Project 1

“Art does not reproduce the visible; it makes things visible.” - Paul Klee

"The function of the imagination is not to make strange things settled, so much as to make settled things strange." - G.K. Chesterton, essayist and novelist (1874-1936)

Digital tools are ideal for the creation of ideas and scenarios that are more real than real. With these tools we have the ability to super-saturate, hybridize, augment, and amplify otherwise common images. Another strategy is to eradicate, erase, relocate elements of reality in images in order to point out new possibilities or relationships. Consider a creation of a personal reality, an alternate reality, an amplified reality, an erasure of parts of reality, a future reality, a distopic or utopic reality or a rewriting of the past.

This project could take the form of a series of 3 related images, each of which should be at least 2000 pixels in either height or width. OR it could become a storyboard, with multiple images on one canvas. Storyboard-style images should be visually interesting as well as convey a story. Text and images can be used.

Upload the completed flattened JPEG (quality 12) images to the Project 1 dropbox in Carmen before class starts on the due date. You are also required to bring a backup of your files to class on a CD or USB drive, In case of file error problems.

Important Note: You are not permitted to use copyrighted material in your artwork unless you are doing it under the Fair Use Principle. You can also make use of work that has a certain types of Creative Commons licences, as long as you are following the licence restrictions and you are making your own substantial creative work in conjunction with the borrowed work. On their website you can find many digital assets with flexible copyrights. Consider submitting your own work to this database.

If you used any source image files that are not your own, you must also upload a text file that explains where each came from and exactly what type of licence each file has, ie. public domain, Creative Commons Attribution, No Derivative Works, Share Alike, etc.

DUE: For Critique at the beginning of class on Tues. April 8

Related reading: Next Nature blog

Related artists/projects: Mariko Mori | Jeremy Blake, Jeff Wall 1 , 2 | Aziz + Chucher, Paul Pfeiffer, Sabrina Raaf, Matt Siber, Jon Haddock | Margi Geerlinks | Dieter Huber's Klone Series | Patricia Piccanini | Jason Salavon | Karl Sims | Orlan's Self-hybridization Series | National Parks Conservation Public Service Ads | Ken Gonzales-Day

Points possible on this project: 15

ASSIGNMENT: Construct a moving image composition that makes visible for others the visual effects created by your own perceptual system. Yes, those things you see when you close your eyes - especially when you rub them while closed - are a real phenomena. Phosphenes are: "Visual sensations arising from mechanical stimulation by pressure upon the eyeball when the lids are closed. It can also be produced by electrical stimulation of the eyeball." - from the Online Medical Dictionary. What do your phosphenes look like? How do they move and change over time? Show us in your moving image composition. This is a visual project only, no audio.

Your final composition should be rendered at 720 x 480 at a minimum time of 20 seconds, maximum 1 minute. Burn your .mov file on a CD or DVD and hand that in to me on the due date.

Software: Photoshop and/or Illustratrator in conjunction with Adobe After Effects.

Important Note: From the last assignment, you know the rules about copyrighted materials.

DUE: For Critique at the beginning of class Thursday, April 17

Points possible on this project: 10

ASSIGNMENT: Construct 1 moving image composition, that is inspired by the concept of Technology Expanding the Horizon. Technology affects every aspect of our lives - how we exist and perceive our physical surroundings and notions of the landscape. With ubiquitous Google Maps, the World Wide Web, digital photography, and nanotechnology, the landscape, a physical place, has been evolving into the landscape as a virtual place. As an artist, you are a meaning-maker, contributing to the important dialogue about how technology impacts and changes our perception of the landscape.

You may use sound and video for your piece, which will be presented as complete Quicktime video when you are finished. The final composition should be rendered at a minimum size of 720 x 480 and a minimum time of 30 seconds, maximum 2 minutes. Burn your .mov file on a CD or DVD and hand that in to me on the due date. You also need to turn in a one to two paragraph artist statement that describes the concepts and inspirations behind your work.

Software: Photoshop and/or Illustratrator in conjunction with Adobe After Effects. Audio, video and 3D software may also be used.

Important Note: From previous assignments, you know the rules about copyrighted materials. That also applies to the use of copyrighted music/sound in your artwork. You are more than welcome to use music/sound that you created, or music/sound that you have received written permission to use, or that which has a certain types of Creative Commons licences. On their website you can find many digital assets with flexible copyrights. Consider submitting your own work to this database.

If you used any media files that are not your own, you must also upload a text file that explains where each came from and exactly what type of licence each file has, ie. public domain, Creative Commons Attribution, No Derivative Works, Share Alike, etc.

DUE: For Critique at the beginning of class on Tues. May 6

Related reading: Networks, Margins and Centres: Models of Online Cultural Geographies as Dispersions and Hierarchies by Simon Biggs.

Related artists and projects: Adriaan Stellingwerff's Eternal Sunset | the online virtual world Second Life | Ingo Günther's WorldProcessor | Center for Land Use Interpretation | MK12's EXP:Infinity and History of America Teaser | Lisa Jevbratt's 1:1 web mapping project | N55's Land | Thomson & Craighead's Light from Tomorrow | Milk | Berliner Taxi | Google Sightseeing

Points possible on this project: 20

You will research an area that interests you and create an imaging art project. It can be either a series, or one large (big effort, not necessarily big sized) project. You can choose to use whatever software, hardware output format suits your concept. Your main concern should be that the project is conceptually driven and artistically strong. Projection environments, animation, 3d modeling, After Effects projects, digital prints and web based works and more are acceptable as long as the works produced are well-researched, self-driven, inspired and complete.

For those of you working in a particular software area I recommend setting up your own user groups that can help with questions. There are significant student resources in the class and I hope for a shared community of students that can rely on each other for assistance.

I will reward you for taking chances and projects that are large in scope will be graded accordingly. I understand that there will be technical problems and this is why you absolutely must plan ahead - do not wait until the last minute to complete your project. NO COMBINED PROJECTS ARE PERMITTED WITH OTHER CLASSES, however, research that you are doing in other classes can certainly inspire your project. Collaborative projects that demonstrate an effort in proportion to the number of collaborators are encouraged.

DUE: For Critique at the beginning of class on Tuesday, May 27.

Participating in the Art and Tech quarterly exhibition is a required part of your final. See the schedule for details on the show.

Points possible on this project: 25

• CONCEPT - idea, intention and meaning.
  Does the artwork clearly communicate something to other viewers? 25%
  
• CREATIVITY - originality of thought and expression.
  Does the artwork show innovation and uniqueness? Did the artist solve the given assignment problem in an expected or unexpected way? 25%
  
• COMPOSITION - arrangement and organization of elements.
  Has the artist carefully considered elements such as balance, proportion, texture, color, shape, and positive/negative space? 25%
  
• CRAFTSMANSHIP - attention to detail. Does the artist skillfully manipulate the images? Are all details carefully finished and/or intentional-looking? 25%