Moving Along~

Pictured in this post’s featured image were my main companions this week ^.^ (some were more helpful than others)~

Hey~

So, this week was another productive week. In my last post, I mentioned having a schedule where I work on one of the remaining five sections of my thesis a week until I hit spring break. I’m glad to say I stuck to that schedule this week and was able to basically finish my section on Dadaism.

Now, I say “basically” because I know it’s one of those sections that’s definitely going to be focus in the proofreading/revising stage. There are some more details I want to add (but that require more reading than I was able to manage in between class and work–I picked up more hours ’cause I live in a Capitalist hell bills–this week), some concepts that need polishing, and some transitions in need of smoothing. But, the overall ideas are there.

The further I get along in my thesis, the more I’ve noticed a struggle between the writer in me–who wants to create and generate–and the perfectionist in me–who wants to pause and refine. It’s a little challenging for me to just put the ideas down on the paper and not focus so much on polishing those ideas. I don’t like to leave my work rough. But, this is the time for it. I’m in the drafting stage–in a lot of different areas of my life. Making things sound intelligent and aesthetically pleasing is not a small task but, right now, it shouldn’t be my focus. It’s been hard to let some of my rough and fraying edges show but it may be the only way to move forward.

Some of the sources I’m drawing from for the Dada section of my paper, also, are inspiring me and triggering new lines of thought. For example, in one of my sources, Destruction Was My Beatrice by Jed Rasula, there is this picture:

Entartete Kunst/ Berlin

Degenerate Art Exhibit. 1937, Munich.

I hadn’t seen this picture before but it of the Degenerate Art exhibit. This exhibit was organized by the Nazi party and was used as a way to vilify and ridicule art that they believed was “an insult” and “un-German”. 650 pieces of confiscated Dada art were a part of this exhibit, many considered masterpieces. When the Nazi party began to succumb to the Ally forces, much of the art in this exhibit was either burned, buried in underground vaults still being discovered, or otherwise destroyed. The fate of too much of the work remains unknown.

In this specific photograph, you can see that the Nazis scrawled the words “Take Dada seriously” across the walls of this exhibit. This was an original Dada slogan that the Nazis, like so many other things, twisted. When I read this, I felt this sudden pang. Not that the rest of the exhibit and its existence at all doesn’t upset but it hurt me on a different level(?) to be able to see just how much derisiveness–no, hatred–there was towards this movement and towards artists who dared to challenge the leading authorities and their world view. There’s something so malicious and downright hateful about throwing these artists words back in their faces like this–literally. Apparently, some of the artist who did not flee Europe and were able to hide actually went to this exhibit and saw their work. Hannah Hoch went more than once. I can’t even begin to imagine what she or any of the artists must’ve felt walking through that exhibit.

Dada was a way to reclaim a world gone mad but what do you do when that very same world reclaims you and calls you the mad one? The degenerate one?

The “writing on the wall” here makes me think of what’s currently happening in a lot of ways. As far as my thesis is concerned, I think there’s a similar kind of vilification of memes and of Millennial culture as a whole. Memes aren’t being rounded up to display in some “Degenerate Art 2.0” gallery yet but they are certainly being slandered across every so-called “authority”‘s platform. They’re being used as examples of the degradation of society. Many emergent forms of digital content creation are being used like this. And, Millennials can’t do a damn thing without a “Millenials are ruining [insert literally any noun, verb, or phrase]” article being posted–ironically–online.

Knowing how the Nazis used strategies like this to retain power make me, too, wonder who is benefiting from the vilification of my generation? Maybe I should wonder who isn’t though….

All this is to say that I got a lot out of the work I did this week. I got more content down for my thesis but I also got to further explore some of the ideas that have been percolating. Combing through the history of Dada is fascinating and also so illuminating. I imagine, as I continue working through my sources, that more ideas will be generated and will be able to really help me connect all of these points I’m trying to make in my thesis.

Overall, this has been a thoughtful week for me. I’m learning not to worry so much about my rough edges and, also, to really pay attention to the writing on the wall. It might spark insight.

****

~Till next time~

Making A Comeback

So….

I’m back.

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And, I’m not going to lie, I took a major break from working on my thesis over our winter recess. Some things in my personal life were really affecting me deeply and keeping me from feeling inspired or motivated to work–despite loving my subject matter. I’m not trying to make any excuses, just state reality. I was unable to find the inspiration to work for most of my break. There were many late nights spent up trying so hard to work and finding nothing but frustration and, I’ll admit, some tears. It’s not that I didn’t want to work; I couldn’t.

Towards the end of winter recess, I did begin writing some more and completing two additional sections of my thesis. I think they could be “bulked up” some but, overall, they have thoughtful ideas in them and a focus. Thinking about my thesis as more of a map of my own thinking and mapping for this project has helped me generate content. I’m less worried about making some grand statement or about impressing anyone and more concerned with making my project make sense to others. I want my own thinking to be center stage. I believe it is my perspective that makes this work compelling. More, I want to write my thesis in my own voice and with my own words. I don’t want to use recycled, academic jargon. I don’t want to be a part of some academic circle-jerk.

