User:Chrissy/notes

n͎o͎t͎e͎s͎ ͎r͎e͎a͎d͎i͎n͎g͎s͎

"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."

https://news.artnet.com/art-world/ways-of-seeing-instagram-37635

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- Link rot https://gwern.net/archiving

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- giving up control with designing 
https://alistapart.com/article/dao/

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• 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.

(https://www.permanentbeta.network/episode/101)

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- Cursed Image: abnormal <-> illogical 
(https://www.permanentbeta.network/episode/106)

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"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)

n͎o͎t͎e͎s͎ ͎c͎l͎a͎s͎s͎

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.