Talking

CRITICAL ART ENSEMBLE ANALYSIS

                The idea of tactical media is one that I don’t think I fully understand even after reading the introduction to this book several times.  As far as I can tell, it is promoting new and innovative ways to spread a message beyond using traditional media outlets that are funded with certain agendas which can frequently interfere with a free-flowing information source.

                There is the debate as to whether or not this type of communication should become popularized and expanded upon.  For me, it is hard to weigh the pros and cons in this situation.  There are certain benefits to politically funded media, notably wider access among viewers.  However, downfalls include propaganda and commercial advertising that convinces a civilian to become a consumer.

                Tactical media appears to be adaptive and more critical of the social environment rather than giving information about events from an outsider’s perspective.  Traditional journalists are taught to be unbiased and to report on fair, emotionless grounds.  These principles ignore the fact that we are all human with feelings and emotions.  We all respond to situations and form opinions on what is happening in the world around us.

                To me, it sometimes seems fairer to interpret a situation based on an Op-Ed article which tells the reader what they should think and how they should react to a certain situation.  It uses the facts to form opinion and bases all arguments on critical thinking.

                I like the idea that tactical media should use any medium necessary to spread a message.  Different people pay attention to different methods of communication.  If a message is spread and re-spread in a variety of ways, it will be ingrained and reinforced in the minds of the viewers.  Their interpretations of it will manifest as different feelings or reactions which stem from different experiences and collect together to form one unified idea.

                Collaboration is the key to success in almost any situation, and definitely it is important when trying to encourage a mass movement of any kind.  Rather than working against each other, specialists must come together to work for each other and for the same cause.  If everyone has something positive to contribute, everyone will be simultaneously doing their part to help while also benefitting from their peers.

                One aspect of the tactical media that I have to question is organization.  In this sort of situation, it seems that gathering information and effectively dispersing it may not happen in a traditional trickle-down pattern.  I have to wonder what sort of power-system is put in place in order for goals to be set and accomplished.

                I am very curious to read more of the book that has been made available online.  I’ve skimmed a few of the chapters, and still I think the ideas of tactical media surpass my full understanding of them.  I should like to have a better comprehension of it since I only know traditional journalistic values, but am highly interested in learning about alternative forms of communication.

INFERNAL NOISE BRIGADE ANALYSIS

                The Infernal Noise Brigade’s use of space and sound was quite inspirational.  Before learning about their efforts, I never considered the difference between a non-musical demonstration and a musical one.

                Naturally, their use of sound and music created an atmosphere of excitement wherever they went.  Their intentions were to engage people as much as possible in more ways that simply creating a massive gathering that is sure to draw attention despite noise levels.  But by creating music, they inspired people to dance and participate in the protests like never before.

                Most demonstrations are led by words.  Communication happens through picketing signs and megaphones usually held by people who are trying to sell some sort of slogan.  The Infernal Noise Brigade changed this traditional way of voicing concern and calling for action.  Now, with their lead, people were invited to communicate with their bodies and skills that surpass the written word.  The emotion becomes dictated by the feeling and rhythm of the music.  The movement of the crowds is led by a march at a certain pace, which is syncopated always by the songs that accompany.

                To me it seems that the music brings more order and organization to the protests.  Without it, I have witnessed an awkward lulling sensation that can cause confusion and even chaos.  With music, the crowds have a sensible and structured rhythm to follow.  It carries the group together, bringing smiles to everyone’s faces.  The noise of the instruments can act as permission for people to create more noise.  Spurts of cheering erupt more frequently and protestors are energized as the beat guides them on their physical and political path.

                The strength, power, and influence of their marching are incredible.  I was fascinated to learn of the attention they began to receive and all the places they were invited to visit because of their infamy.  The movement developed into something much more than was originally anticipated, and oftentimes that’s how most amazing things come to be.

                I really appreciated their use of diversity and blending of cultural identities.  I think it adds an important element when the band uses traditional songs played during confrontation.  It also magnifies the inclusivity that the band strives for during demonstrations.  They want anyone and everyone to be a part of their cause, and there’s no better way to make someone feel included than to play songs that make them feel at home.

                I was impressed to learn that the Infernal Noise Brigade operated for as long as it did.  Their tactics of wearing goggles and masks was amusing, but it was also very clever and probably crucial to their success.

