MEDA301 Analysis – ‘Untitled #5’

Richard DuPont is an American artist who primarily practices in sculpture, printing and drawing. His works often focus on the human figure; it’s relationship with the world and identity. DuPont’s sculpture ‘Untitled #5’ (2008), which was exhibited at the Museum of Applied arts and sciences, is dedicated to conveying his thoughts and ideas on ‘self-surveillance’ and the human form. This is done through digital processes materialised into sculpture to play on distortion and perspective. He also focuses on how the body has been mapped throughout history, and incorporates this with use of body, system and process art.

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The sculptural artwork, ‘Untitled #5’ (2008), is a 4.5 metre tall distorted work which was created using CNC milling and digital scans of the artist – Richard DuPont’s own – figure. The interpretation of the work upon viewing was that it was a distortion, as it was perceived from different angles there seemed to be new ideas of what it could mean. The sculpture remixes a human figure as a vehicle for DuPont’s ideas of human identity, time and space to be interpreted by an audience in an ambiguous space – this was his intention. (Revolvy, n.d.)

However the artist has mentioned that this may not be the first interpretation by all audiences, as some find it humourous or strange that the figure has distorted genitalia and some also ‘grope’ the sculpture. While I do understand the intention behind the work now I have researched it, my first impression was that it was intended to be humourous, larger than life or ethereal. DuPont has stated that his works are “not visual, but philosophical”, and that it intends to speak on the human existence and it’s relation with space. In the nature that it raises so many questions; this is true and obvious only when the intention is researched further. (THE UNTITLED MAGAZINE, 2013)

Another question was raised when I was studying the materials used in this work, as I initially thought it was plastic until I discovered it was rubber. “Rubber has an elasticity like flesh but also very industrial.” DuPont stated in an interview (Thorne, 2013), this was interesting when juxtaposed with his ideas on the notions of society affected by emerging technology, as he didn’t make the sculptures ‘too human’; they are just a ‘thing.’ The sculptures are versions of Richard DuPont, which could propose questions of narcissism if they weren’t so confronting and distorted to the point where they must mean something else. This prompts the question of, why is it distorted? They are stretched by time and space continuum to varying degrees from barely recognisable to a normal human figure, DuPont has stated. This had provided the answer that the distortion represents how human figures and identities can be distorted by time and space, too. (Sculpture.org, 2008)

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Richard DuPont utilises technology as a tool in his works, as something useful – however – not the driving force behind his sculptures, as he prefers to utilise physical materials as opposed to digital. “Using things, whether ideologies, machines or materials how they aren’t meant to be used can be a good way to work,” DuPont has previously stated as an intention behind his methods. (THE UNTITLED MAGAZINE, 2013) The use of his body – an uncommon method in itself – looks at transparencies of power and control in the human figure. (Bollingeratelier.com, 2015) It’s interesting to interpret the correlation between using his body and warping it – almost as though he is scrutinising or warping his ideas of his body which relates to his strong ideologies on self-surveillance.

The use of technology is one that is essential to Richard DuPont’s concept, though the process of creating these sculptures with technology was one that he had to thoroughly research; and it wasn’t easy in the time these were being created. When DuPont was asked if he begun his process with a firm vision or improvisation, he responded that there needed to ‘balance’ simply because it takes so long to make. “You have to stay with the original idea that happened instantly,” or the project may become over-developed and cloud the original meaning and intention. (Thorne, 2013) The sculptures were also based on DuPont’s desire to work with something that already exists – the human body – something that people already know. People respond better to what they know, this is clear due to societies engagements to large-scale advertising and marketing and this was an idea that DuPont kept in mind in his creative process. (Thorne, 2013)

DuPont’s works utilise digital mediums and create a physical object out of them – which sends a peculiar message that we may be moving in a different direction from technology as these artworks are again finalised in a physical manner like so many were before digital art; this is materialising the digital. (Hart Chambers, 2008) He also mentions that during the creative process there are many questions asked, such as how is the work going to become physical? What machines will be used? The machines that are generally used in DuPont’s sculptures are from passed times, with new operating systems customised to what he is printing. The process also involves sampling, testing and mixing until the final product is created in a much more hands on, physical approach that only uses software as an extra tool. (Hart Chambers, 2008)

The practice of creating the distorted sculpture begun with DuPont making a cast of his own body with plaster, however he couldn’t cast his entire body so research ensued for a place he would be able to do that. It was discovered that there were limited places that he could scan his entire body – Hollywood and a military base – curiousity prompted DuPont to decide on the military base, because he was also interested in anthropology, body measurement and biometrics. (Thorne, 2013) Though to use the scanner at the air force base (General dynamics) a fee was paid and DuPont had to participate in an anthropometry study that military personnel had already done. The data on the tests were used for high facility military research and was also sent to merchandising stores – there weren’t many other purposes for full body scanning during the time, which was why finding it was difficult and involved extensive research. (Labaco, n.d.)

