Isabelle Clements ADAD 1002

https://study.com/blog/how-technology-dependency-has-changed-the-teaching-landscape.html

Sculpture in which LEDs are integrated within steel artwork

LED art is a form of light art constructed from light-emitting diodes. LEDs (light emitting diodes)

Many artists who use LEDs are guerrilla artists, incorporating LEDs to produce temporary pieces in public places. LEDs may be used in installation art, sculptural pieces and interactive artworks.

LED artist- Jenny Holzer

Many modern art museums include light sculptures and installations in their permanent and temporary collections. The Centre for International Light Art in Unna, Germany is currently the world's only museum dedicated exclusively to the collection and presentation of light art.

Light has been used for architectural effect throughout human history. However, the modern concept of light art emerged with the development of artificial electric incandescent light sources and experimentation by modern artists of the Constructivist and Bauhaus movements.

The first object-based light sculpture was the Light-Space Modulator (1922-1930), by László Moholy-Nagy. Experimentation and innovations in theatrical light have often influenced other areas of light use such as light art. The development of Modernism and the electric light go hand-in-hand; the idea of the modern city with high-rises and electric light epitomizes this development. 

Light Art 

What are the feelings of a common sight, a common sound?  

Walking around in a perpetual familiarity that is characterized by the things which we experience everyday.  

A man-made curation of metal flies through the air with a roaring groan  

We do not budge, rather continue walking

A baby cries in a shopping aisle and we continue to look for the canned corn  

Aimlessly walking  

Knives and forks scrape plates  

And we slurp up mums’ spaghetti, flinching slightly as a drop of sauce flies into our eye.

The unexpected  

A train leaves a station 346, 615 times on average between 6am and 9:30am

You ride the train on its 346,000th exit.  

Travelling through your exterior, your familiar.  

Wind chimes greet you at your arrival home  

A meditative song

The city grime crumbles from your shoes

Your public identity is unzipped and hung on a hook.1

Slip into something more comfortable,

Home.

A unit for human behavior2.  

A poetic place to turn from the ‘other.’

A safe haven for daydreaming.  

The warm loungeroom walls welcome your being.  

The windows are no panopticon3

How do you feel in your familiar?  

Are you comfortable in your private identity?  

In your everyday?

My artwork “Familiar sounds” is an exploration of the interior and exterior; public and private binary. The desire to represent this concept through my work came from my previous study of the binary messy and clean in which I looked at a social unwillingness to become aware of the impact that our individual choices have on the environment until it was outside our door. This was based on two articles that gleaned upon a growing amount of real estate near landfills and a social narcissism towards household waste management. This paralleled with the idea that I took away from Agnieszka Mlicka’s essay “The Psychology of the Interior” in which it was stated that “the interior as a unit is where the individual lives or works, and is therefore closely related to human behaviour. It is this private area  in  which  the  ‘private  identity’ is developed,  in  contrast to the  ‘public  identity’” (Mlicka 2017, p. 2). Thus, it is the differentiation between interior and exterior that we have a varying awareness of what is going on in the world around us and different experiences within each space. For example, within an interior, we have an episodic framing of personal happenings and familiar sounds that occur within the interior. Whereas, within an exterior or otherwise associated to as outside, we have a thematic scope of what is happening in the world around us and within each of these understandings, there are different sounds which characterise them. The most significant focus or purpose behind my work was to explore the familiar sounds that characterise interior and exterior spaces and represent the idea that such sounds have become soundscapes to both a public and private identity. Furthermore, such sounds have become representative of our everyday lives, things that are ubiquitous and familiar. The choice to represent the sounds in a soundscape was to diminish the idea of such sounds being merely background noise but things which are dominant in defining what is interior and what is exterior, what is public and what is private. The way I hope to present my work as a soundscape is to have people wearing headphones and be able to walk between an interior and exterior space. Becoming aware of the familiarity of these noises and how they seamlessly blend to become the collage of their everyday lives. 

Bibliography  

Artnet.com. (2018). Francesca Woodman. Accessed 16 September, 2018.  

< http://www.artnet.com/artists/francesca-woodman/ [Accessed 16 Sep. 2018]>

Bachelard, G., (1994). The Poetics of Space. First printed 1958. Boston: Beacon Press.

Foucault, M (1991). Discipline and Punish: the Birth of the Prison. First printed 1975. London: Penguin Books, p. 200.  

HuffPost. (2018).  Photographer Takes Images Of Bizarre, Distorted Faces. Accessed 5 Sep, 2018  

< https://www.huffingtonpost.com/2013/01/17/the-ugly-truth-photographer-rut-mackel-glass-panes_n_2495340.html [Accessed 5 Sep. 2018].>  

HuffPost. (2018). Scotch Tape Transforms Faces In Hilarious Ways.  Accessed 7 Sep, 2018. <https://www.huffingtonpost.com/2012/12/17/tape-art-wes-namans-photographs-smushed-faces_n_2317226.html>

Mlicka, A. (2017). Facilitating Spatial Negotiation: a pragmatic approach to understanding public space. The Journal of Public Space, 2(2), p.27.

- Schneider transforms his own house by restructuring the rooms and corridors into new, often unliveable,  spaces. In some instances, this results in insulated spaces missing all doors and windows, so that no human being is able to come in to experience the room. 

- he transforms his own house by restructuring the rooms and corridors into new, often unliveable, spaces. In some  instances, this results in insulated spaces missing  all doors and  windows, so that no human being is able to come in to experience the room

- he transforms his own house by restructuring the rooms and corridors into new, often unliveable,  spaces. In some instances, this results in insulated spaces missing all doors and windows, so that no human being is able to come in to experience the room.

- known for often-spooky architectural manipulations, including rebuilding his house in the German pavilion at the 2001 Venice Biennale — was planning to stage a performance-art piece in which the Museum Haus Lange in the Rhineland city of Krefeld would exhibit a dying person as an art object. A Düsseldorf-based pathologist named Roswitha Franziska Vandieken was supposed to assist Schneider in finding a subject willing to pass away in public. Schneider was quoted as saying, “I want to display a person dying naturally in the piece or somebody who has just died. My aim is to show the beauty of death.”

This article by Agnieszka Mlicka was interesting in providing an explanation of how the interior can define a particular psychology and/or connection with space. Mlicka gleans upon key terms such as public and private, power and systems and the idea of the panopticon through the analysis of artists who have considered the concept of interior within their body of work. The notes that I took from my reading of this article are below. 

- “A person goes to a public place to be alone. And at home, we do our public thing. The interior as a unit is where the individual lives or works, and is therefore closely related to human behaviour. It is this private area in which the ‘private identity’ is developed, in contrast to the  ‘public identity’. - (Pelzer, B et al. 2001, p. 121 

- Is the interior represented as a safe enclosure or rather as an isolating space? I see the interior on the one hand as a poetic place where one can turn away from ‘the other ’encountered outside, by which I mean for example the different and unfamiliar norms and values that are adopted by other people. The enclosing walls provide silence and separation, and the optimal place for daydreaming - Bachelard, G., 1994. The poetics of space 1958, p. 6 

- It is this positive idea of the interior as a shelter that I would like to contrast on the other hand with the interior as a kind of prison cell, in which power and control play a role.  The interior is, in this case, disadvantaging the individual, and having a negative influence on his or her well­being, resulting, for example, in loneliness. The feeling could be strengthened by the presence of windows because they offer a  view of the outside world which could create an even stronger contrast between inside and outside.