Thursday, 24 November 2011
Kevin Astles: Documentarian Extrodinare!
One thing that I have always wanted to do was make a film. More specifically, I have wanted to make a documentary about the world we live in. Now, I am not a complete conspiracy theorist, but I absolutely believe that there are things that the government, the people we choose to protect us and the people who we trust, are not telling us. If there was nothing to hide then our society and economy would be constantly thriving. However, on a daily basis I see problems with the 'system' that just don't add up or make total sense. As much as i would like to think that Canada is the greatest most genuine and honest place to live, I cannot. And as much as I would like to think that we are different from our southern brothers of the United states of America, once again, I cannot. My main issue with the world today is that how are we to know that our society is running steadily and that our governments are doing the right things with a utilitarian focus in mind? It is obvious that there is no immediate way of knowing considering someone like Michael Moore's tireless attempts at gaining concrete knowledge from our city officials that would prove the world is simply "A-Okay!" If I were a true documentarian, I would have my camera with me everywhere I went. I would be expanding my horizons of where I've been and where the world is going. Nonetheless, much like all documentarians, I would ultimately strive for the truth and well being of the human kind.
What am I capable of?
I have always thought of myself as a fairly creative person, though I have not really taken the necessary steps to see what kinda of art I am capable of creating. I have taken visual and media art classes in high school, however most of the assignments and projects seemed extremely easy never really forced me to open up my creative side. I have made cardboard structures of a BBQ, molded clay into a half dragon, half eagle, half pig mythical creature, and i have designed abstract photos of famous soccer players through such programs as photoshop and adobe illustrator. And yet, i feel unaccomplished. Perhaps there is some other form of art that i have yet to attempt like song, dance, theatre, canvas painting, street art, metalwork's art, glassblowing, etc. Many of the things listed do sound intriguing to me like glassblowing and street art, but then again things like dancing on stage or singing to a group of people sound absolutely dreadful to me. This may be due to a slight shyness or stage freight that i posses, but does that mean i have to challenge my fears just to figure out if i am good at it or not? To me that seems like a fairly big assumption. I would much rather stay within my comfort zone and branch out into the things that i feel i may be good at because I have heard myself singing in the shower and I think it would be much smarter to save the world from my retched voice. Though, once i do find what kind of art i excel in, the world better prepare itself because when i get hooked on something i am good at, I'm like a freight train where nothing can stop me!
Luigi Russolo, The Art of Noises: Futurist Manifesto
This article by Luigi Russolo was edited by Christoph Cox and Daniel Werner in the book, "Audio culture: Readings in Modern Music." This reading was assigned for September 29th.
Luigi Russolo's article is based around sound and with the invention of machines, he concludes that noise is then born. From the Middle-Ages modifications of the Greek tetra chord system with Gregorian chant and popular songs is what enriched the musical art. Russolo claims that the desire, the search, and the taste for the simultaneous union of different sounds is what all musicians need. From early years of music and sound, musical art sought out and obtained purity and sweetness of sound where it would caress the ear with suave harmonies. As music grew, musical art seeks out combinations more dissonant, stranger, and harsher for the ear. Russolo says that the machine has created such a variety and contention of noises that pure sound in its slightness and monotony no longer provokes emotion. Russolo believes that we must break out of this limited circle of sounds and conquer the infinite variety of noise-sounds. Russolo claims that it cannot be objected that noise is only loud and disagreeable to the ear as it seems to be useless to enumerate all the subtle and delicate noises that produce pleasing sensations. Ultimately, we want to give pitches to these diverse noises, regulating them harmonically and rhythmically. According to Russolo, every manifestation of life is accompanied by noise. Noise is thus familiar to our ear and has the power of immediately recalling life itself. Russolo then explains the 6 families of noises of the futurist orchestra that we will soon realize mechanically. I found this article to be quite complex and not completely clearly explained. Though, sound is important to all aspects of life, random noises put together are much less appealing than a harmonious group of instruments whose sounds lightly intertwine with one another. Russolo's explanation of all sounds working harmoniously to create aesthetic and physical please does not convey complete to me, though i did find it interesting to read of someone with a slightly opposite opinion to mine.
Luigi Russolo's article is based around sound and with the invention of machines, he concludes that noise is then born. From the Middle-Ages modifications of the Greek tetra chord system with Gregorian chant and popular songs is what enriched the musical art. Russolo claims that the desire, the search, and the taste for the simultaneous union of different sounds is what all musicians need. From early years of music and sound, musical art sought out and obtained purity and sweetness of sound where it would caress the ear with suave harmonies. As music grew, musical art seeks out combinations more dissonant, stranger, and harsher for the ear. Russolo says that the machine has created such a variety and contention of noises that pure sound in its slightness and monotony no longer provokes emotion. Russolo believes that we must break out of this limited circle of sounds and conquer the infinite variety of noise-sounds. Russolo claims that it cannot be objected that noise is only loud and disagreeable to the ear as it seems to be useless to enumerate all the subtle and delicate noises that produce pleasing sensations. Ultimately, we want to give pitches to these diverse noises, regulating them harmonically and rhythmically. According to Russolo, every manifestation of life is accompanied by noise. Noise is thus familiar to our ear and has the power of immediately recalling life itself. Russolo then explains the 6 families of noises of the futurist orchestra that we will soon realize mechanically. I found this article to be quite complex and not completely clearly explained. Though, sound is important to all aspects of life, random noises put together are much less appealing than a harmonious group of instruments whose sounds lightly intertwine with one another. Russolo's explanation of all sounds working harmoniously to create aesthetic and physical please does not convey complete to me, though i did find it interesting to read of someone with a slightly opposite opinion to mine.