There were issues with this method however, as the military base wouldn’t allow him to take off his pants – therefore he had to plaster the lower half of his body and scan it, as well use of rapid prototyping on his hands and feet to ensure that detail remained. These were then all patched together (Kunitz, 2014). The process of the sculpture also incorporated use of stereo lithography and computerised methods to create the models and make moulds. DuPont compares the CNC milling to editing a photo on Photoshop and adjusting it – much like printing out the model and using the CNC milling to customise (Lombardi, 2011). The sculpture of DuPont’s human frame reduces the body to information, a removal of his identity and instead the sculpture becomes an object that has been distorted and customised with these digital methods for interpretation.

This was an ideology that was carried through into the development process – as the distortion of the model even further stripped the identity of DuPont from the sculpture – something that was intentional and an important step in the process. (M. Sheets, 2013) He is essentially using his body as a raw material before adjusting it so it is no longer himself – only a material. There is complexity in the process and development, and DuPont has said that it is similar to that of photography when proposing the work to an audience. “People took a while to warm up to Photography as an art form, the same goes for digital.” (Webb, 2014) There is almost a resistance to digital methods of creating art to the point where it needs to be disguised. This becomes apparent when viewing the sculpture, as when you look at it from the side it is distorted – allowing the meaning and the digital sources of the work to be perceived – though from the front it is familiar and unchallenging.

‘Untitled #5’ (2008), uses software’s to create an image on the sculpture that is almost an optical illusion when viewed from certain angles, like a reflective surface or a spiral. All of the distortions are specifically on a horizontal axis, as this is the axis of movement and important to the illusion (Thorne, 2013.) The making of the sculpture was done using CNC milling, foam and rubber to create a tall, lifelike frame embedded with silent meaning. There is a physiological approach that DuPont mentions is important to the meaning of the artwork, with emphasis that societies brains are changing to adapt to all the information we receive and whether we should trust that information. DuPont considered if this was something he would explore through the sculpture in a way of defining the space around it. (Thorne, 2013.)

His method involved finding a way to define the space so that the audience were uncertain about the meaning of the work – he wanted to evoke the feeling of not knowing what it is about. DuPont attempted to articulate the anxiety of the public sphere, the euphoria of trying to understand everything going on in the world and how people are always trying to understand things. (Thorne, 2013). “It’s much more interesting if you can disrupt the expectations of what technology can do,” DuPont stated and this has proved to be a prevalent notion throughout the creative process and design of ‘Untitled #5.’ (M. Sheets, 2013) The technique that is used is not, “what can this machine do?” It is, “How can I make this a tool in the path to achieving what I want?” Incorporating existing technologies and experimenting until something new comes from it is something that is familiar in DuPont’s sculptures, as they aren’t exclusively digitalised and a lot of the work is done with manual labour.

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The outcome of the final sculpture was a man-like figure made of polyurethane resin, tall and realistic from one angle, and distorted on the other and this was exactly the interpretation that Richard DuPont had hoped for – however the meaning is unintentionally interpretive it only strengthens the work as it still makes comment on space and time and human understanding. (Lombardi, 2011) The exhibition of this sculpture present a movement in the direction of process and material orientated artworks that retain their digital origins. Richard DuPont explores his themes and ideologies through his self-confinement of working on artworks made of his own body scans and presents them to audiences for interpretation of the art form to which he is a pioneer of.

