Lost and Found

Spite_rough cut

2008-11-21T07:17:00.000-08:00

In film production rough cut is the first version of the edited footage. This is a rough cut of student film Spite the final version, cleaned up and with better sound, should be ready week after Thanksgiving.

Spite (2:09 min; rough cut)

Webspina addresses...

2008-11-13T16:11:00.000-08:00

Here are the addresses for my Websina performmance:

Trance and VJ:
http://www.trance.fm/?gclid=CLXhtPih8ZYCFQ8Qagod93U8ZQ

Duke_"Who wants some more"
http://soundboard.com/sb/solrosin.aspx

Gunshots:
http://www.soundsnap.com/search/audio/gunshots/score

Drums:
http://www.biowaves.com/Drums/Listen.php

Monks chanting (trailer):
http://deathnote.viz.com/

Blue vs Red: Episod 1 "Why are we here?"
http://www.youtube.com/watch?v=9BAM9fgV-ts

Native American chanting:
https://www.soundofamerica.com/index.cfm

Windchimes:
http://www.rutherford-gardens.com/wind-chimes-sound-samples.html

"Can Always use more"
http://soundboard.com/sb/S1CKSlugger.aspx

BEMOCA Experience

2008-10-22T06:40:00.000-07:00

Commentary Coming Soon!

Danaus Plexippus

2008-10-01T04:46:00.000-07:00

Danaus plexippus, better know as Monarch Butterfly, is a common motive in art. With graceful, elegant semi-complex patterns, great contrast between burning orange and shinning black Monarch Butterfly enflames the imagination of artist, entomologists and spectator alike. What Timothy Weaver found most interesting about the Monarch Butterfly is not the visuals but ecological background, the migration and reproductive patterns – the life cycle. From the presentation which proceeded the expressive life-performance, I have learned about the amazing thousands of miles long journey of the from the US/Canadian boarder to the small sanctuary in Mexico. The process preprogrammed in its genetic code and executed each year without fail, like an automated program.

I found Bionarrative#7 – Danaus entertaining and visually pleasing, especially the colors and patterns, but it was the exceptional sound design which made it worth watching. Roger Carter, film major’s faculty, says that there is very few successful short films. CU Boulder film program is best known for the experimental film and alternative cinema. In the two years I have been in the program I have seen dozens of experimental films, and several alternative cinema performances. I under appreciated Weaver’s performance while watching it because the seamlessness and synch between audio and video made me forget that this was a performance not a film. Based on a structure derived from biometric data, Weaver mixed life video and audio, often channeling one through the other. The equipment he used was relatively simple: two Apple laptops, two mixing boards with 10 programmable channels and digital projector and an impressively large screen.

If I could see the performance again I would have liked to watch Weaver as much as the work he was outputting on the scene. In life performances, mostly music, I found new depth of appreciation for the work and the process by seeing the artist perform life.
Weaver compared himself to an orator who passed stories, old and new, through the word of mouth. He said that one of his goals was to find a new way of telling a story. With each performance improvised within the predetermined narrative structure Weaver is able to tell the same story but make each performance unique. He also referred to his work which displayed images of extinct animals, mostly birds, as the contemporary ghost stories; “…cross of supernatural with critical.” I have to say that I have not perceived the elements I associated with ghost-stories, like fright and chill, in the work and I have no knowledge of ornithology as to tell extinct species from others but he closed eyed, still birds were obviously dead. I would describe the experience of watching Bionarrative#7 as reflective and highly poetic, infused with a sense of nostalgia.

Information art, or metadata art, is an interesting new evolution of the modern art scene. Re-introduction of science into art seems to revolve around the technological means of production, largely computers and digital video and photography. Weaver has background in bio-engineering and he brings it into his work as a source of inspiration and narrative structure and creative guidelines for his works. He certainly talks like a scholar, but creates work which can be appreciated for its sensuality and poetic expression. I think in these aspects his work is more interesting that that of Luke Dubois whose work by comparison seems more rigid and scientific. If re-appropriation of science for the arts is interesting so is true of reverse.

Weaver talked a little about the reverse situation where art lends itself to science. Even through most people view such images, such as far away star systems or extinct dinosaurs, as scientific, those computer generated approximation and speculations are works of informative art. Anytime creativity, or speculation guided by data, is applied to pre-visualize something the same artistic creative process takes place in the mind of the creator. It would be then safe to conclude that most scientists have artistic impulses, but fewer artists have the inclination for science. Weaver is certainly both, an artist and a scientist, and his experimental approach warrants consideration and possible further exploration.

What To Do v.1

2008-09-26T23:45:00.000-07:00

Is "free culture" even plausible...

2008-09-25T17:18:00.000-07:00

Remix culture most likely would not exist without the “open source” concept. Sourcing of creative material, from music to software, is in the heart of the remixing, postproducing, and reconfiguring processes. The freedom from prosecution in the literal sense lets people open themselves to the creative process. Would people still reuse existing content, scramble its original “subtext” and present it in a fresh way? Of course but the outlet to their creations would be even more limited than it is now. I think that economy is the driving force of all things as its principles can be applied to virtually all situations in the civilized society. Capitalism is only one of many socio-economic models and in its execution probably the furthest from “free-culture” and most opposed to “open source”/ “content idea” as they cripple individual ability to gather wealth. Does this mean that I think that “free culture” would be a better system? I mentioned economy before and it is my believe that “free culture” would be devastating to the economy as an entity and with it civilization can not exist. As such “free culture” is a utopian ideology without functional inner structure and as such its unrealistic. It’s easy to say everything should be free and no everyone should be allowed to benefit from the creative and intellectual exertion of fellow men (or women). The words “free” and “property” are mutually exclusive.

