Erik Parr
DXARTS 202
4/17/06
Concept Architecture
¬Project Objecives
-Engage viewers in the dialogue on the Holocaust, media, and memory
-Bring into question the idea of non-image, politics of photography, the role of the viewer in art
-Allow participants to reexamine issues of representation, memory, and surveillance
Cultural / Historical Influences
Guilles Deleuze
Maurice Blanchot
Susan Sontag
Art Spiegelman
Technical Foundations
Processing.org
SuperCollider
stateoftheunion.onetwothree.net/
Equipment
- MacBook Pro -- $0
- Projector -- $0
- Installation space -- $0
- Speakers -- $0
- Mk II sound interface & cables -- $0
Total: $0
Budget
$0
Timeline
Week 4 –
Complete text-based graphical interface rough draft in Processing
Week 5 –
-Work on image display and make display aesthetically pleasing
-Integrate text-based graphical interface with image display
Week 6 –
-Create interface between Processing language and SuperCollider for sound recording and playback
-Fix bugs, technical problems, etc.
Week 7 –
-Integrate text-based interface, image display, sound
-Refine implementation ideas, etc.
Week 8 –
-Prepare logistics for installation (installation space, equipment reservation, etc.)
-Refine integration, fix bugs
Week 9 –
-Fix any loose ends, bugs, implementation issues
- Test final product
- Finish
Personal Objectives:
-Gain technical skills in integration with Processing language and SuperCollider
-Artistic exploration and risk taking in conceptual / subject matter of installation
- Learn to incorporate research into a fully realized artwork
4 comments:
Your project reminds me of a poem by Arthur Rimbaud,
Our Assholes Are Different
Our assholes are different from theirs. I used to watch
Young men let down their pants behind some tree,
And in those happy floods that youth set free
I watched they architecture of our crotch.
Quite firm, in many cases pale, it owes
Its form to muscles, and wickerwork
Of hairs; for girls, the most enchanting lurk
In a dark crack where tufted satin grows.
The touching and wonderful innocence
Of painted cherubs on a Baroque shrine
Is recalled in that cheek a dimple indents...
Oh! If only we were naked now, and free
To watch our protruding parts align;
To whisper-- both of us-- in ecstasy!
Besides that poetry, though, I think your idea is very solid, and I am even having trouble thinking of any sort of constructive suggestions. I think that's partially just because what you're working with is a little bit out of my realm of experience.
I'm curious, though, what you'll be doing for audio. Music? Abstract sound? Canned WWII explosions? haha, it seems like there are a lot of landmines that you need to carefully step around with all this.
(I'm reposting this due to a few typos!)
Hey Erik, I really respect what you're trying to do. I think you have a great idea, and that executing it is understandably difficult.
I think the main thing yesterday was that no one can deny the raw power of some of those images, and that they are so extreme that using them in conjunction with anything else almost feels dirty, unless there's a proper context.
That said, I don't think you need to feel disheartened. First, of all, you ran into the problem because you were bold enough to do something so serious. Moreover, I think you can definitely execute your idea, and in a better way, by using images and sounds that aren't so directly and inescapably gutting.
To me, the more ambiguous images are the ones that are truly transformed with reoccurance, and which serve as adequate containers for our projections and current situations. This is such rich opportunity for the light to not only be focused on WWII but also on people's individual souls. I hesitate to give any particular ideas because you seem to really have a handle on everything, but I'd love to pick your brain about it at Allegro sometime.
Your whole project is such an interesting challenge. Thanks for going there.
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