Only things can come out of this...Critique on Ollie Place

Only things can come out of this...

I say this because I have learn that concept, context and form of any Art work have to be considered and put together as one piece, and when that doesn't happen the work loses meaning.

I was expecting more from this piece of work and I believe that the potential is there however other considerations have to be put together before it becomes an exception.

I think that when we only consider the form of a piece we are taking risk of it becoming only what it is and nothing elses. To make it harder we have to analyse and desconstruct whats in front of us without many references and that is hard work. I am sure that isn't the intentions of the artist and if so what's the point?

Conceptually I had great expectations, when standing in front of something really interesting to look at, pieces of founded wood creativelly put together in a clumsy manner creating a form that looks like a ramp...and it is a ramp. That's when I loose interest, a ramp...and?

Aren't we forgeting something here...aren't costs, size, transport and other matters important if we only want to say this is it...

Trivial

Its great when you put the work in and get the results, I am only guessing, but good things will come out of this...

Hi Duarte

It was lovely to meet you yesterday, thank you so much for your donation of art. I have spoken with my managers, including Andy Winter, the Chief Executive of BHT and they are all thrilled that you will be donating this art work to us. We will be very happy to display this in the reception.

Please let me know when you would like to bring them in, or I can arrange a time to collect them from you if this would be more convenient.

Once again many thanks

Karen Robinson
Resource Assistant
BHT Support4housing
144 London Road, Brighton, BN1 4PH
Tel 01273 645430 ext 430
Fax 01273 645402
www.bht.org.uk

Trivial

I am the kind of artist that produces a lot of work (good and bad) and that it also part of my method and process, because that’s the way that I find myself working and making it work. There isn’t always possible to have space to store or to exhibit to sale or to make money from it.

That’s also important to make the work visible to others and to the general public. That is something worthwhile to consider and to find ways of making that became a reality. I am working in some strategies to might increase my popularity and those are.

Lend work to coffee shops, restaurants and friends.

Donate work to charities

Locate galleries

Participate in collective exhibitions

Create exhibitions.

I have already accomplished some of these and I am hopping that some others will be my next step although there are a few ifs that I am coming to realize and that is costs and management of the locals where you want to have the goods.

I have also checked the Arts Council website for grants an support and maybe that’s the way to go forward.

Critique on Dee Edmonds

There we go, another group crit.

Considerations have to be taken how well we actually deliver what intended and I should make that clear considering that English is my second language to make sure that my mistakes don't disturb the message.

I am not passively ignoring the merit that each one of us deserves for what we do, however What is to deliver a message... If I paint, draw or use any other medium to say what's being said before, have I being successful?

Or for an instance if I paint a child crying, isn't clear that I am saying that she is crying? Or that something is causing her discomfort. Yes, thats obvious... so why do it, then?

I am not wasting my materials and minerals to do what's being done, I much rather to use them to do what doesn't make any sense... at least I have done it myself.

Another thing is... that we can be wrong and repeat the same mistakes over and over again... but we do what we believe...

Interesting method

Interesting approach and process

http://www.markchadwick.co.uk/

Mario

Frieze art fair

I I am glad that I went to the Frieze Art Fair this year and that is because the level of work that I saw was excellent and right up my street. I mean the freedom of expression, execution , sizes and aesthetics components of the pieces had being extremely considered by the majority of the artists. Much of these whore simplicity, minimal components and lateral thinking.

Mario

Being an Artist today is part of a past in Art history and is to use a new way of thinking in the way that we produce and make people think about Art? Are we meant to represent the world the way we see it or are we to use what allredy exist and... with inspirations use new technology to deliver?....http://www.youtube.com/watch?v=0gfbDCi2RIA.

Mario

http://www.tinagonsalves.com/interactive.htmlGood FEEL:CHAMELEON: An emotional algorithm video installation
It is a collaboration between artist Tina Gonsalves, social neuroscientist Chris Frith, emotion neuroscientist Hugo Critchley, affective computer scientists Rosalind Picard and Rana El Kaliouby. It brings together two world renowned institutions: The Wellcome Department of Imaging Neuroscience (WDIN), where the artist is honorary Artist in Residence, and the Media Lab, Massachusetts Institute of Technology, USA, (MIT) where she is ‘Visiting Artist’. Curated by SCAN Media Arts Agency, the project will be exhibited extensively, and a corresponding catalogue will document the project.
Neuroscientific research will be finely integrated with innovative sensing technology creating an engaging art experience that empathically adapts to participants, leading them to a deeper personal understanding about innovations in biomedical science. For science, the work illustrates research in new ways, and the platform may evolve as a flexible research tool, exploring of social-emotional skills in human-machine interaction, informing psychophysiological neuroscience with the potential to generate abundant data relating to patterned emotional expressions. For the arts, the model and techniques may be applied to probe clinical disorders of social emotion including autism creating new experiences for new and under represented audiences. Moreover, the cross disciplinary foundation will lead to the building of more empathic interaction scenarios which may impact future display of media arts and museum displays, pushing further understanding how machines/art experiences can adjust with people to support learning, creativity, imagination, and motivation.
This project integrates the tools of biomedical science and affective computing, which are both seen with hope and fear. The interface design may lead to debate of how sensor technologies may infringe privacy of participants and ignite feelings of vulnerability. Simultaneously, the interface generates a framework for collaboration with the "audience”, using the feeling of ‘vulnerability’ to facilitate productive self-expression, and social awareness, enhancing public understanding of how new innovations in biomedical science can enhance communication and the understanding of empathy.
Orson Welles created panic when his radio theater broadcast The War of Worlds? Albert Bandura’s Bobo Doll experiments demonstrated that individuals learn aggressive responses from observing others. Emotional contagion is a significant feature of spectators' engagement with narrative fiction film (Amy Coplan). Emotional Contagion effects us moment to moment through the cultural, social, the personal, though as it is often unconscious, few people are actually aware of its impact on our everyday. CHAMELEON will achieve an illustrative power that would not be attained by conventional scientific or artistic endeavours. Seeing and interacting with CHAMELEON will allow viewers to study the effects of dynamic emotional contagion with in an immersive virtual context. Through participation, questions about the role of emotional contagion for the need for survival and adaptation to our environment, the use of emotional contagion in art and the use of mirror neurons (and other biological functions) in emotional contagion will be stimulated.
video file of the Chameleon Project April 2009
Chameleon on New Scientist, April 2007 (video)
Chameleon The Australian August 2007 (text)
Tina Gonsalves, Digicult 2008 (italian)
Chemeleon Project, Culture 24, April 2009
Chameleon Project, Natural History Museum, June 2009
Chameleon Project, Biopychology, April 2009

Mario