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Lightning bolt moments of insight rarely occur. Growth and change and building a skill set is incremental. Both conceptually as well as technically.

Aha moments vs continued practice.

You have to equal parts confidence and complete doubt.

Anything is paintable, it’s how a subject is digested by an artist which gives it an ability to connect with others.

Studio Ghosts: When you’re in the studio painting, there are a lot of people in there with you – your teachers, friends, painters from history, critics… and one by one if you’re really painting, they walk out. And if you’re really painting YOU walk out. -Philip Guston

If you have one person you’re influenced by people will say you’re the next whoever, but if you rip off a hundred people will say you’re so original.

-Gary Painter

1: Work Daily . Grind it out. Find a habit with drawing or painting and tie it to something you already do (draw while you watch youtube videos, listen to music, watch netflix, etc. )

2: Start! Force yourself to sit in your chair at your easel, or put pen to paper.

3. Make a ton of work.

4. Get inspiration from other painters, and copy their techniques.

5. Don’t let practice become procrastination. Make yourself uncomfortable with the work.

6. Get a hobby that isn’t painting. Take photos, make videos, play music, learn how to make knives, learn to bind books. Whatever. Get your mind off your subject to allow the muse to enter again.

7.  Show your work to people.

8. Love what you do.

9. Keep a sketchbook and don’t show it to anyone.


Da Vinci, knowing this, instructs fellow artists to:

“Keep a sharp lookout, for figures in movement, in the streets, in the squares, in the countryside, and note down the main lines quickly: that is to say, putting an O for the head and straight or bent lines for the arms and the same for legs and trunk; then when you get home, look back at your sketches and give them finished form.”

“Tomorrow make some silhouettes out of cardboard in various forms and throw them from the top of the terrace through the air; then draw the movements each makes at the different stages of its descent.”

“Creativity feeds on limitations.”


What is Fine Art Experimental Media?

The Fine Art Experimental Media program is a three year program which delves into the intersections between new technologies and contemporary art. While you will learn various programs that could prepare you for other professions, the goal of the program is to foster creative individuals who can solve problems and create new and innovative works of art relating to space, interactivity, time, and digital media. The following courses compose the first two years of study in the program, before a final year in the BA which is focused primarily on studio work, conceptual development through critical writing, and an exhibition module.

Courses during the first two years.

Animation Techniques for Interactivity, 2D 3D and Time-Based Digital Applications, Drawing Techniques and Processes, Computer Interface Design Principles, New Technologies in Interactive Media, Interactive Media Design and Prototyping, Interactive Media Web Authoring, Contextual & Cultural Referencing, Audio-Visual Techniques, Professional Practice, Digital Video Post Production & Editing, Sound Production and Editing, Idea Generation and Development, Website Creation and Management, Critical Study, Project Design; Implementation and Evaluation.

Courses for Final BA Year.

Reflective Case Study, Visual Production, Final Exhibition.

So what’s the difference betwen Commercial Art, and Fine Art?

If you are unfamiliar with these courses and concepts, and how they relate to contemporary art making, then you should look at some prominent artists working in the field to gain a better understanding of what types of projects generally encompass this field of study.  While there have been many debates about what generally constitutes commercial work, and what is Fine Art the statement can be made that commercial work is generally created for a client, and while someone hired to make a commercial certainly has their own creative vision their end goal is to showcase a company or business. The FAEM program is not focused on creating work for companies, clients or businesses. It’s a Fine Art program.

What Software and Computer Languages which will be studied?

Aftereffects, Premiere, Flash, VVVV, Pure Data, Reaper, Unity, Resolume, 3dsMax, HTML, Javascript, C Sharp, and you will also be using controllers such as Arduino which need to be programmed as well as Kinect. On top of that there is a focus on writing and critical theory, animation, and drawing techniques with new media.

Examples of Experimental Media.

Projection mapping has been around for about 50 years, the goal is to turn almost any surface into a dynamic video display. Software such as Aftereffects, Resolume, and Quartz are used to warp and mask the projected image to make it fit perfectly on irregularly shaped screens. The following video is a good example of what the limits of the medium are, and how the aesthetic of the medium can be used.

THE AETHER PROJECT from Refik Anadol on Vimeo.


