Photoshop

Class 3: Unfinalizability

 

“…that strange new zone between medium and message. That zone we call the interface.” —Steven Johnson, 1997

Goals/Discussion: Unfinalizability
“There is neither a first word nor a last word and there is no limits to the dialogic context” – Bakhtin

Core issues in the emergence of modern and post modern art has been concerns of transience, theater, the degenerate and the environment.  The definition of art has shattered the confines of museums and asked questions about the archetypal inviolate, permanent piece of art which can be priced, commodified and placed eternally upon a wall by a collector.  Digital art additionally asks what if the artwork were interactive, cooperative, physically insubstantial, non-analog.  Digital brings many things to the fore, but chief among them in my experience is mutability, the ease, urge, willingness and encouragement to change.

The marshmallow test

Oh, The Temptation from Steve V on Vimeo.


Play one of the games below.  Tell me, what are your thoughts about these games, are they successful or not?  What about them captivates you, if anything.  Try to differentiate between the gameplay and the look and the feel.

Artistic or Critical Concept: Hypertext
Lets read a portion of Vanevar Bush’s “As we may think” -
http://www.theatlantic.com/doc/194507/bush

HOMEWORK

  1. Please post an entry in your blog about the Reading below.  Can you imagine being an artist with 1000 true fans?  How would you contact them?
  2. HOMEWORK: Design a GORGEOUS homepage for a real hotel in washington DC, make sure to include a booking mask, a specials/packages promotion and a clear call to action.

1000 True Fans
This post by Kevin Kelly became an almost overnight sensation because it illustrated, clearly, what the real practical benefit of a “niche” audience might be. The consequences this may have on your art is tremendous.

“Find 1,000 True Fans. While some artists have discovered this path without calling it that, I think it is worth trying to formalize. The gist of 1,000 True Fans can be stated simply: A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author – in other words, anyone producing works of art – needs to acquire only 1,000 True Fans to make a living. A True Fan is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can’t wait till you issue your next work. They are true fans.”

” Young artists starting out in this digitally mediated world have another path other than stardom, a path made possible by the very technology that creates the long tail. Instead of trying to reach the narrow and unlikely peaks of platinum hits, bestseller blockbusters, and celebrity status, they can aim for direct connection with 1,000 True Fans.

It’s a much saner destination to hope for.

You make a living instead of a fortune. You are surrounded not by fad and fashionable infatuation, but by True Fans. And you are much more likely to actually arrive there.

A few caveats.
This formula – one thousand direct True Fans –  is crafted for one person, the solo artist. What happens in a duet, or quartet, or movie crew? Obviously, you’ll need more fans. But the additional fans you’ll need are in direct geometric proportion to the increase of your creative group.  In other words, if you increase your group size by 33%, you need add only 33% more fans. This linear growth is in contrast to the exponential growth by which many things in the digital domain inflate. I would not be surprise to find that the value of your True Fans network follows the standard network effects rule, and increases as the square of the number of Fans. As your True Fans connect with each other, they will more readily increase their average spending on your works. So while increasing the numbers of artists involved in creation increases the number of True Fans needed, the increase does not explode, but rises gently and in proportion.

A more important caution: Not every artist is cut out, or willing, to be a nurturer of fans.  Many musicians just want to play music, or photographers just want to shoot, or painters paint, and they temperamentally don’t want to deal with fans, especially True Fans. For these creatives, they need a mediator, a manager, a handler, an agent, a galleryist — someone to manage their fans.  Nonetheless, they can still aim for the same middle destination of 1,000 True Fans. They are just working in a duet.

