My final project was the creation of two second life avatars, one to represent me and one to be whatever I want. These pictures come from that project.

I still havent managed to get any Lindens, but here is my face with skin mask on and the hair I made. This was the first face I made for myself, and I thought it came out pretty good. But then when I made my next character, no face, I completely distorted the features and I hadnt figured out the saving yet so I had to redo all the shaping and stuff. Here's my fixed face and final body.

as you can see the face does not look quite so much like me. I was never quite able to determine what the problem was.

For my second character I decided to recreate No Face from spirited away. 

here's a picture of the original in case you dont know the character:

here's a shot of me working on the head and body piece I added to get that faded ghost body

I used the same shape for both but edited the particulars, and coated them in a texture I created and messed with the alpha values on to get the transparent bottom half. When I tried adding that same texture to his legs, where the alpha layer should have made him transparent he instead developed skintone, which was problematic.

edit: I went back and played with facial features some more and finally settled on these features.

For this last project we had to make an assemblage sculpture in real or meat space, and then turn it into a 3D model. I used Sketchup to create my 3D model.

These pictures above are of my 3D model. Unfortunately at the time of the shooting, I had lost the little gear that was supposed to sit on the back left corner. This gear is however, in my 3D model.

this is an overview shot of my model. As you can see I chose to considerably shorten the cord, something I wish I had done with the original.

 Here is a shot from the back so you can see the lightbulb and the gear clearly. It was quite difficult to get the image of the flowers on the lightbulb.

 This is a decent shot of the plug. As you can see I did make some changes to the design of the plug. I wanted it to read better then the original did.

 Here is a nice shot of the army man. I had a hard time getting the army man quite right. I downloaded an already made one from the sketchup warehouse and then edited him to get him more like the original. I had to add a beard and more hair and the sidearm. He does have a different belt type thing on than the original, but I decided that adding another on top of what he was already wearing wouldnt look good.

 Here is a shot of the lightbulb where the flowers did a fairly decent job aligning themselves. As you can see the butterfly is a piece of madness though.

And a final friendly shot of the front.

Part of the point was to make a talisman type object, something that held meaning for us. The army man I chose to link to my childhood.  He is a talisman for me anyway, I found him in my first car, but I am certain it belonged to one of my many brothers. It holds a strange nostalgic value for me. The gear is also a personal talisman, it often disapears and then I will refind it again. The lamp is fully functional. I made and wired it. I enjoy working with tools and making things, I love wiring things. But the light is because I think that we need to be a light to other people. We have the option to be a great many things. The flowers on the lightbulb is to remind us of our connection to nature, and also that beauty is an aspect of light. I think that this talisman reflects many sides of me, there is the army man, or warrior aspect, the light and flowers, or the domestic and traditionally feminine aspect, and then the gear, to represent intelligence and thought. (It is interesting though how many power tools were involved in the making of the feminine aspect though.)

Questions for Reading due 4/30 on Manovich

1. How are the streets a dead capital?

2. Why can we no longer "storm the winter palace"?

On 4-24-14 I went to the opening of the Possession exhibit at the Sheppard Gallery. This exhibit included the works of David Chappelle, Katsuyo Aoki, Erik Park, and AVAF.

This exhibit was filled with stunning and intricate works, in particular, Katsuyo's Porcelain skulls stood out. But there were also gorgeous flower still life's that worked to show decay and beauty together, and a collage artists who created intricate scenes, where the figure would seem ever so slightly repeated.

I did not pick up the handout at the front, which is making this difficult, as not all the artists are listed on the exhibit's webpage. only four are listed, but I am certain there were at least five. The porcelain skulls, then two different collage pieces, the still life's, a few pieces looking at transexual culture, and a sculpture, that was a soft cage that held a live model you could barely see through the opening.

Overall it was an interesting exhibit, and I really enjoyed most of the work there.

I went to Clairissa Stephens MFA thesis exhibition Thursday, 4-24-14

Clairissa was my drawing 1 instructor, so I really wanted to be able to see her thesis exhibition, "Interior West". Sadly I was not able to until the very last day of the exhibit, but I was able to talk with Clairissa about it while she was photographing her work.

"Interior West" was a series of works she had done about the Nevada landscape. One of the first things I noticed about Nevada when I moved here, was the mountains. I come from the valleys of California, and had rarely, if ever, experienced mountains like these, so I loved her subject matter. She had done several cartographic pieces, making a cartographic map of different peaks, and placing a rock she found at the top where the peak was in her map. She also had several root systems she had drawn, and then one piece in the very back that was more of a sculpture. The one in the back was a series of rocks suspended two inches apart at heights that suggested the 360 view of crystal peak. All of the rocks she had collected herself from her visit there.