Pedro Reyes is a sculptor who works with guns which have been disassembled and then he creates large mechanized instruments from them.  In this piece we can see that he revisioned these objects which were once deadly and turned them into something which creates sound. Thereby intersecting the boundaries between sound art, kinetic sculpture, and collage. 1993 took the approach that a website could itself, and that the internet could be seen as a medium much like paint or charcoal. The project was created by two European artists whose goal was to take apart the typical language of the internet, and replace it with an interpretation of data. The site displays remixed versions of found images and html scripts in a way similar to how the dadaists cut up poetry. The project displayed principles inherit in a lot of New Media art which is the fact that it took advantage of emerging technolgies as a vehicle to create new art. For this reason, today when we have different new technologies to play with, they are often the focus of how to create new works of art and devices are often hacked or reconfigured to fit the needs of the artist. The idea that these objects can exist purely as data is one which is common, and often exploited.



Artists also employ a strong element of interactivity into these works as well as we can see in the work of Muti Randolph who created a giant interactive sculpture which would respond and interact with the movements of those who were walking through it. It is common for these artists to employ the use of arduino (a single board controller which  intended to make the application of interactive objects or environments more accessible) as well as more familiar items such as Kinect which allows a computer to track someone’s movements and track them.

But artists using New Media is not something only synonymous with the digital age. One can  look at the work by Swiss Sculptor Jean Tinguley who is best known for his self destructing sculptures.  Many times an emphasis is put on temporary work and the genre blends aspects of performance as well as traditional artistic practices such as sculpture or painting.


Because of the fact that often times the work created was temporary, often the pieces would be videotaped as documentation of the work itself. At the same time the advent of video technology lead to artists also using and exploiting the medium to create works of art. Nam Jun Paik is one of the most well known examples of an artist to explore the incorporation of video into his work. Paik blended elements of sculpture, happenings, video footage, and sound into his installations.

Artists such as Eduardo Kac pushed the boundaries of what it meant to be a biological entity with the creation of his glowing rabbit. This is still a developing field referred to as Transgenetic Art.  By extracting a protein found in a certain type of jellyfish, he infused this protein into the DNA of a rabbit and created this living sculpture which would glow when blue light was shined upon it.


The creation of this transgenetic art caused the rabbit to be held inside a lab because of fears that it would try to reproduce if it escaped.  Subsequently there was a campaign to Free Alba (The name of the rabbit) which created some public debate about the morality of the project. This debate, according to Kac, also became part of the artwork itself and made it a living public sculpture.

Bas Jan Ader


As you can see, the materials and concepts present in a variety of pieces can vary greatly, however they are all rooted firmly in the history of art and thinking which developed during the 20th century. This timeline can give you a glimpse into the wide variety of influences both art, philosophy, and technological advancements had with one another. [ Click to Enlarge ]




It is important to note that the Fine Art Experimental Media program is not one which is directly geared towards the creation of commercial work, but rather immersive installations which fit into a Fine Art context.  This piece by Bill Viola incorporates a variety of media and techniques, including sculpture, video, and sound.

Viola is primarily known for innovative work working with Videos which encompass entire rooms which exhibit an overpowering quality to them. His subjects tend to revolve around issues regarding life, death, and consciousness.

In this sound installation in a forest by Janet Cardif she transforms a natural enviroment into a performance space.

In this piece by Stelarc, we can see that the body itself can be a living sculpture which can be manipulated and used to incorporate elements of technology, dance, performance, robotics, 3d modeling and sculpture.

As you can hopefully see by now, the thrust of the program is not on making car commercials, or animations. All of the programs you learn will simply be used as tools in the creation of art. If you are still uncertain the best possible way to decide your pathway would be to attend either the HND final show, or the BA final show, the visiting artist lecture series, or any of the other events which the program puts on.



Drawing Class Lesson 8: Figure Drawing

Today we will be drawing from a model. Figure drawing is one of the oldest methods for improving drawing abilities. It provides an endless amount of problems to solve and there are many different facets to take into consideration. I understand it is impossible to teach everything about figure drawing in one session, so I’d like to go over the basics first before we begin.

Before starting a drawing from a longer pose it is important to loosen up. This is done by what’s called gesture drawings. Gesture drawings are quick drawings, generally completed in 2 to 3 minutes which capture the gesture of the figure. A gesture drawing serves only to catch the overall feeling of a pose or an object. Whether it is animation, character design, or painting and graffiti, gesture drawings serve as the whole upon which the rest of the drawing is hung. It’s a loose skeleton to be refined at a later stage.

In this tutorial below you can see how a professional character designer warms up with gesture drawing.

Gesture drawings all convey a sense of rhythm abd movement. It is at the heart of graffiti. Which is why the first step to learning how to spray, is to start with tags.

Anatomy can be taken into consideration however isn’t a necessary component for figure drawing. However, the more you know about your subject, the better that you can draw it.

Gesture drawing is also at the heart of character design and comic book illustrations.

