http://www.twcdc.com/eric/ Art 410 - Conceptual Strategies, Fall 2007 en Copyright 2007 Tue, 18 Dec 2007 21:14:12 -0800 http://www.sixapart.com/movabletype/ http://blogs.law.harvard.edu/tech/rss ]]> http://www.twcdc.com/eric/2007/12/car_tequila_poster_3.html http://www.twcdc.com/eric/2007/12/car_tequila_poster_3.html Tue, 18 Dec 2007 21:14:12 -0800 ]]> http://www.twcdc.com/eric/2007/12/car_tequila_poster_2.html http://www.twcdc.com/eric/2007/12/car_tequila_poster_2.html Tue, 18 Dec 2007 20:53:23 -0800 ]]> http://www.twcdc.com/eric/2007/12/car_tequila_poster_1.html http://www.twcdc.com/eric/2007/12/car_tequila_poster_1.html Tue, 18 Dec 2007 20:22:54 -0800 Download file ]]> http://www.twcdc.com/eric/2007/12/car_beverage_illustrator_file.html http://www.twcdc.com/eric/2007/12/car_beverage_illustrator_file.html Mon, 10 Dec 2007 00:06:49 -0800 ]]> http://www.twcdc.com/eric/2007/12/car_beverage.html http://www.twcdc.com/eric/2007/12/car_beverage.html Sat, 08 Dec 2007 19:20:01 -0800 Détournement involves the usage of artistic elements already created for use in other work, using these elements in a new work that gains it's own meaning from the combination of the détourned members, while changing the original meaning of them. According to Debord, each element used in détournement must loose it's original importance while conferring a new meaning to the ensemble through the organization with the other elements. New meanings from elements that were originally meant to convey some other meaning. In the article Debord says "At this point in the world's development, all forms of expression are losing their grip on reality and being reduced to self-parody." The original meaning is commented on by the détournement, while suggesting a broader interpretation for the images presented as a new ensemble. It is the unification with other elements which had their own original context that creates a new context with the combined ideas. The parts put together add up to a sum greater than the parts counted separately. The extent to which this kind of détournement takes place in our society now is that it is not only unavoidable, but expected. Nobody is surprised to hear or see artistic elements from the past in new work. And it makes sense. It happens with technology, why not in the art world? Technology depends on the use of previous work in order to advance. Could this mean that art does the same? Debord says, "...the attempts to resuse the "detournable bloc" as material for other ensembles express the search for a vaster construction, a new genre of creation at a higher level." That statement makes me think of technological advancement, each higher level of technology being built on previous advancements creating new levels that are dependent upon the building blocks of the past. http://www.twcdc.com/eric/2007/12/detournement.html http://www.twcdc.com/eric/2007/12/detournement.html Sat, 01 Dec 2007 13:06:11 -0800 I keep seeing these alcohol ads where the bottle is beautiful and perfectly lit, while if there is a person in the ad, they are slick, well dressed, perfectly sober and sharp, never drunk. It seems to me, that by drinking any kind of alcohol, I am not going to get any closer to that perfect business man, or the rugged and healthy outdoorsman, etc.. In fact, my experience with alcohol has been quite the opposite. I think after a few drinks I'm actually less likely to get that job I'm interviewing for, or cut that big business deal. And whether I'm navigating the open sea or hiking into the mountains in search of the perfect camping spot in the middle of nowhere, I'd rather not be uninhibited by the joys of drunkenness, because when you live your life on the edge, hard liquor is not exactly your friend (even though it's alot of fun). I'd like to see some more realistic displays of drinking in these ads. Let's see some drunk people! People acting like idiots while all their friends are loving it. That sort of thing. The last time I got fooled by one of those sophisticated liquor ads, I had a good time, but ended up broke and stumbling into a taxi cab I couldn't afford. That's the image that comes to mind when I think of those beautiful, perfectly lit bottles.]]