Ben Neill, "Breakthrough Beats: Rhythm and the Asethetics of Contemporary Electronic Music"
Ben Neill wrote this article and it was published by Christoph Cox and Daniel Werner in the book, "Audio Culture: readings in Modern Music." This reading was assigned on November 17th.
Ben Neill discusses the connection of different styles of music and more importantly the connection of appeal with the use of computer technology to generate new music. He suggests that the flow of ideas between high art and popular art seem to have a particular significance and that we are entering a new cultural architecture that we do not yet understand. Though, high art and popular electronic music may use slightly different tools. Neill claims that rhythm is the beat that draws the dividing line between serious and vernacular, visceral and intellectual. Neill says that since the 1980's, art musicians have utilized popular culture elements and techniques that had never been seen before. A big part of the causes stems from the evolution of computer music technologies that started in the 70's-80's. Neill says that music schools have been teaching the youth, for music to be valid, it should be complex, dissonant and difficult to understand, though this was not universally agreed upon. Innovative pop electronic composers used steady pulse, loop-based structures and 4/4 time as a vehicle for a wide range of compositional ideas and innovations with allowed for new hybrids to form and new genres to constantly emerge. Early 1990's electronica had become the new art music connecting the future and the past of art music. Neill concludes by saying that the artists are not the center of attention; instead it is the role of the artist to channel the energy of the crowd and create the proper backdrop for their social interaction. I found this article to be quite informative considering the historical evidence of different forms of art music. I think Neill does a great job of making connections between genres that have produces new hybrid genres and he does so in a very easily understandable way.
Ben Neill discusses the connection of different styles of music and more importantly the connection of appeal with the use of computer technology to generate new music. He suggests that the flow of ideas between high art and popular art seem to have a particular significance and that we are entering a new cultural architecture that we do not yet understand. Though, high art and popular electronic music may use slightly different tools. Neill claims that rhythm is the beat that draws the dividing line between serious and vernacular, visceral and intellectual. Neill says that since the 1980's, art musicians have utilized popular culture elements and techniques that had never been seen before. A big part of the causes stems from the evolution of computer music technologies that started in the 70's-80's. Neill says that music schools have been teaching the youth, for music to be valid, it should be complex, dissonant and difficult to understand, though this was not universally agreed upon. Innovative pop electronic composers used steady pulse, loop-based structures and 4/4 time as a vehicle for a wide range of compositional ideas and innovations with allowed for new hybrids to form and new genres to constantly emerge. Early 1990's electronica had become the new art music connecting the future and the past of art music. Neill concludes by saying that the artists are not the center of attention; instead it is the role of the artist to channel the energy of the crowd and create the proper backdrop for their social interaction. I found this article to be quite informative considering the historical evidence of different forms of art music. I think Neill does a great job of making connections between genres that have produces new hybrid genres and he does so in a very easily understandable way.
F.T. Marinetti, The Founding and the Manifesto of Futurism (Feb. 1909)
This article by F.T. Marinetti was edited by Lawrence Rainey in the book, "Modernism: An Anthropology." This reading was assigned on September 29th.
I found this article to very confusing because Marinetti never seems to be direct with what he is talking about. Instead, he uses an abundance of metaphors to describe his journey, along with other futurists, and their struggle with gaining recognition and rebelling from the traditional standards of modern society. Marinetti starts as if he is telling a tale of wondrous capabilities, where he is running through the forests with his peers as they battle beasts to survive and concur. It seems as if ever new paragraph, in his story, would put him in a new location with another uphill battle to fight. May it be against massive sharks in the seas to the oppression by society. There is also a list called "The Manifesto of Futurism" that essentially describes a new way of living. It includes goals that must be achieved by the futurists as well as things to be avoided to maintain their ethical and moral peace. Marinetti pushes the idea of letting go of all past thresholds because the future is what is going to happen and bring new things. Marinetti also slanders the traditional professions or occupations, such as doctors and students, as he suggests that they will not find what they need to succeed simply through books, but instead by first hand experiences. I found this article to be slightly nonsensical because it doesn't really give any sort of definitive statements that would suggest that Marinetti and his fellow futurists have a concrete plane for their future. Instead, he plans for a much more unstructured life style which is something i would have to disagree with because i quite honestly love the complexity of the world we live in today.