The process of taking a digital method of creating and making a material object is something that is new, and it’s intentional and crucial to the meaning behind DuPont’s art. There is change in information and the known way of doing things and he explores the contradiction of using a digital starting point and coming out with something no longer digital (Thorne, 2013). Somebody is always doing the work, whether it be a machine or a person – therefore believes the contradiction between ‘digital’ and ‘traditional’ is misleading. In his case, he does most of the work with ‘digital methods’ purely as a tool to do distortions and manipulation. DuPont cleverly utilises digital methods of creating art and makes something new from it, a physical and aesthetically intriguing sculpture that works as a vehicle of messages to be interpreted by an audience. Richard DuPont’s earlier works explore themes of surveillance through technology, while his newer pieces – including ‘Untitled #5’ (2008) – explore self-surveillance, self-scrutiny and distortion and becoming aware of the space and information in the world. (Lombardi, 2011)

 

REFERENCES

Bollingeratelier.com. (2015). Bollinger Atelier. [online] Available at: http://bollingeratelier.com/project/richard-dupont/ [Accessed 1 May 2017].

Dupont, R. (n.d.). Richard Dupont Biography – Richard Dupont on artnet. [online] Artnet.com. Available at: http://www.artnet.com/artists/richard-dupont/biography [Accessed 12 Apr. 2017].

Hart Chambers, C. (2008). 1st ed. [ebook] Sculpture, pp.1-4. Available at: http://charestweinberg.com/wp-content/uploads/2010/02/Richard_Dupont_Sculpture.pdf [Accessed 19 Apr. 2017].

Hyundai. (n.d.). Art & Technology #1 Richard Dupont. [online] Available at: http://brand.hyundai.com/en/art/art-world/art-technology-richard-dupont.do [Accessed 1 May 2017].

Kunitz, D. (2014). Richard Dupont’s Naked Launch. [online] Village Voice. Available at: http://www.villagevoice.com/arts/richard-duponts-naked-launch-7134058 [Accessed 14 Apr. 2017].

Labaco, R. (n.d.). Crafting Out Of Hand – News – Richard Dupont. [online] Richarddupont.com. Available at: http://www.richarddupont.com/news/crafting-out-of-hand [Accessed 14 Apr. 2017].

Lombardi, J. (2011). the many faces of richard dupont. [online] Avenue Magazine. Available at: http://www.avenuemagazine.com/the-many-faces-of-richard-dupont/ [Accessed 14 Apr. 2017].

M. Sheets, H. (2013). Artists take up digital tools. New York Times. [online] Available at: http://www.nytimes.com/2013/10/27/arts/artsspecial/artists-take-up-digital-tools.html [Accessed 1 May 2017].

Revolvy, L. (n.d.). “Richard Dupont” on Revolvy.com. [online] Revolvy.com. Available at: https://www.revolvy.com/main/index.php?s=Richard%20Dupont [Accessed 16 Apr. 2017].

Richard Dupont | Sculpture Foundations. (2014). [Blog] jamaalaskew. Available at: https://jamaalaskew.wordpress.com/2014/10/14/richard-dupont/ [Accessed 14 Apr. 2017].

Sculpture.org. (2008). Sculpture.org. [online] Available at: http://www.sculpture.org/documents/scmag08/jun_08/dupont/dupont.shtml [Accessed 1 May 2017].

THE UNTITLED MAGAZINE. (2013). RICHARD DUPONT @ TRACY WILLIAMS, LTD. – NEW YORK. [online] Available at: https://untitled-magazine.com/richard-dupont-tracy-williams-new-york-may-3-june-28/ [Accessed 14 Apr. 2017].

Thorne, J. (2013). Interview: Richard Dupont. [online] Cool Hunting. Available at: http://www.coolhunting.com/culture/interview-richard-dupont-1 [Accessed 15 Apr. 2017].

Webb, S. (2014). ARTIST FEATURE: RICHARD DUPONT | Nailed Magazine. [online] Nailed Magazine. Available at: https://nailedmagazine.com/art/artist-feature-richard-dupont/ [Accessed 1 May 2017].

Wk 8 / I’m a pirate, argh me hearties.

Copyright, copy copy copy. Were you aware there was a time copyright actually wasn’t there? Hard to believe right?  It’s almost amusing to think about all the arguments that must have been had over who owned what when there were no laws to decide on it. However this could have even been a better time, as Lawrence Lessig once said copyright is, “laws that strangle curiosity.”

