beautiful things in the world. Hopefully my audience will recognize my persistent push for curves and fluidity in metals- a material initially thought of as stiff and static. The subject matter will often be the subject of beauty and its elements itself which leaves a great opening to interpretation.
B. Write down at least three complete thoughts that would help guide people to examine your art more closely and, perhaps, elicit the responses you want/ hope for.
Such small parts of the whole piece are not always crafted as delicately as they appear. Sometimes massive hammering or gentle nudges of pliers create it. This is the beauty in metal- it is often thought of as inflexible yet it can be molded into almost anything imaginable in one way or another. The most beautiful thing to do with metal is create curvature, as it is usually presented as stiff, straight, or flat in its raw form from the factory.
C. What are people really saying about your work and what can you write/say to guide them?
Metal is fluid. Metal is a rock. Metal is cold. Metal is searing. Metal is black, orange, or blue. Metal is anything.
You can hammer it. You can melt it. You can color it. You can etch it. You can crack it. You can mold it. You can do anything.
It is all a matter of combining a few of these things. I use them all to create what I find beautiful.
D. Complete the following thoughts (not a fill-in-the-blank):
a. I choose the subject of beauty and its elements because everyone is free to interpret beauty their own way. They are free to accept or reject my interpretation of beauty.
b. I am most inspired by nature because of its originality and organic elements. Nature is full of curvature unlike manmade objects.
c. I choose metal because it never ceases to intrigue me with how fluid such a solid material can be molded into.
d. I think viewers are most interested in my usually organic forms and minute details created by such a seemingly rigid and difficult material.
Tuesday, October 26, 2010
This was over the course of 45 minutes, I think. It's been awhile; I'm not really sure.
I was gonna make this big fancy video because I remembered how much I loved video/audio editing :) But it is 3AM. I'll probably be up for another hour on this 15 second shot if I let myself play.
The purpose of this whole project for Design and Social Entrepreneurship is to bring attention to and in small ways, end social disconnection. I'll be the first to admit, my iPod is never out of my reach, and I can't walk 5 minutes without listening to music.
It's not because I don't want to interact with people, I am just literally addicted to music. Not necessarily the worst thing to be addicted to, but I could stand to break it. I do smile at people I pass that manage to make eye contact with me on campus, and while I'm at home, I make it a point to say a bold "hello" that god forbid others would say.
Drew's first project was to draw attention to social disconnect and create a break in daily routines of running between buildings, while being engrossed in phones or iPods. He was rather successful, and got more than he expected with "Thank you(s)" and "Can I try?(s)"
So here we go. Each person in the group is designing their own bird to have laser cut (which we'll be doing tomorrow) and we're going to have our own personal stencil to put up a big installation on an undisclosed place. :) Laser cutting is tomorrow, installation is Thursday.
I got the first one from Brianna- check out her blog. I don't wanna pull them all from her, but these are definitely some good ones.
-Yahoo search on social disconnect
This is a slightly different kind of article than I usually have up.
Me and Christine
Me and Cecilia
Emma (Melody, Emma's baby girl) and Morgan
This is kind of funny because we just talked about something like this in our Sexuality in a Diverse Society class (which I failed the test to with a 64% because I literally didn't have time to study YAY). Women are more inclined to talk about their emotions and feelings and all that jazz that I hate putting a label on. I do like to talk about my "feelings" but not in the same sense as everyone else. I hate saying "feelings" because it sounds so... weak hahaha even though that is what I do when I talk to my sisters or close friends.
In any event, women are more inclined to be more emotional. Therefore, sisters (who talk) are more inclined to talk to each other about their problems, successes, and everything in between. So what about brothers? Basically, if they talked to each other, they could be happier too, but they aren't necessarily unhappier. If that makes any sense.
We women also talk about all the details of our lives that men find trivial. And when I say "we," I'm just putting a general blanket on "us." Because I sure as hell don't say more about my new clothes than "I got new clothes. They're pretty sweet/cute." I think. I don't go on about how adorable they'd be with this that and the other. I talk a lot more about well... school and food... hahaha.
But as in any other situation, it is lovely to talk to people about deeper things. I find it to be a huge load off my chest if I'm talking about things that stress me out, whether it be about my HUGE artistic conflicts in my major or my "romantic" life (another term I hate using). And not to say men can't talk about it... I talked to Tai about a big thing on my mind, and actually, Scott is the only one I have told everything to and consistently talk to him about it.