I found this article to very confusing because Marinetti never seems to be direct with what he is talking about. Instead, he uses an abundance of metaphors to describe his journey, along with other futurists, and their struggle with gaining recognition and rebelling from the traditional standards of modern society. Marinetti starts as if he is telling a tale of wondrous capabilities, where he is running through the forests with his peers as they battle beasts to survive and concur. It seems as if ever new paragraph, in his story, would put him in a new location with another uphill battle to fight. May it be against massive sharks in the seas to the oppression by society. There is also a list called "The Manifesto of Futurism" that essentially describes a new way of living. It includes goals that must be achieved by the futurists as well as things to be avoided to maintain their ethical and moral peace. Marinetti pushes the idea of letting go of all past thresholds because the future is what is going to happen and bring new things. Marinetti also slanders the traditional professions or occupations, such as doctors and students, as he suggests that they will not find what they need to succeed simply through books, but instead by first hand experiences. I found this article to be slightly nonsensical because it doesn't really give any sort of definitive statements that would suggest that Marinetti and his fellow futurists have a concrete plane for their future. Instead, he plans for a much more unstructured life style which is something i would have to disagree with because i quite honestly love the complexity of the world we live in today.
Marshall McLuhan, The Medium is the Message
This article was written by Marshall McLuhan, but edited by Kelly Askew and Richard R. Wilk from the book, "The Anthropology of Media: A Reader." This reading was assigned on September 15th.
Marshall McLuhan has been a staple in history for many other theorists and has produced one of most well thought out theories, that "The Medium is the Message." Throughout the article, McLuhan attempts to explain what is meant by his coined phrase. Mcluhan describes that the media we are exposed to on a day to day basis is forced upon us without our full knowledge. He says that it is the medium that shapes and controls us because of the implicated aspects that are associated with every form of mediums. He uses the word medium alot while describing the actual host of the media instead of the actual media that is being perceived. McLuhan claims that what we are seeing or reading or simply viewing has less of an impact than the way it is presented to us. For example, a staged play could have the most terrible script but as long as the actors are able to convey the message coherently and without bias, then the medium shall prevail over the media because of the highly importance that is carried along with the message and medium. I found this article to slightly confusing, however, from reading other pieces of McLuhans work makes me understand that he is just a complex writer and does not want to give a direct answer or response because there are much too many possible outcomes or answers to every question.
Marshall McLuhan has been a staple in history for many other theorists and has produced one of most well thought out theories, that "The Medium is the Message." Throughout the article, McLuhan attempts to explain what is meant by his coined phrase. Mcluhan describes that the media we are exposed to on a day to day basis is forced upon us without our full knowledge. He says that it is the medium that shapes and controls us because of the implicated aspects that are associated with every form of mediums. He uses the word medium alot while describing the actual host of the media instead of the actual media that is being perceived. McLuhan claims that what we are seeing or reading or simply viewing has less of an impact than the way it is presented to us. For example, a staged play could have the most terrible script but as long as the actors are able to convey the message coherently and without bias, then the medium shall prevail over the media because of the highly importance that is carried along with the message and medium. I found this article to slightly confusing, however, from reading other pieces of McLuhans work makes me understand that he is just a complex writer and does not want to give a direct answer or response because there are much too many possible outcomes or answers to every question.
Oliver Grau, Virtual Art: From Illusion to Immersion
This is a review of Oliver Grau's article, "Intermedia stages of Virtual reality in the Twentieth Century: Art ad Inspiration of Evolving Media." This reading was assigned on November 3rd.
Oliver Grau discusses the different innovative ways that technology has progressed throughout time and how this growing technology is utilized by artists to produce new forms of visual media art. The article begins with early on versions of modern technology, such as a panoramic view of Monet's Water Lilies paintings. The article progressively continues to discover more technological ways of presenting art. World Expositions are discussed with many examples from different countries that present their new exhibits of their art, for example Chrysler's "Futurama" and the Pepsi-Cola pavilion presenting their sound and light show. Grau continues to discuses more modern day inventions such as the 3D films, IMAX and the Data Glover, all of which are highly technical and would not have been seen twenty years ago. My opinion of Grau's article is that it was very well constructed, as it progressively shows the inventions and innovations as they have come to light in a well structured timeline.
Oliver Grau discusses the different innovative ways that technology has progressed throughout time and how this growing technology is utilized by artists to produce new forms of visual media art. The article begins with early on versions of modern technology, such as a panoramic view of Monet's Water Lilies paintings. The article progressively continues to discover more technological ways of presenting art. World Expositions are discussed with many examples from different countries that present their new exhibits of their art, for example Chrysler's "Futurama" and the Pepsi-Cola pavilion presenting their sound and light show. Grau continues to discuses more modern day inventions such as the 3D films, IMAX and the Data Glover, all of which are highly technical and would not have been seen twenty years ago. My opinion of Grau's article is that it was very well constructed, as it progressively shows the inventions and innovations as they have come to light in a well structured timeline.
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