When I think about this quote, it becomes more and more truthful. For example, I have linked below a Youtube video I made in my spare time – however I wouldn’t have been able to monetize (earn money) off it if I hadn’t used a standard, copyright free song like I did. My opinion? It’s a food video, so I think the song doesn’t make it suffer to much. However, if it was a travel diary or vlog, other songs could make it more creative though there are simply too many restrictions and copyright laws on many songs.

There is so much copyright, and so many versions of it that it becomes difficult to know what is and what isn’t copyrighted. For example, if you’ve been on piratebay you’ve probably already pirated, duh. Copyright is there to protect artists and creativity, and a lot of people are desensitised to that fact due to the ease in ignorance. So how do you really know if you’re pirating?

Wk 7 / Picass-n0

Homage, plagiarism, appropriation, copying but where is the line drawn? I’m going to refer back to artworks for examples on this one. In my HSC art class, we were taught time and time again to appropriate. “Appropriate, find an idea you like, appropriate it and then talk about how you appropriated in your artist’s statement.”

I thought this

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“Good artists copy, great artists steal” – Pablo Picasso. I did just that, and remixed one of Picasso’s artworks to create new using photoshop. img source

was weird how we were encouraged to take someone’s ideas as a base for our own –  since it was also drilled into us at this stage that plagiarism is bad – especially when we got to uni. We form the line ourselves between what is stealing, what is appropriation and what is borrowing and determine what is right and wrong, allowed or not. Though when it comes to saying what that line is – I can’t think of any example.

Remixing involves using something old and something new and mixing it together to create a new thing. This could also involve using someone else’s works as a basis, or an inspiration with obvious reference to the prior work. Most commonly, remix is found in song and people are familiar with it, but only parts of it. Such as when hearing a song on the radio – you may thing you’ve never heard it before – that it’s new. Upon listening more, it’s familiar and this could cause annoyance. Like you’ve been fooled. Then comes the question at hand of, where is the line? What is too far and how do I make sure I don’t cross it?

Remixing is an art, remixing an art form to create another art is even better.

 

 

 

 

 

 

 

 

Wk 6 / People won’t listen to ‘me’, but they might listen to ‘meme’.

When I think about the election of 2016 – it all just seems like a huge meme to me – a big joke. That’s exactly what the initial meaning of a meme was; a joke. Now a meme is used to sway opinions both unintentionally and intentionally, and there are many arguments that the memes regarding Trump running for president actually swayed a lot of the votes in his favour. Meme’s have a way of sticking in people’s minds, being memorable – kind of of like a political poster however the audience generally does it.

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image source: here 

This is meme warfare, and an easy way to explain this is the memes that came out about Trump vs. Clinton in the pre-election and the bias’ and sides people had behind the memes. Meme’s aren’t always ‘fun’ and they can be used for less light-hearted purposes now such as mocking, bullying, and even more ‘sinister’ ideals such as swaying a presidential election. Can you imagine, a world where a photo with a couple of words on it can sway people’s point of views? It’s a becoming world, that’s for sure. Memes have the power.

Here, I have recorded my boyfriend – an avid meme viewer – responding to pre and post election memes & here and here are the videos he watched.

 

 

MEDA301 Week 6 – proposed project

I don’t have a succinct idea of exactly what I would like to do with this project, however I do have several small ideas in my mind that could be further worked on to come up with something rich in theme and something that is pleasing for the eyes. I have ideas that relate to digitalising the material – so the most predominant challenge is figuring out how to materialise the digital – while still making it interesting. It’s difficult to capture audience’s attentions and this has to be something intriguing.

My idea makes reference to the artworks and art forms of Lawrence Weiner, Robert Montgomery & Jenny Holzer who have all made artworks using typographic sculpture’s to create a vehicle and drive their views through these to an audience – some obvious and some not so obvious – leaving it up to the audience to interpret. The work I would like to create is somewhat similar, though not so three-dimensional as the works they create, as it will be presented in a gallery and space constraints means that I need to narrow my idea down so it fits around everything else. For example, I can’t create huge billboards so a more logical way to present my idea would be through sketching images and text on walls, hand-drawing and use of textures such as vinyl and masking tape to create thought-provoking words and sentences for my audience to interact with.