Tai is less traditionally masculine being gay, so he doesn't necessarily apply, along with the subject matter I talk to him about because we relate in a way that blurs the line between genders. But Scott is straight through and through, and he knows a world more than my sisters do.
I suppose Scott is in addition to my sisters making me happy.
Though I got two very constructive critiques, I didn't find my crowdsourcing to be successful. Although, I did only post to two outlets, but one of which I knew I was going to get some responses from.
Crowd sourcing... what is it?
I imagine it to visually be rainbows flowing into a gold bag. Sorta. Anyways, you get multiple sources and their input, and in most cases in my world, its on a design. Could crowd sourcing be getting sources and their input on say... elections? I suppose it would be, in a way. Elections and underlying points that those running support. Or how about uhhhh getting people's input on your paper?
But to focus on design crowdsourcing. Trish mentioned crowdsourcing of Mac and their Airbook. I haven't seen it, but it made me think that crowdsourcing is really just about everywhere, subtly. For example, Jamie Cullum's new radio station (okay he started broadcasting back in the spring) had asked the audience/subscribers to the email listing to suggest any topics or old artists to feature for the next week.
And then I remember Ponoko sent out a survey with set questions plus room for comments at the end to get suggestions on how to get more people to laser cut from their company. As it turns out, surprise surprise, everyone wanted things cheaper. So for a short period of time, they offered discounts on laser cutting. I filled out that survey so I don't know if it was discounted solely for those who filled it out or not. I told Amy about it and I don't know if she actually got to use the discount... kinda curious now.
Anyways, it's things like that. It's kinda funny that I took a split second to think about it and realized I had already participated. This is all crowdsourcing through social media though. We could say that our critiques in class are crowd sourcing. Just look at Brianna's redesign. She didn't get the amount of responses she wanted, so she took the responses she got from our class critique and incorporated it into her brief. Pretty much the same thing, just different audience.
I also found this book called "Crowdsourcing: Why the Power of the Crowd is Driving the Future of Business" by Jeff Howe. (Ok, I'm pretty sure Jan talked about it in class haha)
I did a quick skimming and found one of the things that Jan mentioned in class about open sourcing which ties into this crowd sourcing and how really in any situation, both can easily be tied together. It was about Linux. I think it was Linux, anyway. But yeah, I feel like open sourcing is closely related to crowd sourcing in that you could crowd source to make it open sourced... get everyone's input and then push it back out there for them to use it. Free. Or the other way around- put it out there for free, and then get everyone's input to improve it and push it back out. It's a circl
Interactive crowd sourcing process... not just through social media
Saturday, October 23, 2010
This is my first piece for Jewelry 3. It is a large neckpiece (larger than my usual). As a quick overview, it is the interpretation of jazz and its elements through a simpler form. The soft curves and forms are the fluidity of music, and the container on the back serves to hold extra weight which will amplify the feeling of bass on the chest. The blue suede is the color that can be interpreted dually, as a slow tranquil mood or light, upbeat mood.
So the second part is to crowdsource and pick up suggestions on how to improve the design through the form to strengthen the concept. For our re-design, we must utilize the injection molder. To injection-mold, we are making a mold out of a hardened epoxy...
...which is the grey mold in the middle. Then we are using Jan's new toy to melt plastic and make a plastic mold of it. The parameters are about 2" x 3".... the length has a little more leeway than 3" but it's not really suggested. The best part of this is that I can make it much more moldable and flexible, in a way...
Knowing that it is possible to be more flexible and formfitting, how could I change the form to improve? And what is the best way to resolve the "chain" in a more effective way?
There are so many things I would do differently. I am not happy with this piece at all. Though I spent ample time on it, I could have used more. I still like the forms, but the problems I had riveting are clear as day, so I would like to resolve the connections in another way. The connections being the ones between each piece, and the ones on the bulbous centerpiece holding the suede to it. The etching for the solder inlay should have been deeper so I wouldn't have to worry about sanding it off, and the overall craftsmanship is poor compared to my usual work. I would also like to resolve the "chain" better. I would like to add more wires or somehow have a chain that gives it structure around the neck and conveys fluidity at the same time.
I was actually getting to be very satisfied and sort of happy with my piece the day before it was due... then I went in to finish and it just fell apart which forced me to fix it all with brute force since it was only hours before it was due. So now, I'll have more time to resolve all the problems.
I plan to redo the piece because like Rachel said, I'm better than this!