The fact that she had a rock from each of these mountains I felt really made this work very strong. It showed that she had been there, that she had not merely copied a map from the internet, but visited the location itself. I also found it very fitting that she did most of the work in silver point, Nevada being the silver state. Silver was one of the themes I found floating through the work.

All in all I was very impressed with the exhibit, and with Clairissa's body of work.

On February 27th I went to the Holland Project for Lisa Congdon's Roundtable Discussion.

It was a really interesting discussion, we talked about her life as an artist (which was mostly her complaining about how she's too busy and doesn't really like the compromises she has to make as an illustrator). We talked about how she has gotten to the point shes at today in her career, and how she started out as an artist. She's only been painting or drawing for about ten years or so. She took her first painting class ever in her thirties and just continued with it, and really found a passion there.

It was really quite fascinating listening to her speak about the art world, and a little scary as well. She was found through posting her stuff online, and she gets lots of commissions through that. She seems like shes at a point where she wants to take a different direction with her work. She's started trying out doing abstract paintings.

I really liked her work, and I can see why she does well. Its amazing that she was able to discover this talent so much later in life.

One of the things we talked about was pricing your work. This was the one thing that really garnered a lot of discussion. While Lisa Congdon seemed to advocate using a lower price structure and gradually raising the price as things sell, other voices seemed to suggest very different things. This seems to be a really controversial topic for people.

For this final writing assignment I wanted to choose artists that in someway connected with something I was either interested in or wanted to do. As such, the two artists I chose are game artists. The way in which they approach these games are very different though, both different from eachother and different from what one would typically consider to be a game. Eddo Stern creates games that are both physical and digital in nature, his bio explains it as exploring the uneasy and otherwise unconscious connections between physical existence and electronic simulation”. His games are as detailed and as realistic as he can get them, requiring an installation to play. Pippin Barr,on the other hand creates simple flash games. His games only take him a month or so to code and then he unleashes them on the interwebs. Both of these digital artists, however, have an interesting introspective aspect to their games that is quite different, and the reason I chose them. The games I chose to focus on were Waco Resurrection by Eddo Stern, and War Game by Pippin Barr. These games caused me to question the accidental meanings found in games as well the level of detail necessary to create an engaging game.

                Eddo Stern has made a few of these partly physical and partly electronic games, but the one I wanted to focus on was Waco Resurection. Waco Resurection revisits the 1993 Waco, Texas standoff between members of the Branch Davidian cult and federal agents, which lasted 51 days and ended with the deaths of at least 86 people, including the leader of the cult David Koresh. In Waco Resurection the players play as the resurrected David Koresh. Each player wears a “specially designed voice activated, surround sound enabled, hard plastic 3D skin” designed to look exactly like the animated Koresh. Players voice texts from Koresh’s writings on the book of Revelation to wield weapons and influence the behavior of both followers and opponents, even turning opponents into converts. ­After ten minutes Koresh dies, either in a fire similar to the one that killed him in real life, or he is killed by hordes of FBI agents. Either way, the game ends and the scores are tallied. Players earn points based on how many converts they have “dropped off”.

Pippin Barr has many games to choose from, all very simple flash type  games. The one that seems to stand out the most though is called War Game. War Game is based off of the old LED games, complete with stages, a boss level, and a psych evaluation, only where as time goes on the game starts to glitch and replaces characters and bullets with the wrong character or bullet. Well, maybe that psych evaluation part is somewhat less typical. For him as a game designer, he says that “In some ways every decision I made about the game was for a kind of detached aesthetic effect.” After either “five confirmed kills” or being shot the player is sent to the a psychiatric evaluation. The psych evaluation asks the player a question, such as “How do you feel about your mother?” or “what would you like to talk about?” or “how do you feel about your country?” and then after the player types 100 characters the game abruptly says “Everything seems to be in order, you’ll be fine, return to active duty” and places the player back in the war stage. Eventually the game just ends, with a screen saying “war is over” and a vague feeling of purposelessness.

There are many things that make these two games very very different, but one thing that makes Pippin Barr’s game very different from Eddo Sterns is the amount of meaning intentionally vested in the game. While Eddo Stern’s games can, somewhat intentionally, seem a little heavy handed with the meaning, Pippin Barr’s games are unintentionally very subtly vested with meaning. In Waco Reserection the player is David Koresh, the cult leader that molested and married children and was responsible for many deaths. This creates an odd sort of antihero situation, where the player knows that the person they are playing as is a terrible person, and yet they are put in a situation where they will try to make him win. According to Stern’s description of the game it “draws on the rhetoric of conspiracy theory, cult activity and apocalypticism to investigate the Waco siege as a cultural milestone. It addresses the multi-layered dynamics of a 51-day media-event that served to mobilize the militia movement, radicalize Timothy McVeigh and cause a reevaluation of the role of religion in society.”

