User:Chrissy/notes
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Ways of Seeing Instagram – artnet
"Adults and children sometimes have boards in their bedrooms or living-rooms on which they pin pieces of paper: letters, snapshots, reproductions of paintings, newspaper cuttings, original drawings, postcards. On each board all the images belong to the same language and all are more or less equal within it, because they have been chosen in a highly personal way to match and express the experience of the room’s inhabitant. Logically, these boards should replace museums.
thinking about social media angst is, to me, clear: Glamour cannot exist without personal social envy being a common and widespread emotion. The industrial society which has moved towards democracy and then stopped half way is the ideal society for generating such an emotion. The pursuit of individual happiness has been acknowledged as a universal right. Yet the existing social conditions make the individual feel powerless. He lives in the contradiction between what he is and what he would like to be. Either he then becomes fully conscious of the contradiction and its causes, and so joins the political struggle for a full democracy which entails, amongst other things, the overthrow of capitalism; or else he lives, continually subject to an envy which, compounded with his sense of powerlessness, dissolves into recurrent day-dreams."
- Link rot https://gwern.net/archiving
- giving up control with designing https://alistapart.com/article/dao/
Fully Automated Image Capitalism; Contributor/s: Marco De Mutiis – permanentbeta
- If attention capital can be turned into a number, then images with high circulatory powers can automatically be identified as profitable assets. The global spread of fashion through online images provides a good context to show the implication of the networked image and the rise of an internet driven economy.
- @robschamberger wrote: “PLEASE RT: Never, ever, EVER respond to someone’s art on Twitter saying you want a shirt with that art. Bot accounts will cue into that and then pirate the artwork. This then becomes a nightmare for the artist to get the bootleg merchandise taken down. PLEASE SHARE.”[4]
- The image’s social capital quantified by metrics of attention is automatically turned into an actual commodity. In other words, the t-shirt is only produced after the image receives enough attention. A global non-human networked bootleg system, a fully automated image capitalism.
- Soon enough the images by twitter users infiltrated online shops and flooded their first pages, visualising their protest and disrupting the automated mechanics of the bots, using their same logics against them.
- Bot baits reveal the hidden desire of a machinic gaze trained to seek the human lure, enmeshed in the complex interactions between human and non-human actors in the content of the networked image. Bot baits not only render visible the operations of what can be considered a special kind of what Trevor Paglen called ‘seeing machine’[7], but also bring to light the blurry boundaries and complicated connections between digital images and their circulation, between metrics of attention and collective action, between commodification and resistance, between ownership and reappropriation[8] between spectatorship and political strategies of infiltration, between legal systems and online cultures.
Cursed Images – permanentbeta
- Cursed Image: abnormal <-> illogical [3]
J. R. CARPENTER || A Handmade Web
- "Readers have had the option of right-clicking on any page, selecting View Page selecting View Page Source, copying, pasting, and rewriting the source code. In this manner, readers become writers." (J. R. CARPENTER || A Handmade Web)
- "If we are not scrolling through them, we are using them as a beginning channel to guide us to the rest of the internet." [[[it also has personal stories/news (e.g. Instagram channels) compared to a few big news pages used back in the days?!]]]
"* not realizing that by "the internet" we really just mean twitter and instagram." … "drop out from these major websites, but stay online."
- I know it's kinda basic, but on the one hand I dont agree with all but on the other I have to think now about it, because I made a whole meme page about being offline & just realized the offline is maybe for real more Social media. The page I made: https://messy-weave.wtf/afk.html
- "In my head, there was a clear connection between the diy punk movement of the 80's and the folk revival of the 60's and 70's. Punk culture was all about doing things yourself, which meant you had to learn how things were done in the first place."
-> both also mostly (middleclass) white Cis-People
- "Punk culture was all about doing things yourself, which meant you had to learn how things were done in the first place."
-> do you really have to learn or just try out like whole punk diy culture was/is?
- "learn about traditional printing, type design, layout techniques, and more."
-> not really "traditional"? Also not really type design...? More finding alternative/experimental ways of cheap (mass) producing of layout
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19.03.25 Pippin Barr Workshop
- How to document physical object?
- How interact with things you make
- reflective practice
- What sorts of path between intention and the outcome
- Unpredictability in projects
- version control: way of keeping track of your work. Repository; a file on the computer with the work in. Like a Wiki or GIT
- notes in the repository: images of notes as well, sorted by date
- in markdown e.g. journal.md / to-do.md / why.md / closing-statement.md (also private possible)
- (https://github.com/pippinbarr/lets-snake-ancient-greek-punishment/tree/main/process)
- journaling: time to step back, every day/month/when the urge to starts?!
- „the more the merrier“
- - what was important in the (design) process?
- - „sourcetree“
- - materialising design
🡒 is uploading in a GIT/WIKI already publishing?
"homework":
How do you currently document your design/artistic practice? Could you bring or describe a specific example in class? How do you feel about the way you do it right now logistically?
Archive on several hard drives. Logistically it’s a good way for me, even though I could make back ups way more often (see how my laptop reminds of that again & I just close the pop up instead of acting). Additionally, I store my printed & physical works spread around my dad’s place & here in the room I live, which is logistically of course not optimal, but right now the only possibility. My analog works are mostly not really digitally archived. I kinda like about it, that it just exists in the “original” way & is just experienceable though myself once I present it.
Documenting: though my yearly documentation for my scholarship, which helps me a lot to wrap my thoughts around the past year & where I want to go. Especially by reading the documentation of the year before to see how my thoughts and paths changed.
Presenting: publicly unfortunately just on instagram, which doesn’t really show my practice in all. I don’t feel good about it, because of this reason & in general about using instagram anymore. Although, I didn’t used another platform or website yet. My followers mostly just friends, fellow (alumni) students & would be afraid, that through a personal website they wouldn’t see my work anymore. For professional reasons it would make sense of course. For applications I send portfolios I adjust for specific recipients.
What is your approach to reflecting on your design/artistic practice? Could you bring an example of how you have made a specific design decision?
My decision making changed a lot in the last couple years. Especially in my artistic work through different projects I kinda enjoyed making decisions on – I would describe it – a random base. In the past I was overthinking a lot about the just visual decisions & felt encouraged through allowing randomness & messiness.
The bulk of my work has consistently revolved around the question of conveying complex interests or issues to the public and translating collected content into thought-provoking containers. I’m intrigued by messiness, disorder, provoking, and the act of challenging assumed rules and conventions in graphic design.
For the theoretical part I still struggle with collecting all my resources & bring them in a sorted form. I often try to join different thematics in one project, which maybe sometimes lacks of an understanding for the audiences. Through the whole project it makes sense for me, through I go different states of thoughts, but heard often as a feedback that the connection doesn’t make completely sense to others.