Figure drawings can also be based completely off the interplay of light and shadow on the structure of the human body.

VP 2

1953, Robert Rauschenberg “Erased De Kooning Drawing”
“My choices consist in choosing what questions to ask”

cage quote
Cage: Mushroom Haiku/Lecture on Nothing
Cage: Norton Lectures
What is a concept?
What makes something art?

What functions can art have?
Smithson/Holt “Swamp”
Smithson, Hotel Palenque
(Text and Video, video is bootleg though, not original quality. obviously)

marcel readymades


John Baldassari, I Will Not Make Any More Boring Art
Sentences on Conceptual Art (1968)
Sol Lewitt

1) Conceptual Artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
2) Rational judgments repeat rational judgments.
3) Illogical judgments lead to new experience.
4) Formal art is essentially rational.
5) Irrational thoughts should be followed absolutely and logically.
6) If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.
7) The artist’s will is secondary to the process he initiates from idea to completion. His willfulness may only be ego.
8) When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.
9) The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.
10) Ideas alone can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
11) Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions but an idea must necessarily be completed in the mind before the next one is formed.
12) For each work of art that becomes physical there are many variations that do not.
13) A work of art may be understood as a conductor from the artists’ mind to the viewers. But it may never reach the viewer, or it may never leave the artists’ mind.
14) The words of one artist to another may induce a chain of ideas, if they share the same concept.
15) Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.
16) If words are used, and they proceed from ideas about art, then they are art and not literature, numbers are not mathematics.
17) All ideas are art if they are concerned with art and fall within the conventions of art.
18) One usually understands the art of the past by applying the conventions of the present thus misunderstanding the art of the past.
19) The conventions of art are altered by works of art.
20) Successful art changes our understanding of the conventions by altering our perceptions.
21) Perception of ideas leads to new ideas.
22) The artist cannot imagine his art, and cannot perceive it until it is complete.
23) One artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstruing.
24) Perception is subjective.
25) The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.
26) An artist may perceive the art of others better than his own.
27) The concept of a work of art may involve the matter of the piece or the process in which it is made.
28) Once the idea of the piece is established in the artist’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.
29) The process is mechanical and should not be tampered with. It should run its course.
30) There are many elements involved in a work of art. The most important are the most obvious.
31) If an artist uses the same form in a group of works and changes the material, one would assume the artist’s concept involved the material.
32) Banal ideas cannot be rescued by beautiful execution.
33) It is difficult to bungle a good idea.
34) When an artist learns his craft too well he makes slick art.
35) These sentences comment on art, but are not ar </p> NOTES

* Reprinted from Art-Language, Vol. 1, No. 1 (1969).

Le Witt


Chris Burden, 1972,Shoot

beuys 1

Josef Beuys, 1974 I Like America and America Likes Me


Vito Acconci, Following Piece

and Seedbed



Bruce Nauman “Walking Around the Studio in an Exaggerated Manner”




Yoko Ono Cut Piece


Yves Klein Anthropometry of the Blue Epoch


Allan Kaprow, Yard, Happening(s)

Philosophical Theory and Sources.

Existentialism: Simone de Beauvoir, Jean-Paul Sartre, Albert Camus, Franz Kafka, Søren Kierkegaard,Friedrich Nietzsche

Structuralism: Ferdinand de Saussure (pre-structuralist linguist, Prague and Moscow Schools of Linguistics along with Jakobson), Roman Jakobson (linguist), Claude Levi-Strauss (anthropologist), Jacques Lacan (psychoanalyst), Michel Foucault (historian), Roland Barthes (literary critic), Maurice Merleau-Ponty (phenomenoligist),Louis Althusser (Marxist theory)

Post-Structuralism: Jacques Derrida, Gilles Deleuze, Felix Guatari

A Splattering of Vanity

dog tea
Surrealism:Impressions de la Haute Mongolie-Hommage a Raymond Roussel


Letterism : Isidore Isou

Performance/ Body Art (a brief history) contains graphic content, beware

Situationist International

Vienna Aktionists also highly graphic and violent

Art & Language

Systems Art

Fluxus: Collection

The Feminist Film Movement

bueys 33
*I Love America and America Loves Me

Dennis Oppenheim

Smithson/Holt “Swamp”
Smithson, Hotel Palenque
(Text and Video, video is bootleg though, not original quality. obviously)

Hans Haacke:
Real Time Social System
and experimental structures

Yvonne Rainer, a movement in herself


did anyone notice how many of these people find their roots in modern music practice???

see Time lecture above and check out
Pauline Oliveros

along with La Monte Young, John Cage, Yoko Ono, Nam June Paik, and Fluxus in general (if you haven’t already)
how many ways are these people related? who else was hanging around?

