2

learning and research over the summer

tasks —
adapt CGING poster
prune channels
update junkyard title image for portfolio

texts —
chaos
my name is red
white
ideology of gallery space
archaeology of touch
mythologies (barthes)
mythologies (lehman) >
here
black gooey universe
emoji as digital gestures — 1, 3, 2
book on margins
the medium is the me/assage
ambient cruelty (++ NC!)
signs and symbols

observations —
- marginalia of the digital: tiktok comment sections: "dropped my frogs! boost"
- raced emoji as weaponized identity politics
- rombes 21 — Danny Gonzalez on Arcade Craniacs, emotion and affect in 3AM CHALLENGE __ MY __ SHE SAID YES?!?!?!?!? ast. ast. GONE SEXUAL GONE WRONG ast. ast. (possible * connection)

concepts —
skeuomorphism
nostalgia
format, screen, frame
touch
gesture
memetics
aesthetics

freemium aesthetics

"the social life of things" — processes and flows by which goods and objects are converted, change shape — "entangled objects"

to be an NPC

connections —
race and technology, ideology of screen space
ideology of interface
portals, windows, interface/computer/internet metaphors, interstices, liminality, "technosublime"
time and space relationship (from 2018 summer conversation with dad — QR codes. convenience,)

note 2 self
1

do not go to feed — check queue


working through my impulsive aggregator tendencies — tool therapy as i work through my reflex to collect everything and hoard information
late june exported and deleted old channels, @p/ = prune


main threads from channels that are similar/that i frequent and can remember:

  • something about interaction/HCI/interfaces, tech
  • something memetic, about advertising, politics, aesthetics
  • something sentimental

Dedicate channels to people, note inspirations


formatting system to make information more accessible — trying this out with accessibility channel with GS

reconsidering key

  • i wrote in How do you use Are.na that I want to use this as a way to practice amateur scholarship + librarianship, being a generous scribe; radiating impact & reflection, stone skipping —
  • in the absence of a zoom chat log, hand collating (?) sources becomes an act of intention and care
  • an are.na channel is a container

when i come across something i find noteworthy, i can

  1. write it down
  2. experience it, turn it over in my head for a while, commit it to memory — however permanent/long
  3. use some tech to record it
  4. choose to forget it

connecting the links to blocks and channels rather than themselves to specific channels for privacy + fewer notifications — this could be a way to navigate the blurry public/private/semiprivate boundaries in online communication

practicing Are.na use

I wanted to change the medium. When you go from basic drawing to drawing on the skin, it has nothing to do with even the way you design the shapes. Very quickly, I realized that I didn't like the flash format of a little drawing you do on someone, and that I generally wanted to stick large compositions on the bodies. I think that, after three months, I started to feel what I really wanted to do. What makes the difference with the tattoo is that you compose in 3D on the body and that the possibilities of rendering and anchoring are really different. In any case, it's a way of drawing that I really like.

_

When I work on sound, I work a lot with samples, my voice, guitars, instruments, whatever, as well as vocals. So it's a lot of manipulation of different, distinct elements. This way of working, I reproduce it in the tattoo where I sample my own drawings, then I rearrange them to obtain more coherent compositions on the body. I consider nothing to be thrown away, that you just need to arrange things the right way.

_

I would say you always have to challenge your process if you want to achieve an eclectic and scalable production.
_

Hence the sound design, since it was for you to experiment with sound techniques at the base, was obviously the most suitable format?

Yes, I turned to sound design because I love music that produces material, that deeply touches your sensory sensors and plunges you into an atmosphere in its own right. I use sound in my installation practice and relate my sculptures directly to this sound field. I think that one does not exist without the other and the sound has a significant materiality that cannot be escaped. My sound pieces are produced according to the places and the acoustic possibilities they provide. And at the same time, I have the impression that the immateriality of sound offers limitless possibilities for research.

google translated interview, @@@!*(@Q