Third distinction. Direct fans are best. The number of True Fans needed to make a living indirectly inflates fast, but not infinitely. Take blogging as an example. Because fan support for a blogger routes through advertising clicks (except in the occasional tip-jar), more fans are needed for a blogger to make a living. But while this moves the destination towards the left on the long tail curve, it is still far short of blockbuster territory. Same is true in book publishing. When you have corporations involved in taking the majority of the revenue for your work, then it takes many times more True Fans to support you. To the degree an author cultivates direct contact with his/her fans, the smaller the number needed. Lastly, the actual number may vary depending on the media. Maybe it is 500 True Fans for a painter and 5,000 True Fans for a videomaker. The numbers must surely vary around the world. But in fact the actual number is not critical, because it cannot be determined except by attempting it. Once you are in that mode, the actual number will become evident. That will be the True Fan number that works for you. My formula may be off by an order of magnitude, but even so, its far less than a million.”

http://www.kk.org/thetechnium/archives/2008/03/1000_true_fans.php

 

By |September 22nd, 2013|art363, Classes, Game, Kelly, Photoshop|0 Comments|

Class 2: Into the rabbithole

“Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity.” —Charles Mingus (who is mingus?)

Goals/Discussion: Mimesis

Nature creates similarities. One need only think of mimicry. The highest capacity for producing similarities, however, is man’s. His gift of seeing resemblances is nothing other than a rudiment of the powerful compulsion in former times to become and behave like something else. Perhaps there is none of his higher functions in which his mimetic faculty does not play a decisive role.
— Walter Benjamin, “On the Mimetic Faculty” 1933

What is our calling as artists, is it to faithfully reflect and report the world, to change the world, to interpret it, to find patterns in it, to reject it, to use it for our own purposes, or it is something altogether different? These are some of the questions that arise in digital environments.

 

 

How to quiet the Lizard Brain.

Seth Godin: Quieting the Lizard Brain from 99U on Vimeo.

Homework:

  1. Silly animation tricks
    For class next week, I would like you to implement a 10 slide ken burns effect with the estro component below and offer a visual and text based infographic about your life.  It must offer numeric and process based info. You must also link on the page somewhere to 10 other people’s projects.

http://pixelentity.com/previews/components/estro/

To do that, you will need to know:

Along the lines of synesthesia: Digital synesthesia.

Brand U.0: David Armano, on personal branding, social media and managing your brand online.

 

Sarah Brown: Portfolio Assignment

Everything that I’ve retouched on is under the designated assignment post with “+ Revision” as the end of the post. I’ve assignments based on reviews given, etc…

In the time given, I decided to really expand on supersize and kensburns to create a larger portfolio piece for a website that I will actually use. Web design is something I enjoy exploring and challenging.

http://tiger.towson.edu/~sbrown19/kensburns_supersized/index.html

Sarah Brown: Homework #13

Kens Burns Story

Sarah Brown: Homework #12

App Inventor

I’m not sure how we’re supposed to present this… but here are some screenshots

Main Menu

If you click on each button, it takes you to a different screen with an instrument.

 

Music Example 1: Harp

When you click on the image, the music plays

All 8 menu options were created with separate screens connected to each button. All screens play designated sound.

Sarah Brown: Homework #9 Gamesalad

I used an older version of Gamesalad. File won’t upload onto Gamesalad website and files will not open in recent version of Gamesalad due to operation system differences.

Game: Pokemon Catch

Homework Assignment #11: Elizabeth Owens

http://tiger.towson.edu/~eowens1/HW_11/slide.html

Sarah Brown: Homework #11

I made a supersized show from a cosplay lighting design photoshoot shot by a friend for a class.

http://tiger.towson.edu/~sbrown19/supersized/

Homework Assignment #10: Elizabeth Owens

http://tiger.towson.edu/~eowens1/HW10/index.html

Homework Assignment #7.1: Elizabeth Owens

Homework Assignment #7: Elizabeth Owens

Sarah Brown: Homework #5

Lion 2.0

Sarah Brown: Homework #4

Lion Flash Assignment

Sarah Brown: Homework #2 + Revision

Weekly Report

Revision Based on Critique: Weekly Report Revision

Fixed the visibility problem by adding more contrast.

Revised: 5-2-2012

Sarah Brown: Homework #1 + Revision

1972

Revision Based on Critique: 1972 Revision

Add Color, change the way the screen shifts to give more interesting motion.

Revision: 5-2-2012

Homework3

My favorite images from the Worth 1000 website: