Human+ A Review

This was my third visit to the ArtScience Musuem located at the Marina Bay Sands. To begin with, I found the exhibiton very intriguing and brought various degrees of provocation by reflecting with a humanistic angle regarding cyborgs, cybernetics and bio-hacking.

Semi-Livng Worry Dolls, Tissue Culture & Art project Oron Catts & Ionat Zurr, m. 2000

This artwork was a project set up to explore questions arriving from the use of living tissues to grow and take shape, to form semi-living organisms/objects.

Upon my initial view and reading at work, I was aware that these miniature objects/dolls were somewhat living. In a way, the overarching curatorial theme had managed to influence my understanding of the artwork. Nonetheless, it managed to sway me towards reacting emotionally. The provocation lies from the use living cells and confining it within the space of test tube to mimic the concept of living, breathing but soul-less. Personally, I feel that the artist had intended to relay the notion of creating and shaping a lifeform, almost as if imitating the power of God. As such, I am on the fence regarding this artwork. I find it cliche to mimic the power of God; creating and reducing life but excellent in its delivery as it presented us through the concept of the threshold between life and death; a state of nothingness suspended in a void.

The use of macro photography, combined with an installation of the work itself was great in allowing use viewers a closer view of the organisms. It had adequately relayed the our initial reading of the concept and form a deeper connection between our emotional reactions and the objectivity.

However, upon reading the artist’s statement – this project was elaborated through the use of a pre-fabricated doll via the use of polymers before eventually allowing the living cell organism to take control of it. After much thought, I had realised it was not as provocative as I thought it would be. Allowing a fabricated doll for the living cells to grow and latch upon reduced the concept as a form of poor mimicry. It also reduces the level of our reading as we realise these living cells were not really given the choice to take its own shape.

Nonetheless, did does not undercut the level of provocation I feel with regards to the overarching theme. To dabble with the notions of life and questioning what is means to being alive with the use of science intrigues me.

Area V5: Interactive Social Robots Louis-Philippe Demers m. 2009-2010

My initial impression ofDemers’ artwork, an installation composed many faces evoked the familiarity of the ‘Many-Faced Gods’ from the TV series Game Of Thrones. Followers and assasins of this God can prey upon targeted victims and scrape away their faces to be used as a mask, allowing them to change and warp into various identities.

Interesting enough, I had perceived this artwork in the aforementioned way that I began to felt creeped out. As the eyes of these robotic masks shifts its gaze via the infrared camera, I began to realise an underlying horror. Regardless of the uniformity of these faces, the shift of its eyes gazed its horror upon us. I felt at an unease once I had realise that it was no different than our surveillance cameras – constantly gazing under a watchful eye. But why is it this sense of discomfort more apparent?

Perhaps I realise that these robotic faces inked a not-so-distant future of cyborgs living next to me, who’s faces could betray it’s own emotions.

If this was the artist’s intention then I feel that the artist had done it with great justice. The execution of the concept was wonderfully done. If it was meant to cause a deeper, unexplainable reaction, then the artist had successfully done so.

After reading the artist’s statement, I had realised my initial impression and reading were somewhat related to his intentions. Demers had intented to ‘experiment with the enigmatic gaze of disembodied’ eyes and why humans start to feel unease with robotic agents.

Nonetheless, I feel that the curatorial approach towards this piece was rather lacking. I think it could have been able to stand by its own, rather than being propped onto the cornered wall. Although its intention were to have its eyes follow our movement as we progress along the show, I think having this artwork shown as a central and impsoing installation could provoke the concept even further.

Sound Art – Reading Assignment

Seminar Questions

What is sound?

Sound, as it is created, propagates amongst the hard Newtonian billiard balls of matter.

There are several layers of representations that be can classified as a sound.

Firstly, a recorded sound is one that was intentionally recorded. Secondly, are the additional sounds as a result of the environment and finally the sound of a recording apparatus itself.

How has it been used in culture and society?

In essence, sound has been used as a monumental component in the history of human civilisation. It is at is very core, a representation of what they are. It is around art.

Furthermore, sound has been directed to the aesthetic purpose – of the arts.

What makes it an art?

Sound art is classified as an art through its unifying experience, for the refinement of distinctions. The medium itself, is not the primary message.

Instead, Sound Art has in fact nothing much to do with either sound or art. What makes it an art involves in the innumerable ideas that can cultivate the medium of sound itself; not only within the confines of music but to create new forms.

How does advancement in audio technology affect our sense?

It has managed to place influence within and amount our notions of sound, memory and communication.

For instance the concept of recording a sound – illustrated through the invention of a phonograph mimics the creation of sound onto a piece of wax and oil. Given’s the three-dimensionality of the vinyl record itself, one can argue that is has created a sense of life from a merely, movement of Newtonian matter.

Furthermore, the various levels of noise become san audible indication of information being sent.

Audio technology allowed the use of surface noise to subliminally create and confirm a reproduction is underway.

Pre-Seminar Task – Examples Of Sound Art & Interesting Finds

Artist: Studio Lernert & Sander x Cos

URL: http://lernertandsander.com/the-sound-of-cos/

This sound installation and performance, titled “The Sound of COS” is a collaboration between Swedish fashion brand COS and conceptual artists-filmmakers Lernet & Sander.

The artists imitate the sounds clothes make. In their studio they crush salt, open umbrellas, slip on oven mitts and stomp about to create the soundtrack for a fashion video.

I find this to be an interesting and unique take for a fashion campaign. Embracing the conceptual elements of sound itself, rather than the clothes is a very artistic and unique approach for a brand campaign. I think this is brave and very intriguing – creating a reverse effect that heightens the marketability of the COS brand.