In this process, I’ve been really thinking about Hugo Ball’s quote, “This humiliating age has not succeeded in winning our respect” and how I want to convey that kind of tenacity and courageous belligerence through my work. Ultimately, I think it is the courageous and rebellious spirit of Dadaism and new forms of digital content creation that resonates with me and, I believe, with others. That’s a large part of where the connection lies. These emergent, digital expressions like Eliterature, memes, shitposting, etc. are our responses to the utter bullshit the world has become in so many ways. This is how we sass the powers that be. This is how we snark. How we rebel. How we drag the powers that be back down into the dirt and dust they left us in and remind them that we are still here and those powers that be have NOT earned a speck of our respect. Perhaps its pathological but it’s definitely ideological.

The more I read and the more I think about this subject matter the more compelled I am to believe that this is a revolutionary shift in thinking and in creating. Online spaces and the digital realm have provided us with so much opportunity and resource to unionize. Ideas are powerful in these spaces. They can have real world impact. I think it is so important now more than ever to understand that and to want to understand how. That’s what I feel like I am doing with my work. More, it feels like I’m trying to develop this new analytical lens to look at content like this because, quite frankly, I think our traditional lenses are antiquated and not super suited to do this job. I hope that by combining a literary lens with an art historical one, there can be new understanding. There can be a new recognition and appreciation of meaning.

So often, new forms of creating are dismissed for not being “meaningful” enough. Especially content like memes and gifs and shitposting–they’re all discounted and dismissed as being another meaningless aspect of Millennial culture. It’s insulting. Also, it’s ignorant and negligent and seems to be the powers that be trying desperately to neutralize a challenge to their power. Trying to stave off a challenge to the establishment.

But, I don’t think it’s working. And, I think those powers know that.

New forms of content creation are how we communicate with each other now. They are how we express our feelings of pride and contempt. They have become conduits , deeply embedded with rich and diverse meaning. If they seem like challenges to the powers that be, that’s because they are. These symbols say “we know what’s going on”. They say “we know and f*ck you for thinking we wouldn’t”.

Maybe I’m projecting some of my own feelings onto this medium but I think that, if even half of what I’m saying applies to this subject, then that is noteworthy and it is sure as hell meaningful.

I was beaten down at the beginning of this break but, after everything and remembering Hugo Ball’s words, I’m back up on my feet and ready to take some swings at the establishment. I’m ready to fight back. Bite back. I’m pissed that I let anything stop me from doing what I love to do–writing and calling out assh*les for being assh*les. For only seeing garbage where’s there’s solid gold.

Best believe I’m making a comeback and coming for the crown.

This humiliating age has not succeeded in winning my respect. That’s for damn sure.

****

Down nine times but I get up ten.

~Till next time~

Digging Deeper~

So….

This week has been productive in a few different ways. Mainly, I started digging into the literature surrounding aspects of Elit and digital art and content creation I’m interested in. I found an interesting article discussing the canonization of article by Scott Rettberg as well a fascinating article by Katherine Hayles about viewing Elit works as these kinds of cognitive assemblages. I’m still just delving into the literature and assembling a kind of annotated bibliography of sources, though. If anyone has any recommendations for good sources discussing Eliterature and its functions and literary value, please hmu! Also, I’m looking for any recs for informative sources about digital art or theories behind it!

In addition to delving more into the literature, I also dove deeper into my concept. As regular readers of my posts may know, I’ve been struggling with my concept. I have a lot of ideas surrounding what I would like to create but not such a clear idea of exactly what I want to make. There’s just all these pieces but no cohesive whole.

Last week, I dabbled with the idea of the “drag-n-drop” interface. The design and concept of Juliet Davis’ Pieces of Herself had a very large impact on me, especially in the way it depicted ideas of self-representation and social inscription. Revisiting Porpentine’s With Those We Love Alive this past week also had a huge influence with me. Reading my own posts on the work reminded me of how deeply this work and its themes resonated with me. In one of my prior posts, I even mentioned wanting to create a work similar to it. Specifically, I found myself re-inspired by the language and poetic voice of the piece. I really want to be able to express my own poetic voice through any work of Elit I create.

My new vision for my work combines traditional Dada photomontage and assemblage aestheticism the concept of the Rogues Gallery with contemporary Millennial humor (as represented by memes and tweets, etc.) and the ideology behind Degenerate Art. I imagine this work will open with a silhouette that is covered in an amalgamation of different artifacts such as the first page of a Dada manifesto and an @dril tweet, a flyer for a Degenerate Art show and an Inappropriate Audition Songs meme.

