Wednesday, October 22, 2008
Image Manipulation Remix
The idea behind my remix project began when i came accross the images against animal testing. These images looked like typical makeup advertising at first glance but there was one thing changed in the images. The beautiful girls had a skin defect on their faces, which was juxtaposed cleverly and subtlely and forced you to take a second look to understand the new subverted message within the image. I then decided i would take my own photos of portraits. I went to the Bill Robinson library and in the childrens section found a book with magnified pictures of what was living on our bodies. I then in Adobe Photoshop used many tools to juxtapose the portraits with the magnified skin diseases, and these are the images i came up with as a result in printmaking.
Wednesday, October 15, 2008
Photoshop
I opened these advertisments in Adobe Photoshop then used tools such as the:
lasso tool, Magic wand, eraser, eyedroper, text box and fonts, opacity, the crop tool and more to digitally manipulate the image, only subtlely changing a few small aspects and using the L'Oreal Slogan "Because your worth it" as an added effect to draw attention to the subverted message - They can sell you anything.
lasso tool, Magic wand, eraser, eyedroper, text box and fonts, opacity, the crop tool and more to digitally manipulate the image, only subtlely changing a few small aspects and using the L'Oreal Slogan "Because your worth it" as an added effect to draw attention to the subverted message - They can sell you anything.
REMIX CONCEPT PLAN
When browsing for images on the internet, I came accross these images of beautiful women in what appears at first glance to be a usual advertisment for some kind of make-up product, but takin a second look shows that the images have already been remixed and had a subverted message in the image. Everything in an advertisment is done for a reason from the layot, colour and combination of image and text. We live in a consumer driven society which is overloaded with advertisment and marketting. The images is sucessful because the designer of these images is using this familiarity of a usual add that grabs peoples brief attention but by changing one thing on the image the message is completely turned upside down and subverted. Once the viewer realises the real idea behind the subverted message their idea of the work is completely changed. For something to gain full attention it needs to be visually appealing and new, new things are interesting and interesting things are remembered.
For this remix project i will take some images of peoples portraits and juxtopose the images with other images such as skin diseases, placing the two things that are usually never placed together in the one image.
For this remix project i will take some images of peoples portraits and juxtopose the images with other images such as skin diseases, placing the two things that are usually never placed together in the one image.
Tuesday, August 26, 2008
Loop process
As a small group we decided that our main focus for our loop was to film the seagulls that circle the nearby leith river every day without fail. Of course filming day came and the weather was not good, scaring off most of the regular seagull community. Although luckily with the help from the flying squid and their greasy chips we managed to have quite a lot of controll over the seagulls, throwing the chips where where we wanted the seaguls to fly into the camera shot. We also got some good footage of the seagulls feeding right on top of and up close to the camera which worked well. We ended up with six minutes of film, that we then played with individually in premiere to create this short and simple seagull loop.
Wednesday, May 28, 2008
Tuesday, May 27, 2008
Wednesday, May 21, 2008
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You are free:
to Share — to copy, distribute and transmit the work
Under the following conditions:
Attribution. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
Attribute this work:
What does "Attribute this work" mean?
The page you came from contained embedded licensing metadata, including how the creator wishes to be attributed for re-use. You can use the HTML here to cite the work. Doing so will also include metadata on your page so that others can find the original work as well.
Noncommercial. You may not use this work for commercial purposes.
No Derivative Works. You may not alter, transform, or build upon this work.
For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page.
Any of the above conditions can be waived if you get permission from the copyright holder.
Nothing in this license impairs or restricts the author's moral rights.
Disclaimer
Disclaimer
The Commons Deed is not a license. It is simply a handy reference for understanding the Legal Code (the full license) — it is a human-readable expression of some of its key terms. Think of it as the user-friendly interface to the Legal Code beneath. This Deed itself has no legal value, and its contents do not appear in the actual license.
Creative Commons is not a law firm and does not provide legal services. Distributing of, displaying of, or linking to this Commons Deed does not create an attorney-client relationship.
Your fair dealing and other rights are in no way affected by the above.
