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1113 Context/Material/Sound/Performance

digital portfolio of ASC

1113 Context/Material/Sound/Performance

Context: Fred Wilson

Fred Wilson is an artist with a keen to the beauty and ugliness, especially the re-definition of these two contrast terms. Although with a studio art background, he claimed that creating new contexts for the existing art and artifacts in the museum is more fascinating. By only manipulating the position of chairs, lighting, and wall labels, he could change the entire relationship, which evokes more thoughts from viewers about the complex topic of ‘beauty and ugliness’. 

His work is inspiring and shocking for me at the same time. Using the subtlest actions/movements creates the greatest impact. Maybe the minor change in the history, we would also have a great change regarding to the value of beauty, ugliness, and other moral values. 

Material: Nicholas Hlobos

Zawelela ngale
Uppsala Art Museum, Sweden
February 25 – May 14 2017

“What are things you care about? Take notes on yourself and your motivations. What kinds of conversation topics hold your attention? What resonates?” 

Using the masculine material, leather, tearing them apart and then sewing, connecting back together, with the audacious red threads. The artist employs all these symbols to remind where he comes from and his identity as a gay African in the United States. 

 I always have a personal favor for the complex systems/problems/automation in the future. Especially, I am intrigued to the human-automation interaction in a complex setting. Such as, how could people trust a highly autonomous vehicle? As the auditory assistants become prevalent, such as Alexa and Google home, should we be polite to the virtual assistants (e.g. say “please”) or at least teach children to be polite while demanding the systems to do things for us? In a highly digital social world, are we connecting with our friends or are we connecting our ideal images?  

Sound. Instead of talking about Susan Philpsz. I want to talk about some research projects which might be helpful for my future art projects/research in general. 

In our lab, we did sonificiation work, which is mapping data into non-speech sound. Visualization is seeing with your eyes; sonification is seeing/perceiving with your ears.  Many artists and researchers use this method to transcribe some traditional data into a novel experience. For example, solar eclipse day last year, our lab people mapped the real-time data into the sound and played as background music in the campus, which broadens the sensory experience for the general population and also opens the possibility for the visually impaired group to perceive the situation.

Light & Material& Movement: Janet Echelman 

 1.26, SHANGHAI, CHINA, 2017

The concept of the artwork stems from scientific data sets of the 2010 Chilean earthquake and tsunami, and the notion that we are all connected between the earth’s natural systems. Studio Echelman generated the 3D form for the sculpture using NASA and NOAA data that measured the effects of the earthquake including tsunami wave heights across the oceanic expanse. The resulting vibrations momentarily sped up the earth’s rotation, shortening the length of the day by 1.26 micro-seconds, which became the catalyst for the 1.26 sculpture.

The sculpture is completely soft and constructed from two types of technical fiber, making it lightweight enough to lace directly into existing structures without extra reinforcement. Ultra high molecular weight polyethylene (UHMWPE), a fiber more than 15 times stronger than steel by weight, makes up the structural portion of the artwork. Custom color blends of high-tenacity polyester braided twines make up the remainder of the sculptural net. Echelman combines these with programmed colored light to create the final artwork.”

I am intrigued by the dramatic structure, illuminated light and movement with the changing of the wind.


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