In a kind of reverse of Davis’ work, readers would have to remove pieces from the silhouette in order to uncover/discover what they mean. Readers would move the artifacts to the blank space surrounding the silhouette. So, in the process of removing the pieces of photomontage from the silhouette, readers would be creating a new photomontage of the background. I would like for a string of lexia to pop up and explain the significance of the artifact once it has been placed outside of the silhouette. This lexia would contain information about the history of the artifact or about the origin of the content. I hope to include links to outside sources for readers to get more information.

As readers remove the artifacts from the silhouette, I want them to uncover a poem beneath. This is a poem I either want to write myself or I want to put through an algorithm like a bot to generate. Ultimately, I want it to reveal something about the mutability and evolution of self-representation and how aesthetic presentation connects to ideas of self-representation. How we are all made of pieces. How we are all collage. All assemblage, photomontage, bricollage, mosaic.

I would like the work to come to a “kind of end” by having all of the removed pieces return to the silhouette in a new pattern, reinforcing the idea that we are these kinds of collage, perhaps degenerate but still ultimately of so much value (as revealed by the information each artifact embodies). Because of this, this work would still be titled Degenerate’s Gallery.

As I imagine presenting this work during my university’s research days, I have also imagined an installation component to this piece. I would like a technological setup that allows readers to work through the piece. In addition to that, though, I would like to create a wire/metal bust of a head and shoulders and invite people to stick different kinds of artifacts to this bust, to participate in the creation of a work of degenerate art.

Ultimately, it is my hope that this work will allow participants to view themselves and acts of self-representation and aesthetic presentation through a new lens. Also, I would like my work to be a kind of meditation on Dada absurdism and nihilism and what it means that these ideologies and ideals are re-emerging through the ways we represent ourselves in online spaces.

Anyway, that’s what I’ve been thinking about this week. I would love any input from my fellow creators and researchers in the field. All of your guidance and suggestions have been very helpful. (I recently downloaded Krita and so far I am very impressed with the program. I want to lay around with the tools and watch a few more tutorials before I share some of my work.)

****

~Till next time~

….A Bit Unproductive

So….

This week I didn’t accomplish as many things as I had hoped. Largely, this was due to a sudden increase in my workload at my job.

computer throw

Work this week~

Sigh. Life happens. It’s no excuse but I just wanted to explain upfront why this week’s post may be lacking some its usual zeal~

Anyway, back to our regularly scheduled program!

The Lowdown

So, this week, I spent a lot of time thinking about the design of my piece. I’m rather concerned about creating the work. Though I appreciate a lot of the sources Jason Nelson shared with me, they still come across as very daunting at first. Maybe I need to spend more time perusing them? This week, I was unfortunately unable to do more than skim the coding site Dr. Nelson shared with me. I’m interested in coding but I’m also interested in exploring maybe other avenues of creating a work with the kind of functionality I want. On Twitter, Stevan Živadinovic mentioned checking out Twine to see if I could make a prototype of what I’m looking for. I have some experience with Twine so I may want to experiment more with its functionality. Zivadinovic also mentioned that I might just have to “bite the bullet” and dive into Unity. As Dr. Nelson also recommended Unity, I’m thinking I may have to really bite that bullet.

That said, I’ve reached out to some of my friends in the digital arts about what programs they recommend. I want to incorporate some of my own drawings and, maybe, even metalworks into this project. I’m waiting to hear back from these friends about what they recommend. Honestly, I want to see how much I can make in a program like Photoshop or Krita or, for audio, Protools or Audacity, before I have to delve into other sources.

As for the structure of the work I want to create, I’ve had some thoughts. This week, in another course, I looked into Juliet Davis’ Pieces of Herself. It’s a very powerful and compelling work of Elit that impacted me greatly. Both the work’s design and content really struck me. I love the superimposition of elements in the piece and how that technique can be used to convey meaningful messages. It inspired me to think more deeply about the design components of my own work as well as the kind of message I want to convey about self-representation and aesthetic presentation in our current digital age.

While I like my initial concept of the shattered mirror, I wonder if it might be more apt for my work to be centered around a silhouette of a face, neck, and shoulders with a collage/photo-montage of different elements slathered across its face. Each of these elements would be clickable and would take the user to another screen. Some of the elements may be tweets or memes or a Dada manifesto or a snippet of poetry. Maybe, I want to make this work ore about the self-representation aspect? I was very moved by Davis’ work and I find myself very moved by works that revolve around the construction, negotiation, and navigation of identity and self. I find art to be an offshoot of self-presentation, so maybe that’s how that subject would tie into the work. Maybe I could have a screen of silhouettes, formatted like a rogues gallery or a board of wanted posters or something too??? I really think I want to delve into how involved digital content has become in the construction of the self. But, I don’t necessarily want to convey that that’s a bad thing. It’s just a change, a difference.

I love all of the research I’ve done so far into Dadaism and into new ways of identity construction through digital media but, maybe, I should make this work more personal? Perhaps use a silhouette of my face and mix in digital content with other creative works. Kind of use an individual example of the evolution of navigating the self to apply to a larger whole, to make a larger statement. Maybe I should focus on just conveying the ambivalence of navigating and negotiating self-representation??? I don’t know.