While some of Pippin Barr’s games, such as Jostle Bastard, address maybe one of these things at a time (Jostle Bastard addresses the antihero concept), the meaning is often almost an afterthought. After writing up war games and posting it, Pippin Barr wrote on his blog about how he had noticed “this phenomenon by which bits of code and art and game mean things you didn’t mean them to, whether you like it or not.” War Games ended up being a very introspective piece. The 100 character limit on the psych evaluation was for Pippin Barr initially simply a lazy coding decision. However, in game play, it ends up being a commentary on whether or not the government really cares about the psychiatric health of the soldier. The occasionally relentless and undodgeable waves of bullets were neither coded for nor prevented, and yet they provide comment on the hopelessness of war. Even the name was chosen simply for its generality, however, as Pippin Barr noted, it sounds “falsely weighty… [like] the final word on games about war”.

What becomes difficult about analyzing this difference, is the question which is better. In the end I think this is a question that would be answered differently for everybody. Personally, I find that the accidental nature of the meaning in Pippin Barr’s games make me think more about every aspect of the game. I find the need to “[ensnare players] in the custom ‘Koresh skin’” heavy-handed. I think that if the game needs to be more detailed to be good and meaningful, then it really isn’t all that good or meaningful in the first place. However, I also think that that might be a matter of personal taste and opinion, and higher levels of detail and content can add to a piece. Given that the “Koresh skin” is a barrier to my being able to play the game, I really can’t say that it detracts from the game, only that it means I cant play it and find out.

This leads me to another thing I wanted to talk about with these two games, the physical component of Eddo Stern’s games and the very basic pixel art of Pippin Barr. These two game artists have very radically different approaches to the medium. Eddo Stern’s games have a physical component, such as the mask or “Koresh skin” one wears while playing Waco Resurection. These games strive to take on a hyperreal aspect. They are as realistically animated as the technology can easily allow, and create heavily detailed games. The mask of Waco Resucrection is meant to increase that level of realism, with the surround sound within the mask, as well as the mental association with putting on the mask, and a new identity for the players. Eddo Stern was not able to create the game alone either, but made it in collaboration with other artists in C-Level.

Pippin Barr is able to achieve a similar, if not higher level of meaning with far less effort and far less detail. In War Game your character takes up roughly 50 pixels, if that. However, the simple mechanics of the fact that you are controlling him causes the player to associate themselves with him. The direct nature of the psych evaluation questions, inspite of the lack of gameplay effect, further places one within this so-called war. The very flat and completely unrealistic graphics in no way detract from gameplay or the gameplay experience. The fact that these games can be so absorbing without even halfway decent graphics create an interesting question about the obsession with ever better graphics and ever more complicated gameplay within the gaming industry. Good writing is worth far more than good graphics in many ways.

To conclude, Eddo Stern and Pippin Barr are both very different game artists. Most of Eddo Stern’s work involves a physical component to increase the realism of the games, however, all of Pippin Barr’s games are extremely simple and make no attempt to be realistic, yet are fully engaging. Their games Waco Resurrection by Eddo Stern and War Game by Pippin Barr when viewed together create an interesting look at the nature of meaning in games as well as raising the question as to how much detail is needed in a game to make it engaging. I veer toward the side of less is more, however, that is also in many ways merely an aesthetic concern, and would be a matter of taste. While I wanted to ask Eddo Stern and ask him about the physical component and his reasons for using it in so many of his games, I was unsuccessful in contacting him. I also wanted to ask Pippin Barr about his game design process and what gives him the ideas for his games. Sadly, that was unsuccessful as well.

Bibliography

Stern, Eddo. "Waco Resurrection." Eddo Stern. N.p., n.d. Web. Apr. 2014. <http://eddostern.com/works/waco-resurrection/>

Stern, Eddo. "Eddo Stern BIO – Updated October 2006." Eddo Stern. N.p., n.d. Web. Apr. 2014. <http://eddostern.com/texts/ESTERN_BIO_CURRENT.htm>.

Barr, Pippin. "War Game." Pippin Bar. N.p., n.d. Web. Apr. 2014. <http://www.pippinbarr.com/games/wargame/WarGame.html>.

Barr, Pippin. "Pippin Barr. War Game Blog." Pippin Barr. N.p., n.d. Web. Apr. 2014. <http://www.pippinbarr.com/blog/?tag=war-game>.