This is a human-readable summary of the Legal Code (the full license).
Culture is a part of life for everyone; its identity is made up of many different forms, including tradition, beliefs and appearance. Identity includes the makeup of your whole body, on the inside your morals, beliefs and personality, and on the outside, which can be inscribed with a series of markings to tell your story.
In my essay on vestimentary body art I will examine the ways in which the human body consists of adornment. I will include cultural beliefs, testing of the body’s physical boundaries and what influence traditional body decoration has had on today’s Western society.
Human beings are the only creatures that are able to consciously recognise themselves and, in the process, their bodies. The skin is a significant part of the body as it can be seen as the final layer that separates you from the outside world. For thousands of years the skin has been seen as a blank canvas and has tempted people to paint, pierce, tattoo, scar, stain, shave, stretch, sew, perfume, oil and colour right back to the time when we separated ourselves from the apes. Whether it be to identify with or isolate themselves from a particular society, to recognise authority, acknowledge individuals age, sex and social status, every culture ever known, - has adorned themselves in some kind of body decoration at some time.
Body art in forms of scarring or tattooing was once a widespread phenomenon as Charles Darwin stated in the mid 1800’s.
Not one great country can be named, from the polar regions in the north to New Zealand in the south, in which the aborigines do not tattoo themselves. This practise was followed by the Jews of old, and by ancient Britons. In Africa some of the natives tattoo themselves, but it is a much more common practise to raise protuberances by rubbing salt into incisions made in various parts of the body; and these are considered by the inhabitants of Kordofan and Darfur to be great personal attractions. In the Arab countries no beauty can be perfect until the cheeks ‘or temples have been gashed. [1]
Tribal customs of permanent body decoration are slowly disappearing, however there are still a few remote regions where body art is practised in the same way it has been for hundreds of years. Some parts of India, the Amazon, Indonesia, Asia, china, the Middle East and Africa still carry on the tradition. [2]
East African tribes vary in the amount they travel but mostly all have a minimum of material possessions to allow for their constant travels, therefore the body becomes the base on which they present their artwork.
No single piece of evidence can tell you more about a person or group than the information you gain in the first glance. Every tribe has different body art that marks them apart from one another, and can be seen as a sign language through symbols and markings, displayed on the body. Different decoration can tell you about the wearer’s age, sex and social status. For example the Mursi and the Bumi came from the Omo valley of southwest Ethopia. The Omo valley groups are famous for the diversity of the decorative scars, arranged in aesthetic patterns, with which they ornament their faces and bodies. These prestigious marks are often closely linked to meaningful and complex rituals in which hunting and killing play an important part.[3] The scars on the arms and bodies of the Mursi are often a record of personal achievements – mainly signifying, feats of bravery in battle or outstanding skill at hunting. The desirable marks enhance the social prestige of their wearer.[4] Importance is also placed on the person, who decorates who, how and why they do it, and also whether the process is voluntary or forced as a part of their beliefs within their society.
Bibliography:
Australian Museum’s Body Art. 2000, “Contemporary branding and cutting,” http://www.australianmuseum.net.au/bodyart/scarring/contemporary.htm. (accessed May 2nd 2008)
Bakker, Gijs, Jewelry, Europe: Arnoldsche Art publishers, 2005
Bhandari, Vandama, Costume, Textiles and Jewellery of India, Traditions in Rajasthan, London: Mercury Books, 2005
Brown, Deidre and Ellis, Ngarino. Te Puna, Maori art from Te Tai Tokerau Northland. New Zealand: Reed Books, 2007
Clajot, Jean-Michel “Group and scarification,” Abounkou Boni, http://www.drr.net/jmclajot/Production/PhotogroupView.aspx?pbid=4&msa=1&pgid=7758107, (accessed May 2nd 2008).