As you can see, I’ve had a hell of a week caught up in my thoughts. I could definitely use some guidance and, really, someone to bound ideas off of. Hopefully, this week, I can get a more solid grasp of what I want to create and begin researching ways to create it.

****

~Till next week~

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Degenerates Gallery~

Disclaimer

So….. this week I was tasked with reaching out to some digital content creators that inspired me. Through discussion with them, I hoped to glean more about their creative process as well as get some guidance on how to approach a larger digital project. Being that I only have a background in studio art, this advice would be helpful in providing me with some direction for broaching not just my own project, but the concept behind it.

At the time of writing this post, I have yet to hear back from those I emailed. (Fingers crossed, though~)

Regardless, I have spent this week thinking more deeply about the kind of project I would like to make for my thesis. Specifically, I’ve been reflecting on the work and projects I’ve made thus far as well as on the projects I want to work on. This reflection led me to create 2 lists: A list of 8 things I’ve made that I love and a list of 4 things I would like to make.

8 Things I’ve Made That I Love

  1. Sweet Screams…. I made this nightmare catcher about a year ago. I was heavily inspired by some bones I received from a friend. It got me thinking about how to display them. Also, I had been wanting to work on a larger metals project for a while. I made this work during a time of great inspiration. I remember feeling the power of my own concept as I worked on this piece. I love the idea of corrupting faerie tales/faerie tale objects. There’s something about challenging traditionalism that really motivates me.
  2. Bone Girl… I wrote this story a little over a year ago as well. It was inspired by a random twitter bot prompt but really became something unique unto itself. I have created several other works that are heavily influenced by this piece. I’ve also narrated the story myself (with sound effects) as well as created a slide-show display of sorts for the piece (complete with images). It’s a dark twist of a tale, about a mother and daughter and the rituals they share.
  3. Ungentle Into the Night is a story that started off as another story inspired by a bot prompt on my blog titled Living Dead GirlIt became a series consisting of 4 installments (II, III, IV). I continued writing the story for a class on writing fiction for young adults and it became a 30 page work. It’s a story about a necromancer, Thana, and a reaper, Hayden, working together to set an underworld out of whack back into whack. It was the first longer, creative work I had written in a long time. I hope to finish writing it one day.
  4.  Iscariagor… Is a piece of piece of jewelry I made about a year ago as well. It’s a necklace that I cut out, shaped, and enameled to look like blood splatter. I came up with the name for the piece by combining the words Iscariot, ichor, and gore. I envisioned this necklace was commissioned by a queen who demanded a piece of jewelry be made from the blood of traitors. Charming, yeah?
  5. Supply… This is the title of a collection of poetry I wrote last semester. It was inspired by a relationship with someone I really loved and who I really miss now. I wanted to immortalize us and the loved we shared, however short, in the most meaningful way I could: through writing. It’s some of the most personal writing I’ve done in a long time. Here’s one of the poems from the collection I really love:
  6. Two-Faced…. img_6491img_6492Inspired by my poetry collection, Supply, I also made a work in metals. This piece is made from two pieces of acrylic, one black and one red, both cut in the shape of my head in profile. On each is a poem I chased into a piece of metal and then cut out and riveted on to it corresponding acrylic piece. On the black and blue side is a more sad poem while on the bright red and orange side is a passionate poem.
  7. Recently, my mom and I have been attending free arts & crafts classes at our public library. In those classes, we have had a chance to do pysanky (Ukrainian egg decorating) and rock painting. I’m really happy with both works I made in these workshops.
  8. Silence Screams Weren’t Always…. This is the Elit piece I made a few years back in my first ever class about Eliterature. I made the work in PowerPoint and I was very proud of the final product. It was meant to be this immersive experience that allowed readers to explore the often decontextualized and cyclical nature of trauma. I wish I could share it with you but it, unfortunately, only exists as a download.

Honorable Mentions

  • Nox Siog… This is the first bot I ever made! It tweets out little disturbing/poetic messages throughout the day. I love how the aesthetic and text of this bot work together. I wonder if it’s inspired anybody else to write….
  • Moonie Girl…. More like Mooning Girl This is the first bot I made using the Markov text generator option on Dr. Zach Whalen’s spreadsheet that I use to create my bots. This bot tweets out messages pieced together from my poetry collection, Supply.

4 Things I Want To Make

  1. Banshee Wind Chime…. A wind chime made from rib bones, silent until it announces your death only to your ears~
  2. You should see me in a crown…. This is a crown/headdress/kokoshnik largely inspired by the song You should see me in a crown by Billie Eilish as well as by my own desire to be a queen. Since you decided not to treat me like a princess, I decided to make myself a queen. I’m currently working on making it a reality in metals this semester~
  3. Treachery… This is an old story I wrote a while back about a dark faerie world. I want to edit it and continue working on it. I want this to be a series of work eventually, consisting of many different tales of the lives of many different characters that got me through some of the toughest times of my life~
  4. Degenerates Gallery…. This is the digital work I would like to try and make for my thesis. It is inspired by the Degenerate Art exhibition held by the Nazis during the war to disparage and diminish Dada art as well as by the idea of the Rogues Gallery. Essentially, it would be a work that would allow readers to explore the nature of self-representation in online spaces as well as explore the influence of Dada ideology on contemporary forms of aesthetic and self-representation. I imagine the work to be a kind of Elit piece.