                I loved reading the part from the article that talked about their first interruption of social space when they entered a local Seattle Starbuck’s coffee shop.  I can only imagine the looks of surprise and bewilderment that lit up the faces waiting in line for their daily espresso shot.

                In light of these types of situations, I am always curious to know what sort of preparations the police forces make.  If the band notifies the law enforcement ahead of time and gets a permit to play, would there be such a raucous?  I understand that the musical demonstrations are quite disruptive, but are they really that unlawful?  They are still peaceful protests, after all.

                The Infernal Noise Brigade reminds me of an experience I witnessed during my own high school graduation in May 2009.  The Westboro Baptist Church decided to obtain a permit from the Omaha Police, allowing them to gather outside of the Downtown Convention Center.  They stood with signs that read things like “God Hates Gays” and “Black People Will Go To Hell” etc.  They stood silently and ready for people to attack them with words or otherwise.  It’s what they wanted.  They wanted to get a rise out of people passing by.

                My high school was ethnically, racially, sexually, socially, politically, and culturally diverse.  We were also prepared to counteract the hateful messages being spread by the small church from Kansas.  Across the street, near a tall white building with huge Greek pillars, members of younger students stood and held positive protests.  They waved banners that read “God Loves Everyone” and “Congrats Graduating Class of 2009.”  They were colorful and noisy.  They played instruments and drew exciting attention, and it was most important because it was drawing attention away from the quiet picketers from the church.

                I specifically remember sitting on the steps leading up to the Grand Hall of the Convention Center and watching the reactions of people passing by.  Many people didn’t even notice the Westboro Church members because they were too distracted by color and noise across the street.  Some people that did give their attention to the hateful messages simply chose to approach them and point to the opposite side of the street as if to say, “Look at how much fun it is to spread love instead of hate.”

                Of course, some hot-headed people got in the faces of the church members and tried to start verbal fights with them about their choice to exercise their right to free speech.  The tension was excruciating to watch and I could tell that everyone on the opposite side of the street was intently paying attention to it.  It almost seemed like they would play louder and faster whenever a heated argument arose between a stranger and a member of the church.  Still, luckily, no physical violence ensued.  Eventually every confrontation was dispersed by disinterest or wishes to maintain some dignity.  The positive reactions to the younger students from our high school were much more evident than any negative reactions to the unwelcomed church attendees.

                No matter how hard anyone tries to ignore mass demonstrations, movements like the Infernal Noise Brigade make ignorance nearly impossible.  The sound and excitement reflects the internal struggles of political movements in a positive external way.  I believe that this type of reinforcement is more constructive and beneficial than simply shouting and demanding change with words.  The actions of music are uplifting and creatively demand solutions to problems.

MICHAEL BULL EXCERPTS ANALYSIS

                Michael Bull’s interpretation of personal stereo use seemed quite accurate.  Except for the last section of reading, I agreed with each of his observations.

                Though I am not as avid of a user as many of the people that Bull interviewed, I do frequently enjoy listening to music.  I definitely prefer to fall asleep to silence unlike many of the interviewees.

                When it comes to exercising though, I need music to keep me going.  On the treadmill or on my bicycle, hearing the steady beat convinces my legs to continue moving.

                I found it interesting to compare my cocooned and engaged walks to some of the experiences shared in Bull’s interviews.  When reviewing my notes, I make the connection that I put a barrier between myself and the outside world.  It was comfortable, but I was definitely disengaged.

                However, unlike some of Bull’s participants, I did not feel uneasy making eye-contact with anyone passing by when I was not listening to music.  I think this may have something to do with the fact that I don’t rely on my music when in transit.  Sure, it’s amusing and passes the time… but it’s not something that I absolutely need.

                The effect music has on mood is undeniably influential.  I can personally relate to the feeling of needing to hear a sad song when I’m feeling nostalgic or an upbeat song when I’m feeling excited and anxious about something.

                Listening to music in public space can definitely “re-spatialize” an experience and create a new experience altogether based on how immersed the listener becomes.

                Unlike many of Bull’s interviewees, I do not experience the same auditory gaze as most.  When I’m looking at something, I’m really looking at it.  If I’m zoned out listening to music, I’ll usually be looking down or at my hands or staring out the window.  But even if I’m staring out the window, and especially if I’m staring at a person, I’m fully focused on whatever I’m looking at.  I don’t feel so far detached or removed from my surroundings that they disappear from my consciousness altogether.  I would have to make a very intentional effort to block out my immediate surroundings.