Fisher, Angela, Africa Adorned, London: The Harvill Press, 1996
Groning, Karl, Decorated Skin, A World Survey of Body Art, London: Thames and Hudson, 1997
Maarten Hesselt, van Dinter, The World of Tattoo, An illustrated History, Amsterdam: KIT Publishers, 2005
McNab, Nan, Body Bizarre Body Beautiful, Australia: Allen & Unwin pty ltd, 1999
Nicolas Thomas, Anna Cole and Bronwen Douglas, Tattoo, Bodies, Art and exchange in the Pacific and the west, London: Reaktion Books ltd, 2005
Skubic, Peter, Between Schmuck / Jewellery, Europe: Arnoldsche Art publishers, 2001
[1] Maarten Hesselt van Dinter, The World of Tattoo, An illustrated History, (Amsterdam: KIT Publishers, 2005), 9.
[2] Maarten Hesselt van Dinter, The World of Tattoo, An illustrated History, (Amsterdam: KIT Publishers, 2005), 9.
[3] Groning, Karl, Decorated Skin, A World Survey of Body Art, (London: Thames and Hudson, 1997), 128.
[4] Ibid
[5] Fisher, Angela, Africa Adorned, (London: The Harvill Press, 1996), 15
[6] Groning, Karl, Decorated Skin, A World Survey of Body Art, (London: Thames and Hudson, 1997), 227.
[7] Peter Skubic, Between Schmuck / Jewellery, (Europe: Arnoldsche Art publishers, 2001), 132 – 133.
[8] Australian Museum’s Body Art. 2000, “Contemporary branding and cutting,” http://www.australianmuseum.net.au/bodyart/scarring/contemporary.htm.
[9] Ibid
[10] Ibid
[11] Groning, Karl, Decorated Skin, A World Survey of Body Art, (London: Thames and Hudson, 1997), 227.
[12] Jean-Michel Clajot, “Group and scarification,” Abounkou Boni, http://www.drr.net/jmclajot/Production/PhotogroupView.aspx?pbid=4&msa=1&pgid=7758107,
In my essay on vestimentary body art I will examine the ways in which the human body consists of adornment. I will include cultural beliefs, testing of the body’s physical boundaries and what influence traditional body decoration has had on today’s Western society.
Human beings are the only creatures that are able to consciously recognise themselves and, in the process, their bodies. The skin is a significant part of the body as it can be seen as the final layer that separates you from the outside world. For thousands of years the skin has been seen as a blank canvas and has tempted people to paint, pierce, tattoo, scar, stain, shave, stretch, sew, perfume, oil and colour right back to the time when we separated ourselves from the apes. Whether it be to identify with or isolate themselves from a particular society, to recognise authority, acknowledge individuals age, sex and social status, every culture ever known, - has adorned themselves in some kind of body decoration at some time.
Body art in forms of scarring or tattooing was once a widespread phenomenon as Charles Darwin stated in the mid 1800’s.
Not one great country can be named, from the polar regions in the north to New Zealand in the south, in which the aborigines do not tattoo themselves. This practise was followed by the Jews of old, and by ancient Britons. In Africa some of the natives tattoo themselves, but it is a much more common practise to raise protuberances by rubbing salt into incisions made in various parts of the body; and these are considered by the inhabitants of Kordofan and Darfur to be great personal attractions. In the Arab countries no beauty can be perfect until the cheeks ‘or temples have been gashed. [1]
Tribal customs of permanent body decoration are slowly disappearing, however there are still a few remote regions where body art is practised in the same way it has been for hundreds of years. Some parts of India, the Amazon, Indonesia, Asia, china, the Middle East and Africa still carry on the tradition. [2]
East African tribes vary in the amount they travel but mostly all have a minimum of material possessions to allow for their constant travels, therefore the body becomes the base on which they present their artwork.
No single piece of evidence can tell you more about a person or group than the information you gain in the first glance. Every tribe has different body art that marks them apart from one another, and can be seen as a sign language through symbols and markings, displayed on the body. Different decoration can tell you about the wearer’s age, sex and social status. For example the Mursi and the Bumi came from the Omo valley of southwest Ethopia. The Omo valley groups are famous for the diversity of the decorative scars, arranged in aesthetic patterns, with which they ornament their faces and bodies. These prestigious marks are often closely linked to meaningful and complex rituals in which hunting and killing play an important part.[3] The scars on the arms and bodies of the Mursi are often a record of personal achievements – mainly signifying, feats of bravery in battle or outstanding skill at hunting. The desirable marks enhance the social prestige of their wearer.[4] Importance is also placed on the person, who decorates who, how and why they do it, and also whether the process is voluntary or forced as a part of their beliefs within their society.