Imagining the Gallery

In my head, I imagine the first sight users would see when they enter the Degenerates Gallery is a shattered mirror-like screen. (I kind of imagine the word WANTED flashing in the black background as well????) Shards would be littered across the screen but still spaced close enough apart that the user could see the shape of the mirror that once as. Across the shards, faces would flash in and out. Different faces (I hope I can gather from asking for volunteers on social media sites). In between these faces, there would be static, making the mirror both a mirror and a screen.

Clicking on a shard would take the user to a different page. Each page would allow the reader to explore some different facet of how we construct ourselves in online spaces/of how Dada has reemerged and how a Dada lens can help us navigate these new kinds of self-representation. I imagine one shard would take users to an archive of sorts, kind of like the one in Illya Szilack’s Reconstructing Mayakovsky. This archive would provide users with a collection of reference points which may assist them in further navigating the work. I would like another shard to take users to a dark screen, where a twitter post, maybe, about “screaming into the void” pops up before fading into black as a loud scream begins to sound. This would be a kind of reference to Hugo Ball’s… interesting approach to Dada performance art. (You can see why an archive of sorts may be necessary.)

I’d like to open the work up to submissions, as well. I imagine putting up flyers around campus and tweeting out about how I am “Now Accepting Submissions to the Degenerate Art 2.0 Exhibition!” I think it might be fun to contrast submissions to famous works of Dada art. This would be another shard.

Essentially, I want an exploration of each shard to eventually reveal a new whole. I want the seeming brokenness to yield to a new, compelling whole.

Again, I’m no one with a background in creating digital art. So, I’m not sure how much of what I’ve just described is possible. But, I think even creating something close to what I’ve described would allow for an enriching experience and exploration of how we navigate and understand ourselves and how we create and express ourselves in online spaces.

I hope I’ll hear back from some of the artists I wrote soon! So, I can move this piece off of the the want to list to the made list!

****

~Till next time~

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Getting Artsy????

Dilemmas

Am I an artist?

To be honest, this was the question of the week for me. Ever since I wrote down in my notes last class, “As an artist, what do I want to create?” I’ve been struggling. Mainly with that first artist part. It’s a strong word. Kind of heavy. Like a promise–a promise that I’m doing things and not just any things but insightful things, meaningful things.

I am artiste

art is my passion

…kind of like that.

Anyway, that question has been at the back of my mind all week as I try to figure out exactly what I want to work on for my thesis project. Not just what to make, but what makes an artist?

Before I dive too deep into that downward spiral, I do want to share what I discovered in regards to bot-making! In last week’s meeting, I was very interested in the possibility of creating an installation that revolved around an interface between bots, responding to each other and beyond. Primarily, I was interested in figuring out a way to get the bots to respond to Dada-related material posted to Twitter. For instance, if an edgelord someone posted a tweet about “wanting to die lmao”, I could have @Ya_Boi_DuCHAMP respond with “same” followed by some lines from an interview on Dada or lines from a Dada manifesto.  Maybe I’d have an account @totally_NOT_Ya_Boi_DuCHAMP tweet out pics of urinals~

Essentially the stream–ha ha–would be its own kind of collaborative, netprov/ performance anti-art.

At least, that was an idea I had. After reaching out to some excellent bot-creators and professionals in the fields of digital studies and culture, Dr. Leonardo Flores (@Leonardo_UPRM) & Dr. Zach Whalen (@zachwhalen), I’m not sure if it’s still the direction I want to go in due to some limitations imposed on the medium. Recent regulation crackdowns with Twitter’s policies have made it rather difficult to create bots that would have the exact kind of functionality I’m looking for.

Both Dr. Flores and Dr. Whalen did recommend I check out Cheap Bots Done Quick. According to them, I can create bots through this site that would allow them to interact with and respond to other users. There isn’t a reply option, though (which I’m not sure I’d need). Also, the site relies on Tracery to select for the kinds of “tags” I’m looking for. So, I’d have to experiment with that to see what kind of functionality I’d have there.

Dr. Whalen also presented another option–Glitch. Bots created through this platform can be as “nuanced as I program them to be” but there’s a catch–I need to supply my own App credentials and Twitter is no longer giving those out. So, I’d have to re-purpose old bot credentials or have none.

So….I have options???

Options

But, I really need to explore these different suggestions more thoroughly and see if either could be viable. I’m hoping to be able to that as part of my research for next week!

Back to that Question…

Now, as for whether or not I still think I want to make a bot installation, that’s indeterminable at this time.

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Sorry.