                I can understand how blocking out the external sound could make someone feel safer about staring and empower them in that way, but I try not to rely on that security.  I make sure that I find the courage within myself to have enough confidence to smile at strangers and not feel awkward about it.

                For me, more than anything else, certain songs create auditory memory triggers.  Oftentimes I’ll be reminded of a certain time-period in my life associated with the sounds I am hearing.  If an album is released that I particularly like, I’ll listen to it over and over until it annoys me or I discover something new that holds my interest.  Sometimes a certain song will remind me of a certain person if I have shared the love for that song with them.

"THIS AMERICAN LIFE" ANALYSIS

            The first part describing the mapping of sight seemed a bit contradictory at certain points.  Denis says that anything can be mapped and can have special qualities, but I disagree with this.  Just because you map a smell somewhere, it doesn’t possess a special quality.  Plus, when someone revisits that point later, it probably won’t have the same odors.

            Then Ira tell ask him if he ever has moments where he realizes that its not within the power of a map to capture a particular experience or feeling and Denis agrees saying that he knows its not within the power of a map.  But earlier, Denis said that anything could be mapped.

            I agree with Ira when he says that maps get their meanings when they select what they want to convey and that’s what makes them important.

            The second part about hearing was my favorite story.  It is fascinating to me that pitches and tones create strong influences on moods.  I agree with Toby when he says that minor and major chords are interpreted almost universally, but I wonder why that is.  I am anxious to see how paying attention to sound will affect my moods and experience as I carry out more of our assigned exercises.

            Some of the notes that Toby plays to match up to the humming of his electrical appliances seem off to me, but I’m not a skilled musician so I’m probably interpreting them incorrectly.  It is very interesting to note that all of us go through our days unaware of the steady drone of our electronics.  It has become part of our everyday lives.

            I thought the part about the electronic nose was stupid.  It doesn’t have nearly the capacity for smell that human noses have so what’s the point?  I can see how it could maybe be useful for sniffing out things that are dangerous for humans to smell, but otherwise the thing is useless and not yet affordable.  It will take five more years to develop an affordable model.  How much money and research will that take?  My guess is too much.

            The part about mapping through touch was really strange.  It was definitely not what I was expecting.  Compared to the rest of the senses, I think this one did not fit very well in the study.  The woman is only paying attention to herself.  She’s not concerned with her experience in relation to the rest of the world or how her environment is influencing what she’s feeling.

            The mapping of taste was interesting.  I was a bit jealous of all the yummy food Jonathan got to eat.  I’d like to try that map sometime here in Crested Butte, but food in town is so expensive since it’s a mountain resort town.  I wonder how he recorded this map though.  Was it written down in a journal?  Did he take photographs of the food he was eating?  Was this map published somewhere?  I think it would make an interesting book.

Rivers and Tides Analysis

How does the anticipation of time in specific place affect Goldsworthy’s projects? How does it direct his decisions, what kind of considerations must he account for?  What are his methods for anticipating “time” and their affect on his projects?

Goldsworthy must anticipate time in order to utilize light efficiently and effectively.  For example, when he made one of his ice structures, the sun started shining through it once it rose high enough.  Though this was not exactly something he had pre-meditated, it was a happy coincidence that was reliant on the specific time of day.  Moreover, he must be aware of how long he is expecting each creation to remain in its original form.  All of his works are destroyed by nature and the design is intentional.  They are all semi-permanent and can easily fall apart.  This is part of their appeal.  They are adding to nature without taking anything away or replacing anything.  So, he must take note of how long a specific work will last and how long he has to document it in its prime of creation.

4:00

I think what this means is that even though these same forms present themselves, they are always new and different.  They present themselves in different ways also.  Shapes and patterns reappear in various ways in nature.  Organic shapes represent themselves on large and small scale.  The tide for example, is different everywhere.  It is always a tide, but not the same tide on one beach as it is on another.  The force and flow varies.  One can never measure or predict the exact flow because so many other forces in nature influence it.  You may be familiar with the tide, but it is forever changing.  Certain forms in nature may seem to be the same, but they never are.


9:45

He is referring to the way the light shines through the ice.  He had no idea the sun would rise and position itself against the structure so that it would illuminate the icicles.  The potential he is referring to is perhaps the idea that future projects could somehow incorporate light in the same way, but that this process could be anticipated and planned.