Artist: Christine Sun Kim

URL: http://christinesunkim.com/performance/fingertap-quartet/

Christine Sun Kim is a sound artist who is profoundly deaf. Fingertap Quartet is an aural performance thriugh projecting text on the wall behind her, for the audience to read and experience.

As part of her practice she is persistently questioning what she calls “the ownership of sound” and re-orienting the parameters, social values and sets of rules based around that which is omnipresent and yet invisible to us all.

As a huge fan of her work, I am interested in her performance art related to the concept of sound through a deaf person. It feels as if we are encouraged to view sound in a different manner. The depiction of sound itself is more often than not; linear. We only hear but how can we see it?Hence, I enjoy her scope of work and style as it very provocative and conceptual.

Project 2 – R&D

Upon receiving the boxed drink of Jasmine Green Tea by Pokka, I was intrigued at how it marketed itself as a healthier choice.

Hence, I began researching on adverts that promoted the element of healthiness in the drink products.

Based from the image itself, we would associate this particular drink with the ideas of ‘health’, ‘refreshing’ and ‘invigorating’. Nonetheless, I was even more struck to realize that these particular drinks are not that healthy, which is suggested by the extremely high sugar content.

As such, how can play around with the marketing paradox and apply it within the context of the boxed Pokka Jasmine Green Tea?

rhetoric of the image

1. What are some of the key questions Barthes aims to investigate in the article?

Barthes’ imposes us a set of questions that seek to interrogate the multiple layers of meanings in an image. Later on, he inherently reacts by forming questions that analyze the formation of such meaning.

At its essence, he claims that the ‘image immediately yields a first message whose substance is linguistic’. Immediately, we are recognized with the most surface comprehension regarding the subject in hand. What we are seeing, and how we can break it down into smaller pieces through our existing knowledge. Our understanding with regards to the image is one that is, rudimentary. We denote that image through the use of language and signs; inferring from whatever knowledge we possess.

Secondly, he proposes the idea of the image in its utmost abstraction – the image without any particular derived or implied meaning. To investigate the particular element of what the image really suggest, the context of the image is broken down into its literal representation.

Lastly, he suggests that the image itself evoke the ‘memory of innumerable paintings’, in a way to quote -art imitates life. This final question, however, extends the idea that the understanding of the image is largely cultural. It is not one that requires a general knowledge but inferred from concepts that are largely personal and innate.

Furthermore, Barthes aims to investigate the various forms of signs and signifiers that exist within an image. These signs links with our existing knowledge to create the denoted and connoted meaning in an image.

2. What are some of the key terms/ concepts introduced and discussed?

He presents to us three messages and meanings regarding the image. The Linguistic, Denoted and the Rhetoric. These concepts break down the essence of the image, to reveal the various layers in an almost methodological fashion.

3. Do you agree or disagree with his argument and point of view?

Roland Barthes’ methodological approach towards understanding and dissecting the core elements of the image is not without downsides.

Firstly, he stems his arguments upon the use of the advertising media. The apparent attempt to truly dissect the meaning of the image in a rather, systematic manner seems to be only relevant if applied against an image with a sense of objectivity.

In this way, his fixation upon the advertising media falls short if its methodology is directed towards understanding an image, more directed towards the arts of purely of the aesthetic.

The systematic-ness eludes the sense that every image can be broken down. To interrogate that every single image has an apparent meaning is in itself, not true. And if so, it falls short when the image challenges not other than the emotions of the aesthetic. If it has no objectivity, it collapses the baggage of curiosity. The image is an image only, nothing more nor less.

Nonetheless, Roland Barthes’ approach is with its own merits.

It is nonetheless, very important to impose upon ourselves questions that seek to understand an image. Regardless if the artist or illustrator has set no apparentness within it, we cannot simply be dismissive and pretend the image is what you feel and see.

To question the very act of why the image was made, as implied by Barthes’, promotes the concept of an artistic reflection. Although his approach and arguments stem towards the outwardness to understand another piece of image, we can also apply his systematic approach to dissect our own intentions, objectives, and emotions.

4. Provide a brief analysis (200 words) on an advertisement of your choice by using the terms/ concepts proposed by Barthes and discuss the role of text and its relationship with the image in the advertisement. Please include an image the advertisement in your post.

This advert by Nutella exemplifies Barthes’ methodology of the denoted and connoted meanings of the image.

On the surface, we see the act of a family breakfast session ‘glued’ together by having slices of toast with a spread of Nutella. We can infer how Nutella, ideally, brings people together.

The text provides a more metaphorical meaning – ‘a delight to spread on bread’ that synergizes well with the imagery as it not only brings people together but it provides that element of happiness. The sense of delight is elevated through sharing this short yet intimate moment of happiness.

Strange Encounter

Credits to the Robert Rauschenberg Foundation

This artwork, titled ‘radioactive’ created by Robert Rauschenberg caught my attention for its use for imagery and abstract elements, introduced by the artist.

Known for his use of the mixed media, this piece encapsulates the process of creating by deconstructing the inherent meaning of the image and juxtaposing it with odd and out-of-this world elements. In line with the aesthetic movement of the Abstract Expressionism, this piece carries that particular aesthetic beyond the means of a painting. It is quite possibly, an act of recreation – to appropriate and reconstruct the medium of traditional painting.

Credits to John Baldessari

John Baldessari’s use of traditional mixed-media collage challenges the inherent meaning of the medium by sowing discord between the denoted and connoted. I find this particular piece succinctly defines the act of subtle subversion.

Similar to many of his other artworks, this particular piece introduces an element of intended discomfort – by immediately splicing the image into two apparent meanings. It is of love, that is the act of human warmth shown between these two lovers and yet, lacking any – symbolized by the intentional act of introducing the negative space.

To further heighten the element of discomfort, his minimalist aesthetic tightens the atmosphere, again, through the excellent use of negative space.