I’m just not sure yet if a bot installation would be the best way to present the research I want to do.

As mentioned in my previous post, I’m interested in a possible connection between new digital forms of media and a kind of Neo-Dadaism/resurgence of Dada idealism. I find the possibility of that, and its implications, to be exciting. (It doesn’t hurt that it combines two of my fave subject areas either–art history and the digital humanities.)

But, after last week’s discussion, I think my purview of interest spreads further than that. Especially after looking at work by digital artists such as Maria Mencia and Emilio Vavarella–who reached out to me on Twitter to thank me for my interest in his work and to encourage me to continue my own!!!!!— I think I need to adjust the scope of my own research.

I’m not just interested in bits and blips of representation here and there across the digital data-sphere. No, I’m interested in self-representation in the digital age on a larger scale. I’m interested in how seemingly disparate forms of expression can combine to create new wholes. I’m interested in what that new whole is and in what it represents about you, me, and us.

Who are the creators behind emerging or re-emerging forms of expressions online?

Who are the artists?

I find this subject matter to be very compelling. Identity is such an integral yet experimental constant of life. Especially now, though, it has become challenged and re-imagined and remixed in new ways. I think it would be interesting to explore how identity is navigated and self-represented in the rich and ever-evolving digital landscape that is shaping more and more of our society and culture everyday.

A digital work that also inspired me to think more deeply about self-representation, identity, and technology this week is Reconstructing Mayakovsky by Illya Szilak. It is a work of Elit that I researched (and wrote about here) for another class. I don’t want to delve too deeply into my own thoughts on the work’s conceptual underpinnings but I do want to speak a little about its interface.

Essentially, there is a main narrative aspect of the work but there is also all of this rich historical, textual, and aesthetic content that, when paired with the narrative aspect, creates this whole new world for exploring literature, art, and ideology of the past. That I find interesting in the context of my own conceptual interests. I think it might be worth exploring how I could construct a work of ELit like Reconstructing Mayakovsky that would allow explorers of it to engage with and experience Neo-Dada and the complex relationship of the self and art to the digital in a new and compelling way. Could be artistic, yeah? Sounds artsy-ish, at least. Artist-material??? Call me Duchamp Idk.

And, that’s where I am now.

***Edit: ORSP got back to me and told me, essentially, I could have an installation work as part of Research Days. I would need to supply more information about the actual parameters of the installation before I could get approval or discuss exactly what to expect in terms of space and whatnot. They seemed game to help me, though–which is good!

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~Till next time~

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Finding My Jam~

“we can’t all be poets but we have literary value…” ~ Alex Saum, The Democratic Value of Art Making from Fake Art Histories & The Inscription of the Digital Self

Welcome to my thesis blog~ Don’t mind the nonsense or the anxiety–it’s part of the process ^.^

My Jam 

So, my jam is searching for traces neo-neo-Dadaism is new digital media. For the folks at home, that means I’m looking for traces of an older art movement’s ideals–like absurdism, nihilism, anarchism, amoralism, automatism, de-contextualization–in new, emergent forms of digital creation like memes, and gifs, and Elit–Eliterature–not ebooks (check it). Specifically, I’m interested in making connections between new digital media and art so as to, maybe, better understand the implications and the purposes behind some of these emergent forms. Art and what it represents is a way to understand deeper and more profound truths about ourselves and our society. Ultimately, I hope my work can be applied to our understanding of emerging, digital genres and the users behind them as well as expanded by others to help contextualize future, digital works.

While my research and findings on this subject could certainly be represented through traditional means of presenting theses, it is my desire, as not just a researcher but an artist too, to incorporate some kind of installation or exhibit to accompany my work. In order to get a better grasp of some of the avenues I could take to accomplish this feat, I researched some contemporary digital artists and elit-authors/creators and their projects and wow. There is a lot of cool stuff going on in the field! Experimental and kind of confusing but, oh so inspiring and insightful and creative. I’m so excited to share some of the exciting work going on out there in the digital humanities and arts fields ^.^ I hope you find some of their work exciting too!

Poetic License

Maybe it’s my background in and my lifelong love (so far) for poetry, but I found myself heavily drawn towards some of the more poetic works of digital art and creation. More, I think I just love the idea of incorporating text–something so traditional–with the digital. SO many projects right now are dealing with de-contextualization, as well, and a new kind of digital automatism–which are both fascinating concepts in the analog sense but are given new life by new technology.

Alex Saum‘s #SelfiePoetry project is one such work that sticks out. The series, composed of two volumes–Fake Art Histories & The Inscription of the Digital Self, explore, “the intertwining of two ideas: the untruth behind artistic or literary histories, and our (il) legitimacy to intervene them to create narratives that make teleological [def. relating to or involving the explanation of phenomena in terms of the purpose they serve] sense”. The collection consists of 8 poems that challenge the notion of “the self” against “a somewhat vague, and rather unorthodox, selection of literary movements in Spanish and English”. Essentially, the human is contrasted against the literary, truth notwithstanding.

