Saturday, February 17, 2018

Reflection Post


Learning about the older forms of electronic communication and finding out about the classification of New Media art provided much-needed context on understanding the differences of certain types of media. While I thought these history lessons were substantial to learn during the early weeks, they personally did not spark many ideas relating to the subject matter for me.

The lessons with Photoshop gave me a strong appreciation for the editing program. Thanks to the tools Tasmuth has taught, it motivated me to come up with several ideas for the Chimera Project. With the complexity of options, I wanted to make posters that root purely out of expressing my personal tastes to the class. My Chimera Project revolved around the Japanese culture in general. Creating ideas was easy because all I had to do was figure out what part of the culture should be utilized to give viewers a unique type of fear.

The one I am particularly proud of is the one poster with the Slenderman. That combined elements of a monster with body parts and clothing of popular sister characters in anime. Adding the faraway perspective and train track background, and it gave the poster the most notable reactions from the students. When it came to class criticism, I agreed with most of the advice given, except with the unity advice. I personally made each poster on a case-by-case basis. While they all share a similar Japanese theme, the approach to them is different enough so that each could be criticized separately. Had I separated the posters farther from each other, I feel the critique the students took would have been far different and took a more fair analysis, with less critique on overall unity of all works.

What I want to do for the HTML project is create a network of web-pages that link to all major parts of Japanese subculture. With unique Japanese genres like shonen, shoujo, seinen, harems and types of animated character Japanese media fans are attracted to like lolis, moe, and sisters, I have a large pot of potential to utilize and freely create what I want in my HTML pages. Learning how to code via HTML Bracket was really fun. Once I got the hang of how brackets and code operated, a whole slew of ideas came about, resulting of me thinking about the idea of using Japanese subculture.



Wednesday, January 31, 2018

GIF Articles Response

In memory of Chuck Poynter, user and GIF maker:


Chuck Poynter is an important part of the reason animated GIFs became a social phenomenon during the late 1990s. His gif of the "Dancing Girl" introduced users to the capabilities of gifs using complex animation in body movement. While I cannot understand what made the "Dancing Girl" gif mesmerizing to the older generation, I can understand from an evolutionary perspective with modern gifs having smoother quality in animation and presentation. Compared to the "Dancing Girl" gif, it shows how far the community progressed in animation quality with Chuck Poynter's gifs laying the main foundation of a high quality animated gif.

Ubiquitous Minicinema:

I find it interesting that back in the 1990's, designers were against the concept of GIFs. This is somewhat understandable, as I can imagine that GIFs were compared to other forms of art. Considering the sprite quality of GIFs back then, these probably did not mesh well with old website design. I believe the main reason that there were discriminators was because people were very comfortable having still images on websites. Because of how new the concept of GIFs was at the time of creation, people would probably find GIFs distracting because of how they distract website readers with animation.

Digital Materiality of GIFs:

As obvious as it is how animated GIFs are widely used for meme communication and reaction, what I found the most interesting was how GIFs put users into limits that encourage creativity. The article states that GIFs were not meant to be used for animation, yet the social booming of gifs changed its intended purpose. Considering the many elements such as visual quality, looping, FPS, and choosing scenes to create by hand, I can see why GIFs have a unique playful factor. It is much like how gamers experiment heavily and create a large community with level editors in games.

A Brief History of Animated GIF Art:

What makes this article interesting is not the history of iconic GIFs made through generations, but the blogs and websites created made for "GIF art". It seemed while Twitter and Tumblr were the top dominant dogs where people posted the most GIFs, many groups were born to dedicate on posting quality, unique GIFs. I would imagine that these blogs that have disappeared over the years because of these website's obscure nature. With people utilizing GIFs for fan-art and reacting, creating original GIFs made for art seemed like an unusual idea to people who know about the blog's very existence.
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What the "low tech" method of GIFs represents to me is encouragement. The limitations of what can be done in this file type and the easy accessibility of creating through the internet allows any person of any calibur to experiment the wondrous joy of creating engrossing animation. Because of the limited amount of things to keep in mind in the process of GIF making and people wanting to impress others through sharing their favorite reactions in brief scenes of media, it creates a looping cycle itself that will give GIFs a longer legacy and lasting popularity for years to come.

Friday, January 26, 2018

Chimera, Hybrid, Monster Project

Monster Poster #1: Sislenderman


The concept of this monster poster came from the thought of combining the best elements of sisters in anime and putting them into a monster. In the most anime, sisters are most controversially seen for their incestuous relationship with their brothers. The technical process comes from cutting the body parts so that the accessories and clothes could match the Slenderman. The hair in particular was the most difficult, but it was cut easily thanks to the Magic Wand tool.

Monster Poster #2: Kappamurai-youkai


The concept of this monster came from my huge love for Japanese folklore with the creatures of youkai. I wanted to give this monster a terrifying look, yet be wacky at the same time. Generally, the methods I used to make this was through constantly putting objects from the front to the back of the layer of the kappa. The face and head were the most fun, as it the decorated facial parts helped give the monster a defining sense of wackiness.

Monster Poster #3: Vampiric Eyes of Terror


The concept of this monster came from one of my favorite vampiric anime characters of all time, Shinobu from Monogatari. Because she already is terrifying as a vampire, I wanted to make her more creepier by adding elements of scary arms, eyes and tentacles around her head and legs. The key thing about this work is how the eye balls stare at the viewer. By overlapping layers with the eyes and tentacles, it provokes feelings of fear.


