Where in the world is Jennah Blossom?

Delray Trojan moves to Brickell..

After graduating from USC my travels can’t and won’t stop.. I’m addicted. Eventually I’ll find the time to re-cap my travels up to date, but until now I’ll just share that I had to have new pages put in my 2nd passport after returning from 6 months in OZ, 2 years ago.

Post-graduation my summer was filled with working hard and partying harder..

Summer travels: (May-August)

Turks & Caicos, Bahamas, LA, Tahoe, Aspen, Miami, NYC

Now I am settling down for grad school at UM RSMAS (Rosenstiel School of Marine and Atmospheric Science) on Key Biscayne.

Back in SoFLa I have reconnected with many old friends and make new ones daily.. Life is good.

Also working for the fast-growing company 21 Drops. Do yourself a favor and check it out! It really works and the products make great gifts as well! “21 Drops is a thoroughly modern line of therapeutic grade essential oils. Our artisan blends are 100% natural, organic or wild crafted. Tried, tested and incredibly effective. Designed for use anytime, anywhere. 21 Drops. Aromatherapy like you’ve never known it.”

It was very interesting to read Bill Viola’s account and predictions for the internet and web art dating back to the 1980s, when this technology was still very new to many. Its potential was still unknown and subject to speculation and exploration. From early on, it seemed like the recording was used and understood to document everything. Document life. It was a new approach to art and understanding time and space in real and imaginary space. However, it is not surprising that it was soon realized that life without editing is far less interesting. Video art allowed people to travel through time and create out of order occurrences.

This essay also highlighted the ideas of the web and computers as being a larger space and larger technology tool that is available to the individual to create whatever. It is not this technology that is limiting the user, but it is the artist’s ideas and imagination that limits the capabilities of what is created through and in this new medium. This point equally intrigues me and frustrates me. I do believe that almost anything I can image to create online or on the computer can come to be. Humans have, and continue to invent the most miraculous things. Computer technology and the existence of real, yet infinite imaginary space allow these things. The knowledge of how to use and manipulate these different codes and programs is what limits us and our ability to communicate and connect within this other world and language. The way the author describes this space leads me to imagine the web as an alternate universe that we have relatively recently developed the technology to tap into and move through.

Kristyn has done a great job with her Tumblr blog. She kept up with the readings and responses, always having a plenty to comment about them. Furthermore, she always did a good job of relating the works to her own personal experiences, rather than just reiterating the issues and themes that they were addressing.

However, overall I would like to see more personalization on her blog. It is plain in color and style, which I have seen is not true of her personality. Her photo adds some character to the site, but not enough. Also, there is little blogged about outside the realm of FA499 work.

With a bit more outside work on the physical appearance of the blog, and maybe including some more photos and links, Kristyn’s blog would be complete.

Are we all on our own, separate path towards reality and life? I believe that each individual must live out his or her own life, without obsessing about others’ experiences and the past; however, without being omnipresent, I believe it is essential to develop mediums in which individuals or groups can share information across an infinite time line. The internet has become a new way to do this. We can document past experiences, recall our past thoughts and expressions, and access the same information about anyone else around the world who chooses to share. It is unclear who has the ultimate power and leadership when it is owned and used by the masses. We, as individuals, must then be careful to not get caught up in this expansive world of information, so we can continue to live our own lives and create new, unique experiences.

I like how Guston discusses the difference between a painting and the thought process, behind which the finished product germinates. They may not be related at all, but which represents the essence of the painting? If an artist does not document or share their thought process, can that be considered as part of the work? Sometimes, as Guston pointed out, there is no thought process. Can a stunning painting diminish in value if it lacks inherent purpose?

Another point of his is cliche, but true. An artist should feel confident about the works they are making, regardless of whether they evoke positive, negative, or (hopefully) mixed responses. Any strong criticism is good and helpful, because it proves that viewers are engaged in the work and take the time to consider it thoughtfully.

The main purpose of my project is still to create a website that provides an interesting way for people to view my photography and video work. However, I am transforming it into a more interactive experience where a passive viewer becomes an active user—they can self-navigate through these different secondary pages. Each page is derived from imagery that was taken in different locations, somewhere around the world. It is not always clear where the location is, but all of the photos and videos are all linked within their series. The four initial locations are Southern California, the West Coast of Australia, Palau, and South Florida. Also, all of the imagery surrounds a unifying theme of water, and discovering the beauty of nature by delving into the unknown.

