Friday 14 March 2014

Mise-en-scène (French pronunciation: ​[mizɑ̃sɛn] "placing on stage") is an expression used to describe the design aspects of a theatre or film production, which essentially means "visual theme" or "telling a story"—both in visually artful ways through storyboardingcinematography and stage design, and in poetically artful ways through directionMise-en-scène has been called film criticism's "grand undefined term".
The visual arts are art forms that create works that are primarily visual in nature, such as ceramicsdrawingpaintingsculpture,printmakingdesigncraftsphotographyvideofilmmaking and architecture. These definitions should not be taken too strictly as many artistic disciplines (performing artsconceptual arttextile arts) involve aspects of the visual arts as well as arts of other types. Also included within the visual arts are the applied arts[2] such as industrial designgraphic designfashion designinterior design and decorative art.[3]
The current usage of the term "visual arts" includes fine art as well as the applied, decorative arts and crafts, but this was not always the case. Before the Arts and Crafts Movement in Britain and elsewhere at the turn of the 20th century, the term 'artist' was often restricted to a person working in the fine arts (such as painting, sculpture, or printmaking) and not the handicraft, craft, or applied art media. The distinction was emphasized by artists of the Arts and Crafts Movement who valued vernacular art forms as much as high forms.[4] Art schools made a distinction between the fine arts and the crafts maintaining that a craftsperson could not be considered a practitioner of the arts. The increasing tendency to privilege painting, and to a lesser degree sculpture, above other arts has been a feature of Western art as well as East Asian art. In both regions painting has been seen as relying to the highest degree on the imagination of the artist, and the furthest removed from manual labour - in Chinese painting the most highly valued styles were those of "scholar-painting", at least in theory practiced by gentleman amateurs. The Western hierarchy of genres reflected similar attitudes.
Storytelling is the conveying of events in words, and images, often by improvisation or embellishment. Stories or narratives have been shared in every culture as a means of entertainment, education, cultural preservation, and instilling moral values. Crucial elements of stories and storytelling include plotcharacters, and narrative point of view.



A video of the book i made:





Some art work from the book was photographed and made as separate pieces of art work...

“We can easily forgive a child who is afraid of the dark; the real tragedy of life is when men are afraid of the light.”
― Plato
 



   ...real life is always somewhere else...


...a call to battle against darkness,
 irrationality, madness and infatuation...












...a vision of the future is not a boot on human face forever...


The ideas and illusions conveyed in these posters were far from reality. However, the posters themselves became part of the texture of everyday life in the Soviet Union, and reflect the officially approved history as it was experienced by its citizens.




VIRTUAL REALITY




..digital media work for expressing nostalgia...i was born at the beginning of the end...


At first glance nostalgia is a longing for a place, but actually it is a yearning for a different time-the time of our childhood, the slower rhythms of our dreams...
At first glance nostalgia is a longing for a place, but actually it is a yearning for a different time-the time of our childhood, the slower rhythms of our dreams...




How Not To Be Seen. A Fucking Didactic Educational .Mov File, Hito Steyerl, 2013, HD video file, single screen, 14min made by Berlin-based artist and writer Hito Steyerl is one of the most critically acclaimed artists working in the field of video today. Steyerl’s work focuses on contemporary issues such as feminism and militarisation, as well as the mass proliferation and dissemination of images and knowledge brought on by digital technologies.
This exhibition offers a selected survey of Steyerl’s work. Presented here are five videos, each installed in a distinct manner. The first film encountered is titled Liquidity Inc. (2014). This new work looks at a financial advisor called Jacob Wood who lost his job during the last financial crisis, and who then embarked on a career in mixed martial arts. How Not to Be Seen: A Fucking Didactic Educational .MOV File (2013) mocks an instructional film on the idea of becoming invisible in the digital world.  Took stills and incorporated them in my artwork.

work of artartworkart piecepiece of art or art object is an aesthetic physical item or artistic creation. Apart from "work of art", which may be used of any work regarded as art in its widest sense, including works from literature and music, these terms apply principally to tangible, portable forms of visual art:


work of art in the visual arts is a physical two- or three- dimensional object that is professionally determined or other wise considered to fulfill a primarily independent aesthetic function. A singular art object is often seen in the context of a larger art movement or artisticera, such as: a genre, aesthetic conventionculture, or regional-national distinction.[3] It can also be seen as an item within an artist's "body of work" or oeuvre. The term is commonly used by: museum and cultural heritage curators, the interested public, the art patron-private art collector community, and art galleries.[4]

Aesthetics (also spelled æsthetics and esthetics) is a branch of philosophy dealing with the nature of artbeauty, and taste, with the creation and appreciation of beauty.[1][2] It is more scientifically defined as the study of sensory or sensori-emotional values, sometimes called judgments of sentiment and taste.[3] More broadly, scholars in the field define aesthetics as "critical reflection on art, culture and nature."



...it is a nice thought, that art can make us see the world differently, and having seen the world in that way, we can go back and see art differently... 