I would like the theme of my work to be something that makes people think, something small that proposes big ideas such as a singular word made up of several different things. Robert Montgomery uses his own poetry to make comment on issues he is passionate about, however I have done my own research through old family libraries and found poetry books with beautiful quotes that I could manipulate and turn into new words, ones that may make comment on modern society. Namely the lack of attention span in today’s society, and the use of one word is meant to encourage people to speak – to crowd together and stop to look in a way that may be ironic as it’s words that get people together. Much like the Internet, but because people are so consumed by technology nobody stops to look. This is what I would like to make comment on through these sculptural-text works while still making it something that is pleasing to look at – something that makes an audience want to look closer.

MEDA301 week 5 – researching.

 

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Robert Montgomery (source)

I hadn’t done a lot of researching into what I wanted to do for my next media arts project, however I did think back toward other people’s project that had intrigued me. When I say ‘other people,’ I’m referring to popular artists whose works I have come across on Pinterest and Tumblr – sites that are some of the most difficult to find sources and artist names on. Eventually I found wall texts and typographic sculptures, mostly with led lights to form words of poetry in the instance of Robert Montgomery’s work, or more simplistic in the forms of black text on a wall – more two dimensional than 3D – in the forms of Lawrence Weiner’s work. Interestingly enough I found that these two artists relate to Jenny Holzer’s artworks too, an artist who uses provocative phrases to make a political message through her works.

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Lawrence Weiner (source)

She also incorporates the bold mediums Robert Montgomery has inspired from her and the simple, to the point but still-somehow-complex works of Weiner. Weiner uses different manipulation of font to send his message and themes to readers, the vehicle for his thoughts sometimes in shapes and whimsical or sentences regarding actions – other times just monotonous colours and short words. Weiner’s work is intended to provoke an audience to use their imagination, his works are generally not physically complex, thought the meanings of them can be physically interpreted and twisted to how a viewer looks at it.

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Jenny Holzer (source)

While Robert Montgomery does reference Lawrence Weiner’s use of black and white vinyl on gallery walls in some of his artworks, his primary and most popular art form is the use of billboards where advertisements are usually found. This is a smart commentary without him having to say too much, however the poetry that is usually found in these letters is something that makes it’s own social commentary and that is exactly his intention. I would like to do something similar to these ideas and uses of materials for my upcoming project, and hopefully build off the values and ideas buried in these works and come up with my own ideas and themes from them regarding other things.

 

 

REFERENCES:

Tate.org.uk. (n.d.). ARTIST ROOMS: Theme: Language. [online] Available at: http://www.tate.org.uk/artist-rooms/collection/themes/artist-rooms-theme-language 

Pilot, J. (n.d.). Robert Montgomery Was Here. [online] Theaesthete.com. Available at: http://www.theaesthete.com/art/robert-montgomery-was-here 

Raley, R. (n.d.). Literary Art in Digital Performance : Case Studies in New Media Art and Criticism.. [online] http://raley.english.ucsb.edu/. Available at: http://raley.english.ucsb.edu/wp-content/LPost.pdf 

 

 

MEDA301 week 4 – Opportunities.

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I first became interested in not only this field of study, but this field as a career path because I worked with my cousin for a short period of time in Brisbane where she was working for Made4Media. She’s not at a much higher position in a multi-national media company – and while I wouldn’t call her my hero I would call her my mentor. Many of the things that I learned about the media industry and advertising before I started university were when I was working for this company on work experience which involved movie premieres, sampling of movie soundtracks and social media managing. I feel as though if it were ever necessary, this could help me get a foot in the door – even though I would like to try on my own first, just like she did. I’m consciously aware that there are more media advertising jobs in Melbourne than there are in Sydney, just like there are more potential jobs for me in Sydney than there are Wollongong – this would mean I would have to do some relocation or commuting if I truly am dedicated to what I want to do. I feel as though I definitely am, and if it means I have to start at the bottom as a receptionist for a media company, I will do that too.

I have opportunities in a few fields as I have a certificate in Information Technology, high knowledge of html coding and arts. I have also done work helping my mum with receptionist duties at her work, so I’m aware of those responsibilities too and would be willing to incorporate any of these skills into potential opportunities such as working for a technology company such as Apple at a lower level and working my way up with use of my Information technology skills. It’s a fair amount different than film advertising – though still something that I am interested in. The field in which I want to work in has marketing managers, social media managers, executive producers, producers, creators, PR managers and so much more – I would be willing to do any of these roles if it meant I was working for film advertising in the film industry as it’s something I am incredibly interested in.