Thursday, October 21, 2010
The title is pretty self explanatory. I guess it's the context. We always get scolded for avoiding the libraries and turning to the internet. But I value textbooks... I tried to keep my psychology textbook from high school because I loved it so much (and I considered a major in psychology). I used my textbooks in my gen eds to the full potential. Like they said in the article, you can't get a virus- the words will always be there.
However, I suppose it's for research papers. It's just so much more convenient to find what you need for that one paper, as opposed to going to a library and finding it. I depend on my textbooks for gen eds because it's so structured- straight facts, stats, and graphs. But for research, I find it a lot easier to go to the internet. I'd go to textbooks and books if I had them right there so the only reason I avoid the library is for convenience.
Wednesday, October 20, 2010
Via NY Times
In the Netherlands, Rotterdam has created a system to spray robbers with a specificly engineered DNA to set them apart from everyone. If the cashiers suspect that people are stealing, they can activate the system by removing a 10 euro bill from a money clip behind the cash register. This was developed for the McDonalds somewhere in that town.
Every single day its something new. The idea is pretty simple, really. How else could you mark someone in your store, that would follow them for a good distance? You can't throw electronic trackers on them, that would be too big or too expensive. The DNA mist is odorless and weightless. However, the owners of the McDonalds mention that their main goal is not to catch but to prevent. Apparently, it's been working well lately. Prevention, that is. The box is pretty noticeable and they threw a blaring sign up next to the door.
This is just another one of those things that reminds me of how ridiculous the world is. How we have to resort to more ideas (although ingenious) on how to catch or prevent crimes... at McDonalds. So it's kinda like, "Cool!!! More ways to stop the 50 billion criminals (and counting!) out there!"
Tuesday, October 19, 2010
This isn't the time for my After-Reaction so I won't say a single word and just throw up my process, drawings, and design statement. And I'll write a different entry this weekend or the next about the personal side of it.
Okay, I'll say some words. I vote for a bed in that loft above the entrance and a secret bathroom because it's hard not sleeping or peeing when you're technically not allowed to be there all night and are forced to be locked in. I literally would have cried if they tried to kick us out just to get sympathy.
"Successful people don't sleep." -My studio mother
But humans sleep, Jan. Although I'd like to say I think I fared well. 13 hours of sleep in 5 nights. Meg sleeps 13 hours in one fucking day. I usually sleep 6-8 hours a night. (8 if I'm lucky). This studio weekend kicked my ass. I would normally have loved this (and okay, maybe a few more hours of sleep because sleep is kinda necessary after awhile) but I grew to hate my piece... more on that later.
I'm linking the photo albums in the section titles and choosing my favs of each just for a preview.
Process (Sketches, To-Do lists):
Visual Progress: (In this album, I wrote a lot of notes under the photos)
My lovely little bench(es)
Visitation from Alex
At the point I was going crazy... Kelsey conveyed this well for me hahaha
I didn't have any colored pencils so I had to get creative... and used my tablet to color and draw (a bit). It reminded me how I used to love digital art/design.
To contain something most often provokes thoughts of Tupperware, purses, and the like. However, containing can be more abstract. A home contains a family and their relationships until they leave the home, a heavy suit of armor contains the wearer in gravity, or a sheet of paper contains each individual element of music translated.
This rather large neckpiece contains the wearers themselves as a part of the neckpiece because of its size. The most important elements of jazz are woven through the components of the neckpiece to overtake the body. The thick wire and leather lace overtake the wearer by creeping toward their chest, where each person feels the rhythm of the music the most. At thunderous concerts, the bass of the rhythm is amplified and feels like a heavy beating drum inside. The weight of the bulbous central piece is felt on the chest like the weight of the rhythm in the chest. Any addition to the actual container designed into the back of the central piece would add to the weight to increase the rhythm. Throughout each of the pieces, the lines and curves of melodies are made in material form through the silver inlay as highlights to the whole piece. The large metal pieces themselves are reminiscent of the melodic curves to reinforce that the melody is carried throughout a song. The element of jazz seen in this piece alone that sets it apart from other genres of music and specifies this as a jazz effect as opposed to rock (because all music has rhythm and melody) is the overall effect of mood. The color blue can be interpreted in two extremes, making it the best color to be represented. Blue is slow, tranquil, and reflective, but blue is also uplifting, stimulating, and light feeling. In some cases, both interpretations can be fused. It all depends on the individual interpretation.
What might not be as evident to those who do not know the process is the integration of improvisation. Jazz is like art in that creativity is key in the creation of the music. There is a structure, but smaller details are worked out in the flow of the creation. Such details would be the swirls of the melodic inlay or even the solutions to small mishaps that happened along the way.