One of the biggest challenges facing the entertainment industry in the age of computers and WWW is piracy. If we all agree that one fundamental aspect of piracy includes taking some else's profit, then the P2P file sharing is not piracy since the people who exchange files online do so with any exchange of profit. The argument made against file sharing is that loss of “potential” profit which in my opinion is going to far. First of all I don’t think that the estimates of are reliable because the absence of the free entertainment does not guarantee that the people would go and spend money for the retain versions of material. In my opinion in many cases the interest in the material is only sufficiently alluring because it is free. In the market where revenues from games have exceeded combined profits of film, home entertainment and music industry combined, I think that members of the online community which indulges in file sharing would simply drift in that direction rather than spend money on physical products.
But the issue of property and related profit remains as it is vital to perpetuation of the process of creation. Therefore it is my opinion that the physical world should continue the process of copyright, especially since material goods and processes are involved in creating and sharing the efforts of its creators and distributors but if the product hits the web its public domain.

2008-09-18T17:21:00.002-07:00

IM-age Program...

2008-09-18T17:21:00.001-07:00

When I came to the realization, or realized the potential of concept, at that moment I have became an automat in the very concept that Fusser has described. When I completed the thought, the idea for this project, I could literally hear the gears switching in my mind. “Auto-pilot” ON, and the little indicator light came on. The program has been written, the process and function has been automatized and the production has begun.

Insert date and time: 9/18/08 3:47 AM

IM-age Program

1. Place the cursor
2. Include Section Titles
3. Scan Text till next hyphen
4. Hold down “Shift” key
5. Click with Mouse to select text
6. Press delete
Repeat steps 1 trough 5 264 number times

End Program

Insert date and time: 9/18/08 6:03 AM

Towards A Philosophy of Photography
Vilém Flusser

Second we it may technical civilization and existence is structure proposed. Space-plus-time, space-time, reproject two-dimensional significane - the meaning – of symbol-complexes. Symbol-complexes, time-relation, element dimensions, relationships return to space-time where everything "ek-sists." Presenting, represent image-like reversal image-like produces consciousness capacity image-thinking, meta-codes history. Between Christianity imaginative, which originally were meta-codes images, meta-codes.
Traditional applied first-degree. Technical third-degree historically "pre-historical," "post-historical," previously technical surface thanks processes and result looking non-symbolic images and as essay they image. However apparatus-operator hidden illiterate images they as images emanate all images evalu-ate tele-vision Televi-sion suc-ceeds de-gree Pre-historical re-charge "post-history compul-sory gener-alized de-luge civi-lization substi-tute that magic re-uniting charac-ter prog-rammed his-tory rotat-ing im-ages techni-cal photog-raphed and ''apparatus" lying-in-want ac-cording in order to produce them. In doing so, they change the original form of those objects, impose a new form on them; in other words, tools inform objects. The removed objects thus acquire an anti-natural inform-ed re-course it-was "photo-proletarians" "photo-capitalists post-industrial re-evaluate they information-supports but for-get photo-program cam-era cam-era pre-industrial function-unit well-programmed be-cause words pa-per, letters toy-like hid-den socio-economic meta-program meta-program meta-program socio-economic post-industrial power-game imperial-ism meta-program play-function post-industrial post-industrial existence under-developed de-cipher so-called post-industrial under-developed under-developed space-time space-time space-time space-regions bird's-eye fish-eye lightning-like space-lime space-and-time space-time condition at meta-program "do-ityourself" any-thing socio-political politically-committed politically-committed al-ready program in photographer in here tries post-industrial space-time micro-electronic "nervous-system" cam-era possible except anti-ideological post-ideological post-industrial button as grain-of-sandlike sand-granular. post-apparatus post-industrial at-tempts black-andwhite Black-and-white pre-photographic puppet-motion. black-and-white. trans-coded it-self. purpose unless photo-industrial socio-economic photo-critical at-tempt thermo-dynamics. other-organisms in-formation anti-natural semi-circle "re-lays forms with post-industrial "thing-ness," in-formation owner-ship trans-ported thing-ness neo-imperialistic re-evaluate thing-like leaflet-like hand-to-hand in-formation in-formation some-where aesthetic-tic as-assumption hu-man post-industrial ques-tions post-industrial re-turns photo-graphs photography a contra-diction in-formation post-industrial mania of similarity reaches snap-shooter snap-shooter al-ways al-ways gram-mar in-undate deliver-ed be-tween relation-ships post-industrial ac-tion so-called post-industrial super-human re-place every-thing non-occidental in-formed chameleon-like ever-changing grain-like wave-like step-processes thought-net bi-univocal every-thing program-med sub-human cam-era in-scribed program-med post-industrial post-industrial grain-like re-structuring al-most dark-ness can-vases con-trolling visible for interest-complex programs those games grow "function-al"
super-human, super-human; sub-human, for-ward post-industrial post-industrial image apparatus r-program in apparatus concepts image information we re-turn to-wards effect- post-historical post-historical sys-tem concepts image, information then, informatics to an-other With- in non-traditional no-thing photography except live thanks activities; in a post-historical revolution" such time has so-called post-industrial leaflet-like own-purpose Post-history: the re-translation Post-industrial.

IM-age Image Essay posted...

2008-09-18T17:21:00.000-07:00

I have posted "emergency" version of my image essay. Here is the link:

https://webfiles.colorado.edu/bugajska/www/

I apoligize that the idea is incomple,
Joanna

Coming Soon...

2008-09-17T14:59:00.000-07:00

I am still working on the photo essay. I will publish it tonight and given opportunity present it in class.

Joanna :-)