 On the Index page, the user will be able to choose which region of the world they want to explore.  I want to create an animated button in flash that will look like a globe. On rollover, the different sections will light up. Once a specific section is selected (onClick), the button will spin and zoom in, eventually bringing up one of the 4 secondary pages that was selected.

 I have been mostly working on editing my popup images and videos. When those are all completed, I am going to assign different “hot-spots” that will show up as hidden links on the web pages. When the user clicks on a link, a new browser window will appear with either a single image, or a video. The user is free to watch and look at the image or video for as long as they like (for now). I would like to figure out a way to set a time limit on how long the page is up for.

On the actual secondary pages, I want to find code to allow users to navigate without having to scroll. Ideally there would be a navigation arrow, like Google maps, or just a left and a right. 

Right now all of the pages have the same overall theme of one larger image with hidden links to other smaller, tertiary browser popup pages. The secondary pages are all set up differently, but I haven’t decided if I want to change the way in which the smaller images are accessed or viewed. I am trying to figure out a way to make the experience more engaging and interactive.

Eventually I would like to continue creating secondary pages for various other locations I have visited and documented.

After watching the short clip from Trecartin’s I-Be Area in class, I thought I would be somewhat prepared to comprehend what would be shown in his MOCA exhibit, Any Ever. I was wrong. There was a consistency of style, theme, and execution, but no direct link in content. This seemed to be the point of his work. The videos had similar characters that blurred the lines between safety, sexuality, identity, and communication. There was a lot of jarring sounds and voices; and bright, ghoulish colors and makeup. The videos were all looped so it was hard to know, coming into a room, where or when in the sequence or story line you were entering. It soon became clear that it did not really matter.

Being in the space of the exhibition, my senses were infiltrated by the large visual projection and the overwhelming sounds of the videos. Being able to choose a seat (bed, bench, chair) within the “setting” of the piece gave me the sense of participation. Also, being in the art space made me feel more engaged in the videos. I felt inclined to stay, immerse myself, and understand what was happening, unlike when watching and clicking through short parts of his videos on youtube.

His videos give off a performance quality similar to improve-theater. There are many clear conversations and monologues; however, the garrulous nature of these interactions turn them into a spew of nonsensical information. The expressions and altered voices of the characters do not help in deciphering the meaning either. Tone and personality of speech are always extreme and not necessarily consistent with their intention or purpose. I attempted to gain insight by only watching, and then only listening to some parts of the videos, but this did not prove successful either. Every part of these videos, like their content, must co-exist together in Trecartin’s world of abstract insanity.

I enjoyed the experience of going to this exhibit. It was overwhelming, yet somewhat meditative, since, for most of the time I was there, I was unable to think about anything other than what was going on in front of me. I left with a headache and a sense of confusion, but I feel like I am at least one step closer toward understanding this new experiential media.

I enjoyed reading Shirky’s interpretation of cognitive surplus and the ways in which a new abundance of “free time” has led us as individuals, and as a larger society, to consume, create, and communicate in new ways.

What about pure consumption, like watching TV, is so compelling and seemingly rewarding to the majority of the world’s population who has the means to do so? People have still continued to watch billions of collective hours of television a year, when more productive and engaging options have become available through technology and the internet. Furthermore, behavioral economists have concluded that unhappy people watch considerably more TV, which is “linked to higher material aspirations and to raised anxiety.” If more free time allows us to channel more of our creativity into positive and rewarding results, shouldn’t more individuals be compelled to make and share things, rather than watch and purchase things. We need to become the influences as well as the influenced; but of course this take far more time, dedication, and confidence.

I was inspired by Shirky’s idea of free time as a “shared global resource.” If there was a way to inform, inspire, and include all of the consumers and producers in the world, or even on the web, there are countless possibilities of what can be done. To be effective, individuals must look beyond the small scale, personal costs and benefits, of how to utilize their cognitive surplus and start or join larger (global) communities of creativity.