10:38

The sun causes precipitation of water and water freezes into ice, but the sun also melts the ice.  Therefore, the sun is causing the ice, but is also able to destroy it.  The same is true for almost any organic matter.  When animals die, their decomposition causes new plant life.  When animals are born, they eat the plants and cause them to die.  But when the animals die, life happens again.  This cycle is a part of almost any natural process.  There is a give and take, a balance that must be respected.

16:33 and 57:00

The ephemeral works are not causing destruction because they are not taking anything from nature nor are they adding any new elements.  It is creation because it is taking things that are already present in nature and repositioning them.  After they are repositioned, nature has its way with them.  They work is not destroyed because whatever is affecting it is happening naturally.  Taking the projects to the edge of collapse means that nature will only allow certain things to happen.  Pushing those boundaries, testing the limits, can be exciting because you never know what reactions will occur.  It is powerful to experiment with the unknown results.  I think this power is greatly reflected in the human experience and can be seen in nearly any expression.  People are constantly pushing themselves to their physical, mental, and emotional limits.  One easy example is apparent in any extreme sport.  Similarly to the ephemeral works, sometimes this is done with the expectation that it will yield certain results.  Other times, limits are pushed simply for the excitement of the experience.

19:30 and 20:25

You never know what might happen.  Your planning can only get you so far, but you must be prepared to adapt to whatever is happening in your environment.  Time teaches you to be patient and that even if you anticipate and plan everything, changes will still occur in ways that you cannot expect.  Security of working in cubicles comes from the ability to control every variable.  The influences of nature do not apply because the indoor location allows the artist to ignore any uncertainties.  They become obsolete.  But, like Goldsworthy says, total control can be the death of a work.  The influences from nature can add or create the most exciting surprises.

25:00

When I first started working with film, I made many mistakes.  I overexposed, underexposed, opened the back of the camera without rolling the film all the way, thought I had properly attached the film to the advancing mechanism when I hadn’t, and so many other issues came up.  With most of these mistakes, once it happened once, it never happened again.  Once I had failed, I learned how to succeed.  Failure is important because it teaches a person what is the wrong way to do something and therefore one can eliminate that possibility and try again.  If you try and fail enough times, you will eventually come across the right way.  The worst thing to do is to give up.  Failure is not infinite nor is it definitive.  Failure still leaves the great potential and opportunity for success.

26:00

When he’s making projects in nature, he’s making them based on how he is feeling at the time.  They are more spontaneous and inspired than creations made in museums.  Things made in museums must be created with intentions that originate before the event.  However, projects in nature are created as more of an experiment that can be inspired by a feeling or experience in the place.  The works are marking his attachment to the place by physically representing his journey in a more tangible way.

51:00

When we have preconceived notions about a place, we then experience that place with a sort of shield or veil that influences our perspective.  If we can let go of stereotypes or fear, we can allow ourselves to see beyond things that we are automatically looking for.  Otherwise, we find only what we seek.  If we interpret our experiences based solely on what we think we know about something, we are eliminating the potential for surprise.  Stereotypes create a huge hindrance for experiences.  People often shut down opportunities in fear that it will turn out in a certain way that they are expecting based on circumstances that they believe to be the ultimate truth.  But there are always variables in any situation and allowing those to present themselves is important when exploring a new place or idea.

52:00

Even though there is an absence, there is always traceable evidence of what used to exist in a place.  Joe Sternfeld’s work is quite interesting and effective in displaying this idea.  He revisits sites that have experienced particular events.  Some of these events happened decades before he documents the remains, but there is still a lingering emotion that can be recreated by visually representing and reiterating the event through picture and text.  Every site bears some clue or indicator that a tragedy took place.  Every step leaves a footprint.

“STYLE WARS” ANALYSIS

            The documentary “Style Wars” presented a very interesting interpretation of the hip-hop culture movement as well as other aspects associated with it.  It gave me a new context to the bright, bold designs that cover buildings and trains.

It appears to me that graffiti artists use this medium to voice themselves in a way that can’t be ignored.  Similarly, hip-hop, also known as rap, music strives to make this same effect, but does so vocally.  Graffiti is an unspoken, highly visual representation of the oppression felt by many members of underprivileged society.  Oftentimes the lower economic class is otherwise ignored.