The poems exists as videos in which Alex Saum recites her poetry over a collage of selfies and other compelling/contrasting images. The first volume exists as a playlist here.

This is my fave from the collection:

I think this poem, in particular, embodies the aesthetic and the tone I am looking to embody in my own work.

Another digital poet who’s work captures that aesthetic and tone I appreciate is Ian Hatcher. I was a little hesitant when I first looked him up since it seemed like audio and sound were his jam (fyi for new readers, sound and audio are not my jam; in fact, they intimidate me quite a lot). Still, I decided to look into his work (due to a stellar recommendation) and I am so glad I did. His poetic style and voice are absolutely captivating and compelling.

Here’s one of my fave works:

It is so cool and I can imagine an audio file like this accompanying an installation work. Hatcher’s poetry reminds me of, again, the de-contexualized valued my many Dada (and Futurist, tbh) artists and writers.

In addition to Hatcher’s audio works, I also found his poetry app , Abra, to be quite interesting.

It seems to be another study in de-contextualization but also in absurdism and trying to make meaning from seeming nonsense. If not an installation proper, I think creating an app of some sort to accompany my thesis work may also be an idea worth exploring. An app would put my work in the hands of and before the eyes of a wide ranging audience, perhaps enhancing the impact of my work. The affordances of an app also bring into question the exact nature of the message I want to promote. What is the role of the viewer in interacting with new forms of digital media? And, how can I make neo-Dadaism in new digital media mean something to my audience?

*Highly recommend you check out the app and play around with it for yourself!

Jason Nelson is another elit artist and poet I admire and whose work truly inspires me to think about the possibilities of my own work. In fact, I would say Nelson’s This is how you will die inspired this thesis! It first made me aware of the possibility of there being Dadaism in new forms of digital creation.

While searching through his website, I came across a poetic work of Elit titled Evidence of Everything ExplodingI didn’t read/play through the whole piece but its initial set-up and aesthetic appeals to me.

Evidence of Everything Exploding

I also like the idea of combining poetry with an underlying, possibly historical, plot. Elit certainly allows for such seemingly dichotomies to exist and be meaningful. It might be fun to explore incorporating some poetry, perhaps from myself or classic Dada artists, over classic memes or gifs or something?? Perhaps with audio of me reading another poem over-top?? That might be over-the-top but it could be compelling.

I see Nelson’s work being seminal to my own research; I just keep coming back to it and finding something new in it every time to appreciate and engage with, emotionally and intellectually. The way Nelson articulates absurdity and nonsense but also deep meaning is both impressive and inspiring (sorry if I’m fangirling but god non-denominational do I love his work).

Re-conceptualizing the Self

Another theme I found myself drawn towards in my research of digital artists was that of the self and of self-representation in the digital age. What does it mean to be yourself in the digital world? What does it matter?

Emilio Vavarella‘s Digital Skin Series is one of the first digital art projects that really drew me in when I began my research. I was absolutely, morbidly fascinated by the project and a little bit disturbed? It’s great. I mean, look at it:

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It’s so f*cking cool

On Vavarella’s website, he says of this project:

The Digital Skin Series is composed of self-portraits in which I pose “under the digital skin” of strangers I’ve crossed paths with in the past. To create this series, I first used a 3D scanner to obtain an accurate tridimensional model of my face. Then I used a camera-prototype to acquire HD portraits of strangers. Finally, I applied their portraits to my digital skull as if they were simply an additional layer. The result is a series of photographs where bidimensionality and tridimensionality collide in an intimate and unpredictable way.

In the past, myths about skin were common across cultures and related to radical biological metamorphoses. For example, in the Navajo tradition – which considered the skin a mask – if you were to lock your eyes with those of the skinwalkers, they could project themselves into your body and transform into you. In today’s network society, bodies have left that organic condition and are characterized by transient statuses: individuals have become di-viduals, data aggregates, samples, signals. The last boundary between us and the world, our skin, has become a transient membrane that changes along with the trans- and meta- human forms under it. The space that was occupied by the skinwalkers of the past has been taken over by infinite reconfigurations and mediations. What remains the same is that to be human still means to constantly shift through generative metamorphosis, corruptions, and de-generations that escape any clear categorization.

It’s such a fascinating idea and I think it’s realization conveys its conceptual underpinning very well. Also, I like the introduction an remixing of the mythological in this project. I think that background adds a whole other layer of understanding and meaning to the work. It would be cool if I could incorporate a sense like that in my project, a recognition and re-realization of the old in the new.

Another artist (and epoet) who explores the idea of self-realization in this new media landscape is María Mencía. In her digital project Transient Self-Portait, an interactive work based on two important Spanish sonnets–one which references the passage of time and the other which invokes the idea of the unavoidable death, “the transient nature of the digital/data self” is explored. As the two sonnets appear and disintegrate across the screen, a self-portrait is constructed from the text. The two works become an illustration of the sonnets.