Wayne Koestenbaum’s interpretation and explanation of Ryan Trecartin’s art is dynamic, interesting, and even somewhat enlightening. He highlights and expresses, with literary finesse, the ideas that were jumbled in my head after watching and re-watching Trecartin’s art for the first time. This article helped me to better categorize and differentiate between the many layers of Trecartin’s work; although, I am not sure if I will ever be able to fully grasp the artificial, haphazard, theatrical existence he has created.

Trecartin’s work is experiental and flambouyant. It is filled with characters that are jarring and capricious, who act beyond the realm of possibilities that most people would consider or live within. It lacks sexuality, but still remains absurdly provocative.

When viewing his work, I am confused, yet intrigued. I am constantly analyzing each aspect of it simultaneously, while trying to understand what it is I am actually seeing. Trecartin has developed and works within a style, or universe, that seems to be more important overall than the actual content of the works he directs and produces.

Trecartin makes a type of video art that is supported and renowned by the art world. He still needs the internet to share a lot of these videos with the masses. I wonder if he would, or has, created an interactive video/blog/site that would allow people to interact and become personally involved in/with the characters and universe of Trecartin (similar to how Wafaa had a live connection and interaction with his viewers.)

I thought that the human shield was amazing. The dedication of time and discipline that those individuals had to protect Wafaa was inspiring. It made me contemplate what I would have done if I was aware of this project during its life. Would I go to the website? I know I would not have shot at another living being, but would I have still shot the gun away from Wafaa for the sake of trying the site or project? Would I think to dedicate my time to protecting someone I did not know or could not hear directly? I do not know. I admire these individuals for becoming involved in this direct, and positive way. 

I was happy to see Wafaa become integrated into American society, while still being connected with his roots. Many immigrants neglect to embrace a new opportunity with quite the same amount of zeal. By learning the local language and immersing himself into this new culture, he was able to become accepted and influential in his area of expertise. His education and personality definitely attributed to this. He chose not to be resentful of his horrific past, but to use these experiences to nurture an artistic voice that he would use to collaborate with, provoke, and inspire thousands of other individuals across the globe.

It is incredible to hear how a group of individuals can flee and fight and maneuver their way through times of war and devastation, and still retain hope. The brutality of the war Wafaa was facing must have induced a survival instinct in them all. Relocated from deadly holding areas to temporary prison like camps, never knowing who they would see again is something I cannot relate to; however, the way in which these collaborators write allowed me to feel for and relate to Wafaa’s emotions and experiences in war and in his exhibition. It is easy to see how art as a means of outward expression would be the only thing that would keep an expressive mind sane and hopeful.  

The health problems he is experiencing, and lack of attention paid to them, shows his dedication to the project; however, it also shows how much physical, mental, and emotional pain and suffering he had endured and was willing to inflict on himself (or allow others inflict upon him). This is a scary thought. 

The contrast between dealing with the loss of his brother, and then that of his father’s subsequent death was interesting. He held onto the loss of his brother as a constant reminder of the war and its personal infliction on himself and the young, influential minds of Iraqis. His father, who he was not close to and seemed to resent, by passing allowed Wafaa to grieve with others and rethink the stereotypes and oppression that was faced by Iraqi men as a whole. He was able to come to peace with his fathers antics by excusing and pitying him.

The discussion of “hope” really resonated with me as well. Initially when I read the word, I assumed intentions of its most positive meaning. I was taken aback, and then remembered the nature of this project, and the animosities of many of the individuals participating.

The book does a good job of keeping a strong parallel between the historic events Wafaa recounts from his experiences in the middle east, and his more current live art exhibition at the gallery. The events seem to be syncing in a way that allows the reader to relate to him on both levels. I also especially liked the inclusion of different “users” comments on the site. This allowed me to better understand some of the exact interactions, attacks, and accusations that Wafaa was experiencing. It sickened me how violent and ruthless most of the individuals were while experiencing this unique work indirectly, protected in some distant location behind their own computer screens.

One quote that I found to be very interesting and powerful was a message from Jason in the project site’s chatroom: “Some say they are trying to stop the shooting, a lot say they are having a party shooting him, most are just watching. That, my friend, is America. Nuff said” (p.86).

This resonated with me because it was such a simple, true statement. The project is viral and can reach viewers and users from around the globe, this small scale example exemplifies the larger ideals behind war and the personal and social involvement different groups and individuals have. It shows a part representing the whole. A small study group exemplifying a horrifying statistic.