The civilians of New York City have almost no say in what their city looks like, that is to say that they cannot be involved in the plans or layouts.  I believe that graffiti is their way of taking some control in the design.  The people living in the city begin to make their mark in the only way that they know how to manifest a tangible impact.

Mayor Edward Koch is quoted in the film stating that graffiti is a “quality of life offense… destroying our lifestyle and making it difficult to enjoy life.”  I want to ask him, “Whose lifestyle are you referring to?  The affluent white population?”  I’m pretty sure some spray paint hasn’t destroyed anyone’s lifestyle.  Maybe it makes the businessmen cringe as they take the subway from the sheltered suburbs to the noise and chaos of the city, but certainly their lives continue unhindered.

Koch compares graffiti to pick pocketing and shoplifting, but I thoroughly disagree with this accusation.  Graffiti artists aren’t taking any material possession from anyone.  They’re making their mark and its not actually hurting anyone or putting anyone at a disadvantage except maybe themselves since they’re putting themselves at risk of being caught and arrested.

At some point the question is raised about whether or not graffiti is about ownership.  I think for the artists, the burners, its not.  It’s more about having a message and wanting to share it in an artistic expression.  Getting artwork displayed in galleries can be expensive and only certain people will see the work.  Many more people see the city walls and trains and it’s much cheaper for artists to display their work.  Of course, it is important to consider the degree of anonymity that goes along with illegally defacing public or private property.  It seems that perhaps for the bombers it is about ownership since they are more concerned with quantity over quality.  The most important goal for a bomber to achieve is to have their tag covering other tags and to have them everywhere.  An artist or burner on the other hand is mostly concerned with creating a beautiful work of art that can be enjoyed by strangers passing by.

It was interesting to see the private-schooled white kids talking about getting into graffiti.  It was a little challenging to figure out what his or her motives might be, but I think the thrill could be addicting for anyone.  Same as any other tagger, bomber, burner, I think these privileged kids were just looking for a way to defy any stereotypes that society might place on them.  Maybe they were just bored with their privileged lives and needed an exciting new hobby.  Whatever their motives, their influence on the genre seems to be less politically-based and they have less ties to the hip-hop culture since their struggles are minute in comparison.

The hip-hop culture movement is fascinating and permeates many other cultures with its expressionistic style.  It makes sense that groups interested in the same forms of expression would begin to form and create new expressions of the body, mind, and spirit.  Breakdancing is the physical expression of hip-hop and, like graffiti, seems to be chaotic and fast-paced.  The body’s motion in breakdancing clearly reflects the poetic rush of rhythm that is carried out in the music as well as the art.

Toward the end, one of the artists mentions that he does vandalism, but it is something that makes people pay attention so he doesn’t care if there are repercussions.  People are paying attention to what he has to say and that is more important than being punished for the way in which he expresses himself.  If people are looking at the work and getting excited about it, whether its good excitement or not, then the work must hold some significance and importance.  The focus is on the influence and impact.

Some of the graffiti makes its way into gallery space and the public response is remarkable.  It is curious to wonder whether or not the art holds the same intensity on a canvas as it does on a building or train.  I don’t think it does.  The high stakes and illegality add to the purpose of tagging, burning, and bombing.  The borders put limitations on the art like buildings and train cars do not.  Canvases are usually small in comparison.  They are transportable, but usually remain stationary unlike train cars.  Gallery art is purchased, traded, and usually only owned by upper-class individuals who can afford to spend money on a whim and on decorations for their luxurious homes.

A government spokesperson talks about ownership, saying that graffiti artists are destroying their property.  But isn’t it public property?  So, perhaps the artists are decorating what rightfully belongs to them.  As long as it’s not too obscene, I don’t see why people get so offended by a little color in the subways.  Maybe it’s not their style, but the people getting offended never stop to think that perhaps their hyper-sterile constructions don’t reflect the population at large until decorated by the people living in them.  So, instead the people with the power and money build fences to reclaim what they think rightfully belong to them just because they planned the building projects.  The truth is that taxpayer money finances the projects so the planners shouldn’t have all the control.

Toward the end, Mayor Koch says that finding the words “DUMP KOCH” painted on a train car was the “highest praise imaginable because obviously I’m getting to them.”  This comment on the situation clearly demonstrates the power struggle between the people building the city and the people who have no “official” say in its construction but who live in it and make it their own.