http://www.imdb.com/title/tt2753988/
https://www.youtube.com/watch?v=gth8_3msnIk
Sade Olutola

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@milledge2016
http://www.imdb.com/title/tt2753988/
https://www.youtube.com/watch?v=gth8_3msnIk

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I COULD NOT DO IT. After only three people spitting into the jar, I could not handle how disgusting it was. Just the different colours of spit⦠I could not continue.Ā
Lols. Love this photo despite how disgusting this idea even is. Imagine a video! Or donāt!
Inspired by Pamela Rosenkranz, I began exploring the human in relation to the non-human through how we as humans reproduce the natural (non-human).Ā
In Rosenkranzās work she reproduced the human skin tone, however, I wanted to re-create something non-human but still natural, the rock. In reproducing the rock I wanted to, however, change its understanding and context to show the impact of human manipulation. I did this through creating a soft object based on one that is naturally hard.Ā
By creating something soft to represent something hard you begin to question human interpretation and how we unearth meaning and associations with objects. If the human is changing something natural into something man-made this also creates questions about the relationship between the two. Is it right to change te natural for human use?Ā
Claes Oldenburg is also someone who createsĀ āsoft sculpturesā and thus became an inspiration in this small experiment. His works have also allowed me to consider scale and how different the experience of aĀ āsoft rockā could be if it was created in large (possibly interactive) scale.Ā
āTheir soft, pliant, and colorful bodies challenged the convention that sculpture is rigid and austere, and their subject matter and colossal scale infused humor and whimsy into the often sober space of fine art.āĀ
http://www.moma.org/interactives/exhibitions/2013/oldenburg/Ā
The experiment in my eyes creates a really interesting idea and begins to question ideas I am interested in, however, if actually taken further the work would need much more attention to detail. Re-creating a rock (as such a simple and minimal object) would need to be more accurate to generate the association.
Wonderful practice-led research happening here!
Contemporary cover design for books that probably donāt exist. Specious books, an ongoing arrangement by Dicey Studios.
Nowness, collaboration, ecologies, context, mapping⦠All round great work⦠Check out Keg De Souzas practice, this article introduces her in her current Vancouver context while she does a residency there

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ASSESS 2
After assessment one I disregarded a lot of the materials I had been experimenting with such as these flower petals. I walked past them sitting there behind my tv the other day and stopped to take a photo of them because of how intrigued I was with how they have decomposed yet still maintained a sense of beauty and organic-ness.
Continuing on with the notion of synthetic and artificial I want to explore more with materials , working with both sides of this constructed binary and hopefully in colliding the two I can explore new areas of my research topic
Good continuation from ass 1!
Experimentation
glitch |glÉŖtŹ| informal
noun
a sudden, usually temporary malfunction or fault of equipment: a draft version was lost in a computer glitch.
⢠an unexpected setback: the only glitch in his year is failing to qualify for the Masters.
⢠Astronomy a brief irregularity in the rotation of a pulsar.
I decided to revisit the dictionary meaning of glitch after learning more about it conceptually. I no longer believe that glitch can be an unexpected setback, as glitch can be desired by some; it may even make something more interesting.
I attempted to experiment with a physical glitch. Above are some photos of water bottles. All except one is red and different from the rest. I treated this as theĀ āglitchā in the collection of bottles. However, this did not seem to be a malfunction, it stood out more as a leader rather than a problem. Even though there is a disruption in the colour of the bottles, it instead made the image look more interesting. Glitch can be good depending on the individualās perspective.
Nice practice-led research and reflections on glitch.
Practice led research Assessment 2
I started off assessment 2 by getting straight into experimenting with the āmicrochipā I had in my poster from assessment 1. I was playing around with ways to bring this microchip āaliveā somehow, and after realising that I had no idea what I was doing, I went to the good old google and search how microchips worked and how to make a circuit out of them. I didnāt get much from my research but as I was researching I remembered I had some other electronic equipment (such as an LED light from when I was in high school).
I put a circuit together (to create light in the LED) along with the microchip but it came to a fail when the light didnāt come up and an awful aroma started to smoke out of it. That was a sign to stop it there.
I know this experiment doesnāt necessarily illustrate glitch aesthetically, but I thought that using the microchip from my last assessment and having the ability to make it work technically somehow wouldāve started something really interesting with the idea of transmission and disruption. I do love the aesthetic look of the microchip so I will definitely keep playing with that. Ā
This is a great example of a considered development from ass 1 to ass 2
Research
During my train ride to university, I went on a carriage that was very loud as shown in the recording from above. This to me is considered as glitch as it is a sudden malfunction in a system due to noise pollution. I decided to stay on the carriage to make observations. I realised that the train carriage wasnāt as filled, even though it was a busy morning. Many people would walk up the stairs of the carriage, and walk back down due to the amount of noise. Surprisingly, some people still sat. The train was loud and annoying; I had earphones in and I still couldnāt concentrate enough to read my readings. I was amazed at the people who were sitting on the carriage and taking in all the noise pollution without any earphones. Here, I discovered the many perspectives of glitch. Before, I discovered that people would complain about app bugs in the app reviews. However, I realised that there are many more ways of looking at it. Some people couldnāt deal with it and left, some stayed and dealt with the situation. Whether it was for the seat or they didnāt find the situation to be annoying, I wasnāt sure about.Ā
Great research and reflections from Leo!
adad1002 ass 2 question 1 practice led research I just did a quick photo shop job on the bags shadows and placed human shadows under the bags showing various human gestures and body language.
Some really interesting experiments happening here!