Hannaford, Alex. "The Standoff in Waco." The Texas Observer. The Texas Observer, 18 Apr. 2013. Web. Apr. 2014. <http://www.texasobserver.org/the-standoff-in-waco/>

Reading #5 Questions

Reading 5 was the article Digital Divide by Claire Bishop. My discussion questions are:

1. What does the fascination contemporary art has with analog have to do with aura?
2. What problems does archival art have for the viewer?

Reading #4 Critical Thinking Questions
https://www.dropbox.com/s/9pu8bwlj7pnhc35/Raley%20Tactical%20Media%20Intro.pdf
1. How can Tactical Media use "virtuosity"?
2. What are the best ways to use Digital Media as a Tactical Medium?

For this project I decided to criticize Nestle for some of their business practices. I had heard once about the child slave labor used to harvest the chocolate, so I did some more research on the company. What I found was quite simply overwhelming. Nestle is criticized for not just its chocolate but nearly every other product it produces. I was only able to touch on a few things in my interventionist parody of the nestle website. The nestle company is aware of most of these concerns and is taking steps to improve many of these things, however, they measures being taken are just babysteps. I link to the articles I found below.
BabyMilk Action
Laos UNICEF investigation
Unlatched
CruelTea
Greenpeace
About the Chocolate
Mislabeled Bottled Water
Water not a right
on GMOs
Water in Pakistan
Corporate Research Project
Corporate Watch
Cocoa Plan not enough
Chocolate Farming
Child Slavery
Human Cost of Chocolate
Child Slavery and Chocolate

Here is my final animation and transition with audio! Aren't they grand?

For reading #2 we read Walter Benjamin's article: The Work of Art in the Age of Mechanical Reproduction. This raised several interesting questions:

Is it a bad thing that art is so much easier to access then it used to be?

What are the advantages of an artform that is easily seen by the masses?

How does this ease of access effect the way the general public thinks about art?

This is the animation I made for the "Steampunk Time Travel" project. I animated the first of the three triptichs, as I felt that one was the strongest. I tried to give it a sense of time and also played a bit with the stories. My main goal during this project was just to get a handle on Adobe After Effects, but I started to get more confident with the program, and I feel I started to use it better once I knew what it could do. There is a large focus on the second within this piece, the ticking motion is used repeatedly, and most things happen exactly on the second.

The theme for this project, as chosen by my class was Steampunk Time Travel. I was really excited by this theme... Thinking about time and steampunk made me think of The Little Prince. So I have a time traveling little prince visiting various fairy tales, and then I have the fairy tales doing their own traveling. I call it "The Day of the Forty-Three Sunsets", after the forty three sunsets the Little Prince saw in one day once, because thats a form of time trave too. I wanted the focus to be different in each panel, so the first panel, we see the world through the eyes of the Little Prince, and in the second the little mermaid views the world. The third panel is viewed by Donkey Skin (in the top right corner).

In reading David Oreilly's article "Basic Animation Aesthetics" I found myself wondering a few things about what the things he said:

He talks about how his use of simplicity in his short "Please Say Something" created a visual coherence. Can simplicity hinder coherence, or is it always beneficial?

He states that "The technology of 3d animation is developing at a blinding speed, new tools and
techniques are being added every year, and it is only a few films which survive this
development and manage to appear undated." What is it about these films that presents them from aging?

"Lady With the Hair"

This is the final version of "Lady With the Hair" I submitted to the Tate's contest. I went further with the hair, and I added the movement of the dove and the flower, as well as creating a slight smile on the womans face in the final few frames. I really like the way this turned out.

Lady With The Hair

This is the first gif I've ever made. I made it from John Brett's Lady With A Dove: Madame Loeser. When I read for the John Brett's work on the Tate's website it mentioned that the artist had wanted to paint Madame Loeser because of her magnificent hair. So, I tried to do the hair justice. I want to continue working on this before I submit it, but I still really like the way it is right now. When I first saw this piece, I just thought it looked very magical, so I wanted to play with that sense of magic and transformation.

For our first project, we will be animating a image from the Tate's 1840's room to a gif, for their 1840s gif party. I have storyboarded John Brett's Lady With A Dove: Madame Loeser, , Joanna Mary Wells' Portrait of Sidney Wells, and John Martin's The Great Day of His Wrath. For Lady With a Dove my storyboard shows the dove flying off and her hairkinda exploding evrywhere while a forest grow out of the wall. For Portrait of Sidney Wells I change the art style and attempt to age the face. And for The Great Day of His Wrath I attempt to show the destruction of the city, and then the calm after.