> http://www.twcdc.com/eric/2007/11/post_2.html http://www.twcdc.com/eric/2007/11/post_2.html Tue, 27 Nov 2007 08:11:46 -0800 ]]> http://www.twcdc.com/eric/2007/11/post_1.html http://www.twcdc.com/eric/2007/11/post_1.html Tue, 13 Nov 2007 12:52:11 -0800 Download Illustrator file ]]> http://www.twcdc.com/eric/2007/11/my_press_id.html http://www.twcdc.com/eric/2007/11/my_press_id.html Tue, 13 Nov 2007 12:35:24 -0800 On page 139 John Berger says, "Publicity is, in essence, nostalgic. It has to sell the past to the future. It cannot itself supply the standards of its own claims. (etc...)" I disagree with this. Publicity need not be nostalgic. It can, in fact, sell the future to the present. Especially in this technological age this kind of selling has become particularly relevant. The idea that the future is now, and that sort of perspective draws us in to continually wanting what is next- the next newest thing. This kind of advertising shows us a brighter future, where everything works and is perfect, and convinces us that what it is selling will bring that future to our current life. I thought of the example of the wildly successful iPod ads. These ads have shown us a simplified lifestyle which doesn't need nostalgic context. They have indeed supplied the standards of their own claims. That example brings me to one of the many points Berger has made that I do agree with. On page 153 he says, "Publicity is essentially eventless. It extends just as far as nothing else is happening.... ....The act of acquiring has taken the place of all other actions, the sense of having has obliterated all other senses." Those famous iPod ads fit perfectly into this description. All we see is the silhouette of the dancing person on the colorful background with the white earphone wires flailing around to the dancing motion. Nothing other than the iPod is important- there is no event, only the device. The only thing that matters to the viewer is the acquisition of the iPod. All senses other than those pertaining to the iPod have been obliterated. These brilliant ads have broken the image down to the simplest possible form, blinding us from everything else except what they are selling. The iPod becomes a part of the person, and the only thing in existence. We must have the iPod to be complete. http://www.twcdc.com/eric/2007/10/ways_of_seeing.html http://www.twcdc.com/eric/2007/10/ways_of_seeing.html Wed, 31 Oct 2007 18:50:43 -0800 The cast: Preferably performed by a small group of bold young men. Backup crew includes a sound artist/radio operator, a hollywood-class makeup artist, a costume designer, and a driver for the getaway van. For each member of the platoon: Assemble an authentic uniform as worn by a marine in the Vietnam war. Then the makeup artist goes to work on the men. Put a bullet hole in the head, amputate an arm, blow a gaping hole in the chest, cover them with dirt and blood, intestines spilling out, etc. The wounds should be very gory, disturbing and realistic. Get the soldiers geared up and into character: They are a group of fallen soldiers from the war in Vietnam. Authenticity is paramount. The uniforms, the equipment, everything should appear totally authentic. Now is the time for the platoon to report for duty at a local military recruiting office. The approach should be slow and serious. This group of dead soldiers should seem lost and confused, as if transported directly from the battle of their death. They should avoid any direct confrontation with with the recruiting officer or other personnel at the recruiting office. Just act completely bewildered. The tricky part is the escape. The performance here is key. A call should come through on an authentic vintage military radio carried by one of the soldiers. It should be a frantic call to action with yelling, gunfire and explosions, triggering the group to switch into battle mode with the leader shouting commands as the soldiers file out of the building following battle procedures. The group should disappear as quickly as possible, making their way out of the sight of the recruiting personnel, staying in character all the way to the getaway van parked around the corner or in a back alley. http://www.twcdc.com/eric/2007/09/a_performance_for_military_rec.html http://www.twcdc.com/eric/2007/09/a_performance_for_military_rec.html Thu, 27 Sep 2007 07:01:48 -0800 Download file ]]> http://www.twcdc.com/eric/2007/09/link_to_my_derive_in_google_ea.html http://www.twcdc.com/eric/2007/09/link_to_my_derive_in_google_ea.html Fri, 21 Sep 2007 19:24:34 -0800 ]]> http://www.twcdc.com/eric/2007/09/thegrowth.html http://www.twcdc.com/eric/2007/09/thegrowth.html Thu, 20 Sep 2007 22:03:06 -0800 http://gallery.mac.com/ecaselton#100111&view=mosaic&sel=0]]> http://www.twcdc.com/eric/2007/09/link_to_my_derive.html http://www.twcdc.com/eric/2007/09/link_to_my_derive.html Thu, 13 Sep 2007 21:24:34 -0800 Cut or tear out a hole in a piece of paper. Hold the paper at arms length and close one eye. On another piece of paper, draw what you see through the hole. Use the hole in the paper to view the finished drawing. http://www.twcdc.com/eric/2007/09/hole_in_paper.html http://www.twcdc.com/eric/2007/09/hole_in_paper.html Wed, 12 Sep 2007 20:13:28 -0800