Potential themes:
* Openings in space
Create a Fantasy Out the Door Wallpaper in Photoshop
* Water
http://www.unesco.org/water/
http://water.re-configure.org/
http://storyofstuff.org/bottledwater/
* Regarding the Pain of Others is an book written by Susan Sontag, takes a fresh look at the representation of atrocity in our culture -- from Goya's "The Disasters of War" to photographs of the American Civil War, lynchings of blacks in the South, and Dachau and Auschwitz, to contemporary horrific images of Bosnia, Sierra Leone, Rwanda and New York City on September 11, 2001. What is it in us that creates this sadistic pleasure of the sufferings of others?
Accompanying reading: “Escape from Spiderhead”
* “Everywhere and nowhere” Machines in our Lives, Living without the Machine
Happiness: http://opinionator.blogs.nytimes.com/2010/10/06/the-spoils-of-happiness/?hp
Mashable - Harvard Study Finds Teens Online Lack Ethics
http://mashable.com/2010/09/21/ethical-consideration-online/
* “sense, non-sense, nonsense”
* “perspectives”
* “scales”
* “Pharmacon: cure and poison”
* Anti-Anti-Utopia:
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Innovative panoramic and semi-immersive ideas:
Jeffrey Shaw: the Legible City:
http://www.jeffrey-shaw.net/html_main/frameset-works.php3
http://vonholmes.blogspot.com/
Arthur Ganson http://www.ted.com/index.php/speakers/arthur_ganson.html
http://www.arthurganson.com/pages/Sculptures.html
Aram Bartholl playful, poignant works commenting on contemporary digital culture
http://datenform.de/indexeng.html
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Graham Parker: http://www.grahamparker.info/
at EMPAC March 24 - April 8, 2011
Structured Light 3D Scanning:
http://www.instructables.com/id/Structured-Light-3D-Scanning/
Anthropomorphism
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An anthropomorphic North Wind tries to strip a traveler of his cloak in Aesop's fable, The North Wind and the Sun
Anthropomorphism is a term coined in the mid 1700s[1][2] to refer to any attribution of human characteristics (or characteristics assumed or believed by some to belong only to humans) to animals or non-living things, phenomena, material states and objects or abstract concepts. Examples include animals and plants and forces of nature such as winds, rain or the sun depicted as creatures with human motivations, and/or the abilities to reason and converse. The term derives from the combination of the Greek ἄνθρωπος (ánthrōpos), "human" and μορφή (morphē), "shape" or "form".
As a literary device, anthropomorphism is strongly associated with art and storytelling where it has ancient roots. Most cultures possess a long-standing fable tradition with anthropomorphised animals as characters that can stand as commonly recognised types of human behavior.
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TECHNOLOGY | September 14, 2010
3-D Printing Spurs a Manufacturing Revolution
By ASHLEE VANCE
New technology is giving rise to never-before-possible businesses that are selling products like iPhone cases, doorknobs, perfume bottles and architectural models.
Harvard University
Harvard University presents Remember Then: An Exhibition on the Photography of Memory
February 3–March 15, 2011Opening Reception: Thursday, February 3, 2011, from 6–9pm.
Concourse Gallery
Center for Government and International Studies
Harvard University
1730 Cambridge Street
Cambridge, Massachusetts 02138
http://www.harvard.edu/
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CGIS Hours: Monday–Friday, 7am–7pm.
Participating Artists: Jesse Avina, Carrick Bell, Wafaa Bilal, Kevin Buzzell, Helen Maurene Cooper, Jill Frank, Eiko Grimberg, Sharon Harper, Julia Hechtman, David Hilliard, Chelsea Knight, John Merrill, Daniel Poller, Grant W. Ray, Arne Reimer, Irina Rozovsky, Michael Ruglio-Misurell, Jayanti Seiler, Kurt von Stetten, and Nicole White.
Remember Then: An Exhibition on the Photography of Memory is based on a simple premise that photographs are used as tools by our culture to recall the past. The artists in Remember Then set out to interrogate this proposition, and memories are used as source material for recreating images in the present, systematically and through various methodologies. How a viewer understands and receives this new memory is the catalyst for each image.
Memories are fallible because they are subject to an arbitrary jumble of personal significance, defying neat, historicized packages. However, methodologies can serve to occupy this space, and make meaning and order out of randomness. Many of the images in Remember Then serve as an example of this concept; the original memory is inadequately represented by a single image, but rather by a series of images, which serve to organize personal history, or archive memories based on internal significance.
Nevertheless, memory, and ultimately history, cannot be accurately reduced to a system of representation. Images, whether singular or multiple, provide significant points of reference that function like springboards. These mnemonic devices send a viewer backward, through a spiraling, cognitive space rich with subjective associations. Cognition becomes a universe where surrounding constellations may be accessed or ignored depending on one's needs or desires.
In the essay "Photography," Siegfried Kracauer describes the "ur-image" as memory images that result from direct human contact (Thomas Y. Levin, ed., trans., The Mass Ornament: Weimar Essays, 50). The "ur-image" retains a situational context, the retrieval of which necessitates recollection. A photograph cannot wholly capture this; the machinery focuses and captures only that which is chosen, subsequently relegating the event to a relational object. Pictures are the remaining likenesses, where "the ur-image has long since decayed" and "a person's history is buried as if under a layer of snow" (ibid., 48, 51).
Where does this situation leave the artist who uses photography precisely as an indicator of memory? To paraphrase Walter Benjamin in his essay "The Task of the Translator," no translation is possible if it strives for likeness to the original, for in its afterlife the original undergoes a change (Hannah Arendt, ed., Harry Zohn, trans., Illuminations: Essays and Reflections, 73). In this sense the photographic image is translated from its original form (the event being recorded) into an abstraction–a physical object that stands in the present–making specific reference to the circumstances of psychology from which they are born.
Photographic documentation thus stands as inadequate representation of human memory (individual and collective) contextualized by its socio-historic circumstances, which has implications for both production and reception. It is in the space of the image's inadequacy that the artists in the exhibition exemplify the politics of maintaining and exerting control over how memories can be reconstituted. Remember Then is not a call to remember a particular past, but an invitation to experience the changing conditions of our relationship to memory.
Curators: Regina Mamou and Scott Patrick Wiener.
For additional information, please contact:
Regina Mamou,
Scott Patrick Wiener,
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