Line
Create your own spreads or pages from the media. Using research, appropriate, scan, photocopy, tear, cut, paste, paint on or over, omit, clip, weave, stack, gild, recreate, copy, collect to create 4 pages of a newspaper...headlines and other sections as desired.
You may take the physical newspaper as a point of departure or explore other means of understanding news. Think about the format and space of the page. Tabloid size 17 x 11 inches or larger. If you choose a different format please discuss it with me. Please bring hardcopies to critique but also plan to scan for website.
Create your own spreads or pages from the media. Using research, appropriate, scan, photocopy, tear, cut, paste, paint on or over, omit, clip, weave, stack, gild, recreate, copy, collect to create 4 pages of a newspaper...headlines and other sections as desired. You may take the physical newspaper as a point of departure or explore other means of understanding news. Think about the format and space of the page. Tabloid size 17 x 11 inches or larger. If you choose a different format please discuss it with me. Please bring hardcopies to critique but also plan to scan for website.
News
This project is inspired by Wittgenstein’s early idea that pictures, which he refers to as atomic fact in Tractatus, are the basis of language. Each piece of language is correlated with an image, yet people form different pictures in their minds for one piece of language. By assigning images from the New York Times to different words/phrases from different articles, I take the information out of their original context and build a set of exact bonds between words and images, despite the fact that they are from completely unrelated stories. For example “An Existential Threat to the 21st Century” is placed on top of the picture of a reigning monarch, when it is used to describe China in its original context.
It is a reconstruction/exaggeration of the experience of reading a newspaper in a way, since all news are delivered with opinions/biases whether intentional or not. The selection of topic is limiting yet it thrives to makes the reader believe that it includes every significant event, hence the title: All-Seeing All-Knowing, which is also taken from the paper. Sarah Charlesworth describes the fact that world news is placed in conjunction with fancy Tiffany advertisements as “Contradiction of Values,” which is also an element that is present in this piece.
It is also a comment on fake news. By defining an article as fake news, one also acknowledges the existence of real news. If we define fake news as news with disinformation, then a piece of real news should be one that omit any bias and completely objective: a collection of facts. (which is utterly dull to be honest) One incident can be described in different ways through different media therefore no news is real.
Gallery Response
Paul Pfeiffer
Goethe’s Message to the New Negroes, 2001
The piece consists of a small LCD display playing a coloured video loop. The display is mounted on a long steel stick protruding outwards from the wall, which creates an intimate relationship since it can only be viewed by one person at a time. The video is a sequence of television broadcast of basketball game with athletes’ head placed on the centre and takes up almost the whole screen. One scene morphs from to another in a peculiar way which further emphasise the head.
As the wall text says, it is an examination of the sociocultural structure that underlie television programming, and how athletes are fetishised in through this medium. Looking at it 18 years after its creation, it’s hard not to relate it to computational imaging and how artificial intelligence is using the online data to improve its ability of facial recognition.
W. Bradford Paley
CodeProfiles, 2002 and 2018
CodeProfiles is a piece based on Java program and visualised through a digital screen. A set of instructions is displayed on the screen and highlighted when the instruction is executed. The results are moving lines and shapes displayed on top of all the instruction. It looks at the computer program as text and visually connects on how code is read by people, written by programers, and executed by computers.
Jim Campbell
Ambiguous Icon #5 (Running, Falling), 2000
Reconstruction 7, 2006
These two pieces are shown in conjunction due to their similar form factor and the topic they are discussing. Ambiguous Icon #5 is made of LED lights in a grid, which resemble led screens. By separating each light source and therefore creating a low resolution screen, Campbell draws attention to the medium. The human figure is still comprehendible through the deconstructed screen, hence the name “Reconstruction.”