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Research into artists and artworks
Thomas BayrleĀ
Naked Lunch / Fire in the Wheat, 1970ā2013. Wall paper. Courtesy Thomas Bayrle / Hans Widauer.
The work puts into perspective a system in which individual elements can only be defined by their relationship to other elements, through a process of fragmentation, constant shifts in scale and the interconnections between the micro and the macro.Ā
From image infiltration techniques to formal deviation or distortion.
http://www.e-flux.com/announcements/thomas-bayrle-4/Ā (12/9/16)
Blog post
I found a blog about the microscopic photography of a microchip. The photo has been taken and the saturation of the photo has enhanced to create a colourful scheme.
http://zeptobars.com/en/read/how-to-open-microchip-asic-what-insideĀ (12/9/16)
Melissa Barron
Works with a lot of different materials in aĀ āglitchā format.
Screen Prints, acrylic ink, french paper (2016)
jacquard weavingsĀ (2010)
woven on a tc-1 jacquard loom.Ā
http://melissabarron.net/Ā (12/9/16)
Great research relating Brookeās experiments to other artworks!
"Valuelessness" - Thoughts from Anna J and Marian
The human gaze has a power of conferring value on things; but it makes them cost more too. (Ludwig Wittgenstein, Culture and Value)
Often, arts value is located in an end product of some description: a painting, sculpture, installation, video work, documentation of a performance. Over the decades, artists have examined and challenged the locus of where we might expect to find capital in art.
Eva Hesse, Expanded Expansion, 1966 Fiberglass, polyester resin, latex
Eva Hesse, Studio works
Anna J: Seeing I am such a Hesse-o-phile I would be keen on something that really challenged the art object as the item that retained value/the endpoint, looking at art as process rather than er, stasis in something? So shifting the value of labour/studio work to forefront, rather than the work being the sole location of value - how you/can you redistribute that āvalueāā¦ā¦. So like Hesseās studio works as they were kinda positioned after her passing, as unplaceable/un-categorical⦠or how Alina Szapocznikow i think is quite proto- with something like that āPhotosculpturesā (Fotorezby)- we see the final work, a series of photographs, born out of the chance finding of the forms the artist realised in her own mouth with something as banal (both as a material and a process) as chewing gum.
Looking at Alina Szapocznikowās āPhotosculpturesā (Fotorezby)- we see the final work, a series of photographs, born out of the chance finding of the forms the artist realised in her own mouth with something as banal (both as a material and a process) as chewing gum.
In the accompanying text to the work, exhibited in 1971, Szapocznikow describes the making of the work in this statement:
āLast Saturday, under a blazing sun, tired from having polished for hours my Rolls-Royce made of pink marble from Portugal*, I sat down and began to daydream as I unconsciously chewed my chewing gum. Pulling these odd shapes out of my mouth, I suddenly realised what an extraordinary collection of abstract sculptures was passing through my teeth. It suffices to photograph and enlarge my masticatory discoveries to create the event of a sculptural presence. Keep chewing, look around you. Creation is found between dream and routine.ā
(*NB the Rolls-Royce she refers to was a small scale model of a work she had been seeking commission for, a full size Rolls made of the most expensive pink marble from Portugal, her proposal titled My American Dream, and we quote āIf there exists such a fantastic snob as who would order this work to be made and put it right on his private lawn to greet his guests and invite them for drinks on the marble seats, then my American dream will be accomplished.ā Documenta curator Harold Szeemann challenged her to look for a financier, and although she came close, her ādreamā was never realised because of the grand cost making and transporting such a work.)
In this text, Szapocznikow contextualises her process as the most important aspect of the work. Presenting in the exhibition all three elements which define this work: the small Rolls Royce, the photographs and the text, she offers a dilemma to where exactly the value in the work is located, and the way it has been transmitted/distributed through the different elements: photography, sculpture, text. The major focus of the work are the chewing gum forms - which now appear to hold more value than the Rolls, because of the way she has captured their presence in photography and through her suggestion in the text.