bas jan alder

(Bas Jan Alder, I’m Too Sad To Tell You)
Yves Klein, Leap into the Void
Keith Boadwee, Leap Into the Yard

Time, Procedure, and Notation







Jackson Mac Lowe, sound poet


The Black Tarantula Crossword Gathas





previous to Beethoven’s time (1770-1827) people notated music without volume and articulation indications:


specificity, as an issue for communication

Earle Brown, Composer





Laban Notation for Human Movement



Cornelius Cardew, Composer, Designer, Critic

Scratch Orchestra

(new version)






movement, time, concept, relationship

Ludo Mich, outlaw



What Does the Word “Rhythm” Mean?

palentological time

What is TIME?
and how does it move?
is it a line? a circle?
and what is it used for?

and how is this movement perceived?

and to what extent are time’s movements universal,
or to what extent are they our own personal,
or our various cultures’ constructions
and how does this affect our art making?



how can the light recorded on the photographic plate during an exposure be considered a record of time?

Is it possible to relate our personal frames of reference
with respect to time,
with the vast orders of magnitude existing across time and space?


Orders of magnitude (time)
Factor (s) Multiple Symbol Definition Comparative examples & common units Orders of magnitude
10−44 tP Planck time is the unit of time of the natural units system known as Planck units. Planck time = \sqrt{\hbar G/c^5}\approx 5.4 \times 10^{-44} \text{ s}. 10−44 s
10−24 1 yoctosecond ys[1] Yoctosecond, (yocto- + second), is one quadrillionth (in the long scale) or one septillionth (in the short scale) of a second. 0.3 ys: mean life of the W and Z bosons.[2][3][a]
0.5 ys: time for top quark decay, according to the Standard Model.
1 ys: time taken for a quark to emit a gluon.
23 ys: half-life of 7H.
1 ys and less, 10 ys, 100 ys
10−21 1 zeptosecond zs Zeptosecond, (zepto- + second), is one sextillionth of one second (short scale). 7 zs: half-life of helium-9’s outer neutron in the second nuclear halo.
17 zs: approximate period of electromagnetic radiation at the boundary between gamma rays and X-rays.
300 zs: approximate typical cycle time of X-rays, on the boundary between hard and soft X-rays.
500 zs: current resolution of tools used to measure speed of chemical bonding[4]
1 zs, 10 zs, 100 zs
10−18 1 attosecond as 12 attoseconds: shortest measured period of time.[5] 1 as, 10 as, 100 as
10−15 1 femtosecond fs cycle time for 390 nanometre light, transition from visible light to ultraviolet 1 fs, 10 fs, 100 fs
10−12 1 picosecond ps 1 ps: half-life of a bottom quark
4 ps: Time to execute one machine cycle by an IBM Silicon-Germanium transistor
1 ps, 10 ps, 100 ps
10−9 1 nanosecond ns 1 ns: Time to execute one machine cycle by a 1GHz microprocessor
1 ns: Light travels 12 inches (30 cm)
1 ns, 10 ns, 100 ns
10−6 1 microsecond µs sometimes also abbreviated µsec
1 µs: Time to execute one machine cycle by an Intel 80186 microprocessor
4–16 µs: Time to execute one machine cycle by a 1960s minicomputer
1 µs, 10 µs, 100 µs
10−3 1 millisecond ms 4–8 ms: typical seek time for a computer hard disk
50–80 ms: Blink of an eye
150–300 ms: Human reflex response to visual stimuli
1 ms, 10 ms, 100 ms
10−2 1 centisecond cs
100 1 second s 1 s: 9,192,631,770 periods of the radiation corresponding to the transition between the two hyperfine levels of the ground state of the cesium-133 atom.[6]
60 s: 1 minute
1 s, 10 s, 100 s
103 1 kilosecond
(16.7 minutes)
ks 3.6 ks: 3600 s or 1 hour
86.4 ks: 86 400 s or 1 day
604.8 ks: 1 week
103 s, 104 s, 105 s
106 1 megasecond
(11.6 days)
Ms month = 2.6 x 106 s
year = 31.6 Ms = 107.50 s
106 s, 107 s, 108 s
109 1 gigasecond
(32 years)
Gs century = 3.16 Gs ≈ 3.16 × 109 s
millennium = 31.6 Gs ≈ 3.16 × 1010 s
109 s, 1010 s, 1011 s
1012 1 terasecond
(32 000 years)
Ts eon = 31.6 Ts ≈ 3.16 × 1013 s 1012 s, 1013 s, 1014 s
1015 1 petasecond
(32 million years)
Ps aeon = 31.6 Ps ≈ 3.16 × 1016 s 1015 s, 1016 s, 1017 s
1018 1 exasecond
(32 billion years)
Es 0.43 Es ≈ the approximate age of the Universe 1018 s, 1019 s, 1020 s
1021 1 zettasecond
(32 trillion years)
Zs 1021 s, 1022 s, 1023 s
1024 1 yottasecond
(32 quadrillion years)
Ys 1024 s, 1025 s, 1026 s and more
Orders of magnitude (time)
Factor (a) Multiple common units orders of magnitude
10−50 Planck time, the shortest physically meaningful interval of time ≈ 1.71 × 10−50 a 10−50 a
10−24 1 yoctoannum 1 ya and less, 10 ya, 100 ya
10−21 1 zeptoannum 1 za, 10 za, 100 za
10−18 1 attoannum 1 aa, 10 aa, 100 aa
10−15 1 femtoannum 1 fa, 10 fa, 100 fa
10−12 1 picoannum 1 pa, 10 pa, 100 pa
10−9 1 nanoannum 1 second = 3.17 × 10-8 a ≈ 10-7.50 a 1 na, 10 na, 100 na
10−6 1 microannum 1 minute = 1.90 × 10-6 a
1 hour = 1.40 × 10-4 a
1 ua, 10 ua, 100 ua
10−3 1 milliannum 1 day = 2.73 × 10-3 a
1 week = 1.91 × 10-2 a
1 ma, 10 ma, 100 ma
100 1 annum 1 average year = 1 annum (= 365.24219 SI days)
decade = 10 anna
century = 100 anna
1 a, 10 a, 100 a
103 1 kiloannum millennium = 1000 anna 103 a, 104 a, 105 a
106 1 megaannum epoch = 1,000,000 anna 106 a, 107 a, 108 a
109 1 gigaannum aeon = 1,000,000,000 anna
13.7 Ga = 1.37×1010 a ≈ 13.7 billion years, the approximate age of the Universe
109 a, 1010 a, 1011 a
1012 1 teraannum 1012 a, 1013 a, 1014 a
1015 1 petaannum 1015 a, 1016 a, 1017 a
1018 1 exaannum 1018 a, 1019 a, 1020 a
1021 1 zettaannum 1021 a, 1022 a, 1023 a
1024 1 yottaannum 1024 a, 1025 a, 1026 and more