Thursday, January 18, 2018

Philip Gether Essay Response

To note the importance of the implied changes from wetroom/darkroom photography to digital process, we need to look back on two historical photos. The first photo being looked into is “Dead Soldiers at Antietam, 1862”. The method of editing in this photo was not by manual enhancers, but rather the photographer moving the actual bodies around to create the emotional tension. “Le Baiser de l’Hôtel de Ville, 1950” is another photo that was manipulative, but the method was not by actually editing. Rather, the problem was a big misunderstanding when the kiss, in reality, was practice for a play. Before digital editing was possible, I believe the implications stated in this article were photos mainly manipulated through staging, acting, and taking many photos in an out of context manner. 

Digital process then came along in the early 2000s, where you could manipulate a photo's color scheme, rotation degree, and cropping. Most of these options were made for visually better composition. The manipulative aspect of today's photography comes in the form of programs like Photoshop, where you can change the appearance or add additional things to the photo that did not originally appear. The real changes made from wetroom/darkroom photography to digital processes are accelerated pacing of creating manipulative photos and the outside matter, where journalists can easily show documentation of the actual event happening. With modern resources like the internet, people around the world can participate in inspecting photos. However, people mainly do this through overreaction. As a result, these scary mishaps can lead to greatly misleading information, influencing journalists to speak of their own opinion very dramatically without the professionalism to write objectively as possible for their news article. Today's digital processing of manipulative photos can cause major chaos due to the accessibility of users gathering many pieces of information on the internet. Such chaos can lead to major consequences for the journalist.

The accuracy of the assumptions for the photography changes is close, based on the multiple photos of evidence and explanations given in The New York Times article. My assumptions are based on what I observe and research on today's news articles on the internet. By comparing the slower process speed of old photography explained in the article to the acceleration of news articles online, it is easy to understand what major changes of photo editing for journalism have been made. Take video game leaks to give a personal example. Although this is technically not photography, users around the internet today create fake lists of new games or pictures that closely matches an upcoming video game's graphics for the Nintendo Switch to build false expectations and hype for the audience. Eventually, these video game leaks are revealed to be fake by the creator. Compare that to the time length it took for people realize that the Rosa Parks bus photo was staged in from 1955 to 2005, it is clear that the speed of creating manipulative photos is the major change implied in this article.

Friday, January 12, 2018

Ideas for the Photomontage Project

I want to create a photomontage project that will:
-Capture my love for anime.
-Illustrate the forthcoming career of becoming a mangaka.
-Display my personal tastes.
-Showcase the memories I had when I lived in Japan.
-Have video games/school courses like Advanced Ideas & Concepts sprinkled a bit into the montage.
-Basically, it should have the best aspects of my life be in this one photomontage.

Photomontages

Photomontage #1:


Photomontage #2:


Photomontage #3:





The Inclusive and Exclusive Aspect of New Media in Traditional Media

What makes New Media inclusive to traditional media roots in the creative process of art. Technology allows millions of people to share their works easily through sites that allow image uploading and publicity. This can be done in places like Twitter, Deviantart, Facebook, and Imgur. Inclusiveness starts with pre-incentives. The artist has the technology to produce art with programs like Photoshop, Illustrator, and Sketchbook Pro. Once they have finished the work, where would they most likely to upload? Social media and art-focused sites are usually the places where they publicly show their art. The key factor of inclusiveness is accessibility. 

The time frame from creating to sharing is short. The process starts by selecting the work you want to upload via file select, creating comments about the art to create context and occasionally a set of rules, then pressing the "Post" Button. Due to the efficiency of technology, this consumes less time for the artist. This allows them to spend more time interacting and finding feedback with other users with various perspectives. Whether the criticism ends up being positive or negative, it creates dopamine for the artist to improve in certain aspects. When the artist showcases their improved work to their audience and find positive feedback, there is a sense of reward. This makes artists want to locate and work closer with other users that have the veteran knowledge of art. The process of relationship runs deeper, allowing the artist to be inclusive to the traditional media community.

As for what makes New Media exclusive to traditional media, this lies in the foundation of work being created from technology. It can be argued that technology itself can be just as much of an art tool as pencils, pen, marker, charcoal, or paintbrush. What is drawn on the screen is a digitized version of art. Although digital tools cannot 100% match physical tools, the options offered for programs like Photoshop are practically the same, but with a greater amount of flexibility. You can edit the scale of an eraser or pen, create perfect straight lines or curves, re-edit the color palette of an object, and move images to desired positions without fear. The replication of such tools for physical art would be manually time consuming. Technology has the capabilities to do such tools, done in the most simplified manner. This gives New Media art an identity and exclusivity.

I disagree with the idea that technology cannot be a part of traditional media. Just because New Media is created digitally, it does not mean that it is not a form of art. I believe that traditional artists oppose the efficiency that digital tools offer. Because it is very easy to find the tools needed, it could be said that New Media artists might not think too much on the overall quality and be careless. This could result in inconsistency. Traditional artists have to think about the welfare of their physical tools. The art could be ruined with just one mistake of a brush stroke, thus this carefulness allows the artist to really think and have a natural motive to create quality art. 

The only answer I can say to traditional artists is that this is not the case. Even with the lack of trial and error in digitized art, the amount of options available for a New Media artists equates enough for digital users to think just as hard as the many traditional artists. Both of these different artist types must come together and understand each others mediums for there to be peaceful equilibrium within the general art community.