While I haven’t been given jobs directly based upon my experience working with my cousin in a media company – I have had people from higher levels than I am in this field express interest in what I did there and how I could potentially use that in my future studies and job application. My cousin got where she is exactly how I did, however I made an effort to study two majors – Digital Media & Marketing and Advertising – just so I have an extra advantage in case I don’t find jobs in one field. However if that were ever the case, I would work my way up so that the two can correlate in a profession for myself.

REFERENCES:

http://www.made4media.tv/

 

 

 

 

Killer whale, what did you expect?

Before I even considered writing up my blog post for this week, I was contemplating veganism. I took it as a joke – that was supposed to be an interesting lead in line to this post, but I wrote it and rewarded myself by watching a video and said I was researching. I watched Earthlings, animals and our relationship with them, so because of this I had a different approach to this week’s topic and how I look at animals.

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“A mesmerising psychological thriller,” the tagline even suggests that this isn’t an animals ‘life’ – even the film showing what happens after you treat an animal as entertainment – is being used as entertainment. A ‘thrill.’ Image source. 

I hadn’t even watched the trailer for Blackfish, however I already knew I would disagree with a lot of the things the documentary covered. I was always taught from a young age that aquariums weren’t the best, because they exploited aquatic life and kept them locked up in a cage as opposed to keeping them out in the wild where they should be, where their home is. I wasn’t surprised when I first heard about Tilikum the whale taking the life of one of his trainers, because who wouldn’t get annoyed being basically kidnapped, and kept in a tank your whole life alone and for the purpose of entertainment. The film Blackfish proposes this documentary of this whale and the situation that unfolded after it’s aggravation including unfortunate loss of life – however – it comes from an obvious place of bias, that the whale was in the wrong despite the fact that it was indeed captured and the history of whales should have been considered.

This is much the opposite with the documentary Earthlings, which points to the audience as being wrong – even if you’ve eaten nothing but chickpeas all week – the narration is monotonous and almost guilt’s the viewer to believe that what humans do to animals is wrong. What we, those who watch this program is wrong and it’s supposed to open our eyes to the hidden parts of the meat and animal farming industry. There are documentary style videos to persuade an audience to believe that a certain the animal is dangerous (like Blackfish and fiction films like Jaws and The Shallows), as well as films that depict the audience as wrong – that people who consume animals are horrendous. Due to these opposing black and white views, it’s hard to find the grey area or how we should feel as an audience when films like these pull us one way and then another.

I don’t think captivity of animals or consumption of animals is fair at all – on the animal – though there are varied opinions of this all over the world, so we have to make our own minds up and not a lot is going to change unfortunately. I find it quite interesting that I was already set on my opinion on animal rights after watching Earthlings – before I watched Blackfish – I decided I would try my best to become a Vegan to support animal rights. Watching Blackfish, despite the negative stance toward Tilikum only furthered my stance that animal captivity and cruelty is wrong. We as an audience watching films about animals are probed to put ourselves or our domestic pets in that position – what if it were us/them? How would we feel? This is anthropomorphism – a way in which people can feel empathy and human feeling for an animal to better understand how they feel.

These films are a way for us as an audience to determine our stance toward particular animals – however films telling stories of what an animal has done in a negative light only pushes them further down the line of ‘they don’t matter, they are a dangerous animal and they don’t have human purpose.’ Unfortunately, this is exactly what has happened with sharks after Jaws, and movie producers still haven’t learned the negative light that they shine on Sharks in the ocean is harmful to them. Films like The Shallows are still being produced to mass audiences, showing that sharks are ‘bad, dangerous, ferocious.’ We need to change our view on animals – and the media and film industry is still deciding which light they want to paint animals in – though it’s mostly still negative.

 

REFERENCES:

Aguilera, P. (2014). VEG-GENDERED: A CULTURAL STUDY OF GENDERED ONSCREEN REPRESENTATIONS OF FOOD AND THEIR IMPLICATIONS FOR VEGANISM. Florida. Available at: https://fau.digital.flvc.org/islandora/object/fau%3A13647/datastream/OBJ/view/Veg-gendered__a_cultural_study_of_gendered_onscreen_representations_of_food_and_their_implications_for_veganism.pdf

Curmi, A. (2005). Taking a Bite Out of Fiction-Media Effects and Social Fears. A Case Study on ‘Jaws’. [online] sharkmansworld. Available at: http://sharkmans-world.eu/research/lexi_thesis.pdf [Accessed 31 Mar. 2017].