“the project is a response to some of the concepts that emerge from these sonnets: ephemerality of life, transient entities, fragility, which are also relevant to our age and the electronic world we inhabit. It questions the experience of reading; the use of digital grammars (interacting and engaging with the work); while exploring the concepts evoked in the sonnets.”

Participants are invited into the work, encouraged to use their own voices to control the direction of the piece and create a self-portrait from the text. User input is integral to the work. So, as you read the work and run your mouse over the text, you create in a very visceral way. “The creative process is that of producing, reflecting, programming and testing the medium to explore these notions in an electronic media society of dialogues with self-images, engaging the participant in a reading experience of ‘in’ and ‘out’ of language, via webcams and interactive aesthetics and poetics.”

I appreciate how, like Vavarella’s work, Mencia’s work realizes its conceptual under-layer. It articulates a point about the flesh and blood self through creative, digital interfacing. Also, it’s a recipricol exchange. I would love it if my own project could incorporate a level of reciprocity. I want my readers to feel not just like they got something from my work but that they also gave something back to it.

The New in the Old

In addition to looking at the work of digital artists and elit-creators, I also looked fro inspiration from work still being made more traditionally or in conjunction with traditional means. Amaranth Borsuk’s Moon Signs project, made in conjunction with artist Carrie Bodle, in once such combination work I found to be compelling and interesting. Borsuk’s project was inspired by Bodle’s wavesigns project (which is a sound and video installation where “a six-channel video installation layers five dimensions of oceanographic data on large semi-transparent textile screens, while a five-channel sonification engages viewers/listeners with references to underlying systems of data” which is really f*cking cool too) and consisted of two, participatory sound poetry events in which participants were invited to use “a lunar calendar as a poetic compass to navigate the night sky and build a word ladder to the orb that exerts such force over our lives and our language”.  Borsuk describes the project as thus:

“we designed a volvelle [a wheel chart] whose apertures reveal a word ladder composed of 31 words. The gradually changing poem waxes and wanes along with the lunar phases, shown on the opposing side of the dial. In the center of the volvelle, apertures reveal constellations of words from a cento printed below. This patchwork poem culls lines from dozens of poems that feature the moon: reflecting a range of time periods, styles, identities and themes. They range from poems responding directly to the lunar landing to poems in which the moon acts as lover or muse for the projective poetic imagination.”

This work, again, seems to reference the de-contextualization of text as a way for creating new meaning and story. I like that participants are invited to create and construct lexia in a collaborative way, too. Even if the work generated in seeming nonsense, there can be meaning in the act of participation itself.

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Borsuk’s volvelle

Lisa Park‘s installations are also incredibly compelling and inspirational. Though differently from Elit, her art makes use of new digital technology to create new meaning and to explore the complexity of living in this day and age. One installation of hers I found particularly interesting was Rhythm. The project “is an interactive installation that translates the user’s heart beats into abstract visualization in real-time. A participatory work of time-based art, it allows participants to make rhythmic gestures of their heart beats. The detected heart beats modulate the thickness of each brush marks, which creates a recreation of one’s physical and emotional states.” Park states that the brush’s movements are inspired by Pollock and many of the color palettes are inspired by those of other famous works of trad art like Van Gogh’s Starry Night. Totally my jam. I love that integration of the new and the old. More, I really love art that references itself.

Park states, “The aim of this work is to create an enjoyable and playful experience for the visitors to create their own unique piece that captures their personality, emotion, and moments”. I like the idea of giving participants something that is uniquely their own, as well. Again, this kind if work, to me, makes use of reciprocity. You get what you give the work.

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One of my faves~

You can foll @project_rhythm on Twitter to see some more cool works~

One last artist whose work I really enjoyed and that resonated with me was Judy Malloy and her work its name was Penelope. The installation is an interesting mix of elit and analog technology. Essentially, the work consists of a large, hypertextual painting and a computer, running Malloy’s book version of the text. Again, it’s another interesting juxtaposition of the old and the new, of what it means to create something by hand.  If I could, I would love to create a work that makes a, perhaps, hidden juxtaposition more accessible.

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its name was Penelope

Wrap Up

So…. I have a lot of ideas. A lot of inspiration. Not so much direction. I know I would like to create an installation that captures some of that neo-Dada I see in new digital media and that communicates what that means to participants or that invites participants to engage in their own kind of meaning-making. More, I would like to create a space for meaning-making to occur.

In my head, I’m envisioning this kind of immersive installation that surrounds the participants and their senses. But, maybe that’s not the best way to convey my purpose? Or, introduce my audience to my topic? I think I need to do more research on installation work but also on digital/elit artists and how they set-up their exhibitions. More, I think I need to get an idea of what would be possible to do with the resources I have at my disposal at my university.

So….yeah, I’m not really sure where that leaves me but I’m sure we can discuss it more at length on Thursday though~

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*If you haven’t had enough of me already, you can check me out on the Twitter ^.^ Sometimes I’m witty???? #debatable?????

~Till next time~

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