The pages linked in the right-hand column contain lists of times that are of the same order of magnitude (power of ten).

Rows in the table represent increasing powers of a thousand (3 orders of magnitude).

Conversion from year to second is year × 31 557 600 using the Julian year.

Conversion from log10 year to log10 second is approximately log10 year + 7.50. Example conversion; 1 year = 100 year = 100 + 7.50 seconds = 100.50 + 7s = 3.16 * 107s.

(the clock of the long now will keep time on a 10,000 year cycle
this is the first prototype,
and is on exhibit in the London Science Museum…
incidentally, how do you feel about this as an art piece?)

Clock of the Long Now

and what about this silly Pink Floyd thing?

what art forms organize time?
what use time? and how?

((Here is a film/sound composition
or is it a light/music composition as an example,
but what is it that makes it a composition?
and how is this “composition” articulated
(how is it made, what instructions are used to create it?)
What is being organized in what media?
hint: it has to do with the subject of this seminar))

and what about Change Ringing? How does this ancient practice relate time and space? How does it structure time and why was this method of organizing time developed? What are the relationships here between the time structure created and the materials being employed to create it? How does this relate to Algorithmic Composition?

guide to the church bells of prague (incidental trivia related to the above topic)

VP test

Please note: Module handbook is located above. The handbook details the submission dates, requirements, and assessment criteria for this module. Also included are the dates for each meeting. Attendance to module meetings is required. Attendance and participation in critiques is directly reflected in your grade.

That being understood, lets proceed to a discussion of:

 Frames of Reference

frames of reference


Eames (see below)

Powers of Ten


Robert Irwin: Primaries and Secondaries


Rene Magritte, The Human Condition

Charles and Ray Eames:

Design Q&A




(above: Ellsworth Kelly, title unknown)

“it tends to look slightly on the side of a perfume”
Olafur Eliasson in space.




TURRELL (better one, but in German)
form that doesn’t exist





We are talking about space, and about how we see space

Sol LeWitt, Wall Drawings (algorithmic composition)











Sigmar Polke

(below) paintings:

polke 1

Richard Long 4 Circles

(at least)

below: Bridget Riley, titles unknown)

bridget 3

bridget 1