Bibliography:
Australian Museum’s Body Art. 2000, “Contemporary branding and cutting,” http://www.australianmuseum.net.au/bodyart/scarring/contemporary.htm. (accessed May 2nd 2008)
Bakker, Gijs, Jewelry, Europe: Arnoldsche Art publishers, 2005
Bhandari, Vandama, Costume, Textiles and Jewellery of India, Traditions in Rajasthan, London: Mercury Books, 2005
Brown, Deidre and Ellis, Ngarino. Te Puna, Maori art from Te Tai Tokerau Northland. New Zealand: Reed Books, 2007
Clajot, Jean-Michel “Group and scarification,” Abounkou Boni, http://www.drr.net/jmclajot/Production/PhotogroupView.aspx?pbid=4&msa=1&pgid=7758107, (accessed May 2nd 2008).
Fisher, Angela, Africa Adorned, London: The Harvill Press, 1996
Groning, Karl, Decorated Skin, A World Survey of Body Art, London: Thames and Hudson, 1997
Maarten Hesselt, van Dinter, The World of Tattoo, An illustrated History, Amsterdam: KIT Publishers, 2005
McNab, Nan, Body Bizarre Body Beautiful, Australia: Allen & Unwin pty ltd, 1999
Nicolas Thomas, Anna Cole and Bronwen Douglas, Tattoo, Bodies, Art and exchange in the Pacific and the west, London: Reaktion Books ltd, 2005
Skubic, Peter, Between Schmuck / Jewellery, Europe: Arnoldsche Art publishers, 2001
[1] Maarten Hesselt van Dinter, The World of Tattoo, An illustrated History, (Amsterdam: KIT Publishers, 2005), 9.
[2] Maarten Hesselt van Dinter, The World of Tattoo, An illustrated History, (Amsterdam: KIT Publishers, 2005), 9.
[3] Groning, Karl, Decorated Skin, A World Survey of Body Art, (London: Thames and Hudson, 1997), 128.
[4] Ibid
[5] Fisher, Angela, Africa Adorned, (London: The Harvill Press, 1996), 15
[6] Groning, Karl, Decorated Skin, A World Survey of Body Art, (London: Thames and Hudson, 1997), 227.
[7] Peter Skubic, Between Schmuck / Jewellery, (Europe: Arnoldsche Art publishers, 2001), 132 – 133.
[8] Australian Museum’s Body Art. 2000, “Contemporary branding and cutting,” http://www.australianmuseum.net.au/bodyart/scarring/contemporary.htm.
[9] Ibid
[10] Ibid
[11] Groning, Karl, Decorated Skin, A World Survey of Body Art, (London: Thames and Hudson, 1997), 227.
[12] Jean-Michel Clajot, “Group and scarification,” Abounkou Boni, http://www.drr.net/jmclajot/Production/PhotogroupView.aspx?pbid=4&msa=1&pgid=7758107,
Wednesday, April 9, 2008
Blue Oyster Gallery
walking into the blue oyster gallery to find cardboard sculptures with war videos playing amongst the cardboard was a little unusual, it took me some time to slow down and adjust to the powerful ideas going on around me, also with the videos of American women telling their tragic stories to the world makes you realise how small your problems really are, and how helpless they must feel to have to reveal their private lives to the world for the attention they obviosly need. On a lighter note i enjoyed the small and detailed paintings by Allissas Holzers and the projection of the door onto the wall, making you turn back and forth playing spot the difference with the real door behind you.
Wednesday, March 5, 2008
Wednesday, February 27, 2008
What i think about computers
What i think about computers.........
i think they dont like me and im doin this 4 skool =) but am sadly becomin a bebo adict.
i think they dont like me and im doin this 4 skool =) but am sadly becomin a bebo adict.
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