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Monday, February 28, 2011

2D HW assigned 2/28

PART 1: mental imaginings, lists and Q&A

Visualize a series of objects. (1) Make a list first of 15 objects (nonliving or living),  (2) then work through it, mental visualizing each object from multiple angles, and (3) see if you can determine a pattern in your own imaging ability. (4) Now add a motion or change to each object in your list (ie if you visualized your mother in first list, now visualize her breathing or sneezing or gasping), (5) visualize each and see if you can determine a pattern in your own imaging ability. (6) Post lists and answer to (7) questions on your blog
  1. Are you better at visualizing people than objects? Or worse?
    What seems to be mentally different?
  2. Are you better at two-dimensional objects than three-dimensional? How so?
  3. Where do you see your image?
  4. Is it out in front of your eyes or back in your skull somewhere or somewhere else?
  5. What is brought to bear in these instances is a keen sensitivity to a non-modular perceptivity of sense-data. Why might this be important in your field?
PART 2: your Story LINE

LISTS from your story line (most current). Make a list for each type of sensation referenced in your story LINE.
  1. Sight
  2. Sound
  3. Smell
  4. Touch
  5. Taste
  6. Balance (equilibrioception)
  7. Temperature (thermoception)
  8. Pain
  9. Pressure
  10. Motion and acceleration (kinaesthesia)
  11. Direction (magnetoception)
  12. Temporal (sense of time)
Make an additional list recording all types of emotions or mood referenced in your story line.

Post lists to blog and bring hard copy to class Wednesday

PART 3: MAKE STUFF!

Choose 3 items from any of you story lists and translate each into 3 distinct mark drawings (= 9 drawings) representing your story's sensation/mood/emotion. You should spend a minimum of 10 minutes per drawing, recommend 15-20 per drawing (between 2 – 3 hours on your drawings). You may use any technique and material we’ve done and used in class or as homework. From your blog posts the charcoal ghost drawings with significant erasures seem strong and interesting.

Goal is tearing the language based sense reference out of its habitual context (thus achieving) by translating it tactilely into a visual reference creating a heightened awareness of sensory texture relevant to your story for the viewer.
Posted by kathkell at 3:48 PM
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WASH

2D :: This studio course introduces the studio arts, contemporary art history, theory and technology to the incoming student. It is designed to immerse students in an intense program of researching, interpreting and creating art in the twenty-first century. ART 130 emphasizes the 2-Dimensional Arts but pushes into the 3rd and 4th as well. Its companion courses, ART 131 and ART 132W, support this studio course with lectures, readings, visiting artists and demonstrations.

3D :: This studio course introduces the studio arts, contemporary art history, theory and technology to the incoming student. It is designed to immerse students in an intense program of researching, interpreting and creating art in the twenty-first century. ART 131 emphasizes the 3-Dimensional Arts as well as pushing into the 4th Dimension.

Lecture :: This course introduces the concepts, theories and information for development in ART 130 and ART131, the studio components linked with this visual arts foundation course. It is an arena for students to experience lectures, demonstrations, seminar activities and visiting speakers, as well as the more traditional aspects of the discipline. It is geared towards contemporary visual concerns and uses experimental techniques to expose students to an array of styles and methodologies.

Think bootcamp for artists!