Gill, C. (2017). 1st ed. [ebook] Available at: http://openresearch.ocadu.ca/id/eprint/192/1/Caitlin%20Gill%20Proximity%20to%20Animals%20Thesis%20Document%20May%209th%20final.pdf 

Halaj, S. (2013). A Decent Proposal: How Animal Welfare Organizations Have Utilized Shareholder Proposals to Achieve Greater Protection for Animals. [online] Repository.jmls.edu. Available at: http://repository.jmls.edu/cgi/viewcontent.cgi?article=1951&context=lawreview

Lunden, E. (2012). 1st ed. [ebook] Stockholm University. Available at: https://www.diva-portal.org/smash/get/diva2:617342/FULLTEXT01.pdf 

otca. (2017). otca. [online] Available at: http://www.openthecages.org/vlp 

Griffin, E., Miller, K.L., Freitas, B. and Hirshfield, M. J. Predators as Prey. (2008). 1st ed. [ebook] Washington, DC. Available at: http://oceana.org/sites/default/files/reports/Predators_as_Prey_FINAL_FINAL1.pdf [Accessed 31 Mar. 2017].

Wk 5 / News.com? Pft, I’d rather my sources from Facebook.

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created using imgflip

Citizen journalism, rather ironically I just read an article on a missile that landed in the Japanese sea from North Korea – a cause for concern as I’m travelling to Japan in June. However, this article which was published by a legacy media source wasn’t one I immediately trusted so I sought an honest point of view and looked at the trending twitter tags for Japan, and then proceeded to search the Japan tag to see if there was really anything going down that I should be worried about.

Citizen journalism is the increased ability for us as audiences to move from our familiar, passive view to an active one where we are able to utilise modern technologies and social media to project our point of view and opinions to other audiences. This user-led form of ‘journalism’ is something that we see everyday now without even realising, and is quickly becoming a source of news we subconsciously rely on. Online users are becoming empowered by their ability to tell their versions of the news, even more so when people are actually listening. This post here that you’re reading; this is even a form of citizen journalism.

 

The boulevard of broken memes

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Glitchy art makes me nervous, it always has – and I’m pretty sure that’s because I’m a ‘perfectionist’ – I need to understand everything that’s going on at all times. Which is why I find it pretty ironic that I decided to study digital media, because the Internet is about the same wavelength of being entirely figured out as the afterlife is. It’s confusing, a concept that nobody is going to be able to understand because we are constantly being thrown new mediums and new meanings to things through different platforms.

Glitch art for an example is to use the concept that has long been there even before technology – artists like Picasso and Klimt using aesthetically pleasing distortions in their paintings to evoke feeling in their audiences. In the case of broken or glitchy artwork, it is a feeling of nostalgia; though that’s not always clear. It’s a deciphered opinion on what the message of glitchy art is, just like this blog post is a deciphered post on what the lecture was trying to show us.

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created using uglitch.com

Albert Borgmann has mentioned through his theories that, “Technological wizardry such as the internet renders reality invisible.” Which is quite true, when it comes to the Internet and it’s broadness and accepted brokenness it’s difficult to consider what we are seeing through a medium, what we are being told and what the message is inside of it. He also believes technology should be used to serve us, not as a craft. I’m not sure I agree, even if glitch art makes me uncomfortable. A glitch and the internet is something you can’t understand – like a secret within technology and that’s probably why people are so drawn to it.

Here’s a glitch art video meme to lighten the mood, shall we?

Kratos Shooting Star Meme from Art’cane on Vimeo.

REFERENCES:

Bunnell, K. (2004). Craft and digital technology. [online] autonomatic. Available at: http://www.autonomatic.org.uk/archive/team/kb/craft%20and%20digital%20technology.pdf [Accessed 21 Mar. 2017].

Editorial, A. (2015). What Makes a Picasso Painting Worth $140 Million?. [online] Artsy. Available at: https://www.artsy.net/article/artsy-editorial-what-makes-a-picasso-painting-worth-140-million [Accessed 21 Mar. 2017].

Klimtgallery.org. (2017). Gustav Klimt – The complete works. [online] Available at: http://www.klimtgallery.org/ [Accessed 21 Mar. 2017].