. add
               . read

     . a lie
                     . realize

. a verb
                . reverb

a mind
                       . remind


. a vision
             . revision

. apt
                         . repeat

                                       . a sign
                                                                   . resign

                   
  . all
                                                    . real




Poetry is a form of literature that uses aesthetic and rhythmic[1][2][3] qualities of language—such as phonaestheticssound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.
Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit VedasZoroastrian Gathas, and the Homeric epics, theIliad and the Odyssey. Ancient attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric,dramasong and comedy. Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from more objectively-informative, prosaic forms of writing. From the mid-20th century, poetry has sometimes been more generally regarded as a fundamental creative act employing language.

       
“Out beyond ideas of wrong doing and right-doing there is a field. I'll meet you there.When the soul lies down in that grass the world is too full to talk about.” Rumi




  
A spruce is standing lonely
in the North on a barren height. 
He drowses; ice and snowflakes
wrap him in a blanket of white.

His dreams about a palm-tree 
in a distant, eastern land,
that languishes lonely and silent
upon the scorching sand.



"Sometimes there is no warning. Things occur in seconds. Everything changes. You’re alive. You’re dead. And things move on.


We are paper thin. We exist on luck amid the percentages, temporarily. And that’s the best part and the worse part, the temporal factor. And there’s nothing you can do about it. You can sit on top of a mountain and meditate for decades and it’s not going to alter. You can alter yourself into acceptability but maybe that’s wrong too. Maybe we think too much. Feel more, think less."

- Charles Bukowski










Thursday 12 December 2013

HAMMER IT HOME

Can you hear me? Wherever you are, look up. Look up. 



...FROM OUTER SPACE TO CYBERSPACE...BETWEEN PAST AND FUTURE...BETWEEN LIGHT AND DARKNESS...TIME FOOTPRINTS...




...AN ANGEL OF HERSTORY...




... an alien... 




...mimed dancer...


...music catcher...








...philosophising with a hammer... 


and agnostic...

I am interested in human communication. Communication on a personal, social and political level. This has informed my research and led me into a very rich area of thought, which I am eager to explore more. I find the whole area of communication theories interesting and problematic. I’ve been particularly interested in the enlightenment project and how that has influenced and formed the world that we live in. I also have become interested in how that has effected art, particularly regarding modernity and modernism. One of the consequences of modernity is the growth of the city. That has led to (according some theorists such as Marx, Weber, Durkheim) to less and less opportunities for people to communicate, spend time with each other even though they live side by side. It seems to me that this leads to alienation between people. As Marx has said <…>there has left remaining no other nexus between man and man than naked self-interest, than callous “cash payment”.It has drowned the most heavenly ecstasies of religious fervour, of chivalrous enthusiasm, of philistine sentimentalism, in the icy water of egotistical calculation.
In addition to Marx, the post-war development of Game-Theory, of Postmodernity, Consumerism and Individualism in the realm of politics and economics. This has lead my research into how these interpretations of humanity as self interested actors who are paranoid, mistrustful, fearful, produced a radical change in society and with culture. What response should Art have in the face of such social engineering? What stance should Art take in regards to this image of Humanity? What would such an Art “Look like”? These questions are the foundations upon which my Art and my Philosophy of Art will be built…




"I'm sorry, but I don't want to be an emperor. That's not my business. I don't want to rule or conquer anyone. I should like to help everyone, if possible, Jew, gentile, black man, white. We all want to help one another. Human beings are like that. We want to live by each other's happiness — not by each other's misery. We don't want to hate and despise one another.

In this world there is room for everyone. And the good earth is rich and can provide for everyone. The way of life can befree and beautiful, but we have lost the way. Greed has poisoned men's souls, has barricaded the world with hate, has goose-stepped us into misery and bloodshed. We have developed speed, but we have shut ourselves in. Machinery that gives abundance has left us in want. Our knowledge has made us cynical. Our cleverness, hard and unkind. We think too much and feel too little. More than machinery we need humanity. More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost.

The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodnessin men, cries out for universal brotherhood, for the unity of us all. Even now my voice is reaching millions throughout the world — millions of despairing men, women and little children — victims of a system that makes men torture and imprison innocent people. To those who can hear me, I say — do not despair. The misery that is now upon us is but the passing of greed — the bitterness of men who fear the way of human progress. The hate of men will pass, and dictators die, and the power they took from the people will return to the people and so long as men die, liberty will never perish.

Soldiers! Don't give yourselves to brutes — men who despise you — enslave you — who regiment your lives — tell you what to do — what to think or what to feel! Who drill you, diet you, treat you like cattle, use you as cannon fodder. Don't give yourselves to these unnatural men — machine men with machine minds and machine hearts! You are not machines! You are not cattle! You are men! You have the love of humanity in your hearts. You don't hate! Only the unloved hate — the unloved and the unnatural!

Soldiers! Don't fight for slavery! Fight for liberty! In the 17th Chapter of St. Luke it is written: "the Kingdom of God is within man" — not one man nor a group of men, but in all men! In you! You, the people have the power — the power to create machines. The power to create happiness! You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure."


The Great Dictator (1940)
Charlie Chaplin plays the roles of "Adenoid Hynkel", the dictator of Tomania, and "A Jewish Barber" the hero of the tale. and that was closing speech of the Jewish barber, after being mistaken for Hynkel. 





...FLUXION...






...SHE USED HER WINGS TO WRITE HERSTORY...