But I guess this idea of what is considered lo and high would be a good one for the students and maybe even us - redrafting what is considered lo-fi and hi-fi right now, materials wise? Surely its changed since the 90s⦠70s⦠00s⦠by these materials and methodologies becoming so commonplace in art - Is this distinction a vehicle for critique anymore? A vehicle as good as any? Is it still relevant?
Alina Szapocznikow (1926-1973), Photosculptures, 1971/2007 (detail)
just thinking off the bat.
Marian T: Wow I am dying at the Alina quote, thank you so much!
I like this transformative non stasis idea⦠the moving between, the lost location of form/art as we know it and are comfortable with.. i certainly have a āwayā of making work and would love to do a project that challenges that.
Perhaps making something valueless is actually in your last question.. to make something āirrelevantā. In conversation, presentation, curation, art statements, !!applications!! there is a push to distinguish the issues at play and show some sort of 'urgencyā in a work to support its existence.. I donāt know, I know thatās very general. I think this is a question of what does the irrelevant for look like and how can it be transformed, perhaps for a short time into something of 'valueā..and them move/flow through that back to the average and undiscerning⦠could be interesting.. temporality is the form..
With all this transmission is the interesting thing to be considered I guess.
These notes of Anicka Yi I think are wonderful, nice ambivalent points about value and the history of viewing.
In the beginning I rarely thought about Greenbergāhis legacy was not my problem. I didnāt go to art school. I am not the natural heir of the beneficiary of this modernist ideals. When I started to make sculptures, it was with the clichĆ© spirit of breaking free of all that baggage (albeit somewhat naively). A will to explore freedom of thought and unsettled accounts of a world tied in knots. Now I sense, in art-historical terms, my work in many ways, Ā is in opposition to most of Greenbergās tenets about the āpictorialā and āhighā cultureābut I never started out with this goal. ..All that hermetic formalism he espoused makes me feel melancholicāand not in a romantic way. As Iāve thought about it, his regime of vision feels downright fascist at times. I canāt speak for my generation, but I do think there is still the pervasive ocular centric, normative vision that abounds.
Anicka Yi, Death at Cleveland, 2014
Excerpt: Anicka Yi interview.
Arts transformative qualities can bring value to things and materials that would be thought of otherwise. Anicka Yi, who we looked at in week five (desire), questions the hierarchy and value of seeing in arts reception - hence working with senses that typically donāt share the stage with the visual - in particular: smell.
What is valueless in the contemporary - when almost everything, right down to our emotions and affect, become prime currency? What materials have no or little value? Before you go reaching for everyday items - think about if they have popped up in art history before - few stones have been left unturned! Make an work that you think of as āvaluelessā within the context of art/design. Consider the way we view art as an audience, and what is considered or defines art, anyways?
Great text on value for this week posted by fellow ADAD1002 lecturers Anna J and Marian.
Wonderful post on value from Ā Anna J and Marian!
SODA JERK
Soda Jerk make work from recontextualised pre-existing work.
Check out this extremely extremely good videowork by Sodajerk
Link HERE
and their websiteĀ http://www.sodajerk.com.au/video_work.php?v=20160709074312
All the things have the double sides, this is a kind of binary. I would like define this binary through some ironic drawing and make it like cartoon. This is the first step for next step I will draw the continues story and color it in simple color, because I prefer audience focus on the ironic feeling not the visual things.
Dongzhu has taken aspects of her original poster to develop out a series of illustrations
Illustration duo Mrzyk & Moriceauās music video for The Avalanchesā track Subways features a collection of colourful characters embarking on a surreal underground journeyĀ Ā»
Band The Avalanches recontextualise many different sounds to create their tracks...
and the same track reworked and recontextualised by the inimitable SODA JERK (and probably much better) WATCH THIS!!!!!
http://thewas.xyz/

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āTre Amiciā at Tre Amici Restaurant
Interesting to see how this exhibition has been contextualised within a restaurant setting.
ass 2 class notes
Experiments
Reflections/what is most engaging for you? why?
Keywords:
Relationships (human)
eg. Body composition, body language, gesture
Use keywords as search terms in relevant portals
Eg e-flux, frieze, UNSW library etc
Focus on different artists
Use that information when you return to making objects