I started with the idea that I would use a continuous shot, but realized pretty quickly that this would be extremely difficult because of a focus issue with my camera. It was too dark and too close to make a continuous shot happen, so I shot everything I could continuously with substantial gaps in film where the camera refused to take the shot. I decided replacing the shot with something abstract would make more sense anyway, mainly because the idea was remove the viewer from what was the established “reality” (the recognizable face). The face itself was an important component because it represented, fairly simply, the lunar cycle. I think I was initially interested in the baby head (when I bought it) because it had water damage, but it also reminded me of one of my favorite stop motions from The Fall (Tarsem, 2006). In retrospect, even my color scheme was similar to some of the scenes in The Fall.


(above: The Fall)

I was also interested in capturing the glitchiness of many of the Tool music videos, which I find to be pretty genius and evocative in their simplicity:

My audio was mostly influenced by my own experience with trance states and full-body vibrations that accompany astral projection. The source of my audio was a combination of simple TV static and my own voice. I was actually able to find the video I took as I walked through my current house for the first time (where many of my metaphysical and paranormal experiences have taken place) when I was interested in renting it and showing it to my room mates over Facebook.

I would also say that while narrative has been an important component of most of my previous work, that is not so for Aether. Narrative and time- especially linear time- is inconsequential in this piece. The point of viewing it is that time is lost.

Stills from Aether:



Project 4: Narrative (idea)



For my narrative, I would like to borrow the “Hamburger” scene from Quentin Tarantino’s Pulp Fiction and edit/sequence stills from it in a manner consistent with the aesthetics of a classic Charlie Chaplin scene. In other words, I would take the most visually narrative stills from the Pulp Fiction scene, and re-tell the same story in black and white with an accompanying score from an actual Chaplin scene. I think this would make for an interesting comparison and compilation of what was considered to be a good example of film and story telling in the silent film era and what is expected of film and story telling today (i.e. something humorous, exaggerated, visual narrative that does not require words and requires few conceptual notions versus something rich in rhetoric, portrayed mainly with verbal communication, highly conceptual, etc.) I think this scene is a good example of a story that is verbally and visually rich in narrative.

Hamburger Scene from Pulp Fiction:

Music: “Filmmusik” by Charlie Chaplin:

> If possible I will use the original recording of Chaplin’s music for authenticity’s sake.

PARTICIPATORY 2: “Inbox Victory”



Summary: “Inbox Victory” invites the audience into the art by getting them directly involved- asking for submissions in the form of screenshots of themselves. As described on one IV website- “Have you ever been in the situation where you spend days trying to answer all of your email only to accomplish your goal and have no one to share in your victory? All you want is a high five, a pat on the back, and a “job well done soldier”, and yet most likely all you are left with is an empty room and a cold cup of coffee. Inbox Victory is an initiative that says, “you deserve that high five!”

Response: This work is somewhat for fun, but it does evoke an interesting response- mainly one that relates to taking a moment to “get off the grid”, so to speak. This project invites participants to use media to respond to other types of media- emails, spam, vast quantities of information, etc. (Which really could be considered products of social interaction and the internet). It’s similar to the other works we’ve discussed because it invites individuals to express themselves uniquely about the same subject- how they reward themselves for emptying their inbox (and more conceptually)- how they reward themselves for taking a moment to filter the products of excessive technological involvement from their every day lives.

Participation: Before I Die



Summary: Before I Die, created by Candy Chang, is an example of participatory art. After experiencing a personal loss of a loved one, Chang created the wall to allow others to share their aspirations in a public place as a reminder that people are not alone in their endeavor to make the most of the life they are given. I like to think of the project in Chang’s terms: “Each wall is a tribute to living an examined life.”

Response: “Before I die, I want to not live another second.”

I saw the above response on the Before I Die website and I thought at first that it was almost silly, but I realized that it’s actually a great paraphrase of exactly how I want to feel at the time of my death- well lived. Well practiced and learned. I want to be able to say that I’m ready to move on and that I’m unafraid of death- not because death isn’t a scary thing, but because my life has been satisfying enough that I can rest with the experience I’ve had. The Before I Die project has affected me the way I think Chang intended for it to affect everyone. That is to say, it has reminded me to examine my own life and experience and inspire to “do”. What will you do before you die?

Process: Project Two Update 9/15



My piece focuses on using modern editing software (Photoshop) and applying it to traditional forms of media and art (oil paint) in order to observe it as a projection of a variety of perspectives. At some point I would like it to rotate to emphasize seeing the piece from many perspectives. I was also inspired by fractals and mandalas when choosing how to arrange the repeated image of my painting- I feel as though the idea of growth is important to the theme of remediation, and fractals are nature’s best example of the power of growth and organic structures. Mandalas are often representative of spiritual and meditative practices, but in this instance I was mostly influenced by their shape and arrangement.

Post Post Post



A great Postdigital Art blog:

Postdigital: Defined by Wikipedia as ourchanging relationships with digital technologies and art forms… An attitude that is more concerned with being human, than with being digital.”Postdigital art is an art form that addresses the humanization of technology by combining digital, biological, cultural and spiritual systems. It is also heavily based on the senses, aesthetics of media, participation and communication.

Response: The idea of postdigital art and design is indicative of man’s desire to move slightly away from the overwhelming influence of technology toward the homeostatic balance of nature and organic activity of the mind. I can also see how the human condition is a central element of postdigital art, and I like how that ties in with the works of many traditional artists.