Archive for the 'art' Category

WEDIDIT Merch

Saturday, December 19th, 2015

After he saw the THX inspired animation I made for the intro sequence of the VR House Party we shot with WEDIDIT in February, Nick Melons asked me to produce some graphics for their new line of Merch. I can’t wait to get my hands on some of that stuff. Hopefully it will all come out at the time we release the house party video.

Cartoon Distortion

Saturday, October 10th, 2015

Dribnet aka Tom White suggested that we teamed up to submit an application to Printed Matter’s LA Art Book Fair for next year.

“But this means we will need to make some books for it”, I said. “Exactly”, he replied.

Next thing you know we are talking about hunting down a Risograph printer and figuring out how to go nuts with it.

The LA Book Fair submission required a print oriented portfolio website, so I finally put one together and hosted it at cartoondistortion dot com. Please take a look. It’s nice to see most of my graphical morsels tightly organized and readily available like that.

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Tom also had to make his own portfolio page. Hopefully we will get our little table at the book fair next year 😀

Artes Mediales desde Colombia

Monday, November 3rd, 2014

En un comunicado electrónico desde Colombia, Maria Paula Lorgia me acaba de informar que ha presentado al público el Catálogo Razonado de Artes Mediales correspondiente al Seminario Transmedia en que participé hace casi exactamente un año con la charla intitulada Propagación de Ficciones.

Este catálogo incluye mi texto Espacio público y participación narrativa en la era digital, escrito en su totalidad en el zoológico de San Diego, donde hago una reflexión alrededor de los trabajos que he tenido oportunidad de realizar en el espacio público geográfico y digital a partir de mi estancia en el MIT, donde trabajé con Antoni Muntadas, John Maeda y Henry Jenkins alrededor de temas relacionados con los medios digitales, sistemas de participación, y espacio público. Estos trabajos incluyen Querida encogí el barrio y Branches The Nature of Crisis.

El catálogo completo se encuentra disponible como PDF en la biblioteca en linea de la Secretaría de Cultura, Recreación y Deporte de la Alcaldía Mayor de Bogotá.

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A mirror suit and 360 video by the beach

Sunday, September 7th, 2014

This weekend my friend Daksh Sahni invited me to shoot my first spherical video for Virtual Reality using a camera ball with ten gopros attached to it. The idea was to capture his friend Yana Clark performing with her mirror suit at dusk by the ocean.

The suit reflected beams of light from the sun in every direction while Yana explored the rocky shore alone. It was a beautiful sight.

This is the first time I get to experience the weird nature of 360 degree video. You see, when you’re doing this, you’re basically capturing every direction at the same time; front, left right, top, back and bottom, the 360 camera rig sees it all, so no film crew can be around the scene while the camera is rolling. Everybody that is not in the scene has to find a hiding place and disappear.

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Coincidentally, Yana is the great granddaughter of Lygia Clark, who did some early work in VR art. Lygia’s most relavant work in connection to VR is her mirrored spectacles from 1967: (see attached image and an excerpt from Lygia Clark and Hélio Oiticica: A Legacy of Interactivity and Participationfor a Telematic Future, an essay by Simone Osthoff):

Curiously, Ivan Sutherland’s pioneering work with virtual reality, developed around the same time, was based on the introduction of the related concept of head-mounted displays. The visual and cultural parallels between these and other investigations in art and science are as significant as they are unexplored. As Myron Krueger has pointed out, “Many aspects of virtual reality including full-body participation, the idea of a shared telecommunication space, multi-sensory feedback, third-person participation, unencumbered approaches, and the data glove, all came from the arts, not from the technical community”

Clark’s experiences tend to merge the body’s interior and exterior spaces, stressing the direct connection between the body’s physical and psychological dimensions. The pure optical emphasis of her geometric abstract paintings from the 1950s are transformed by Nostalgia of the Body into sensory explorations of texture, weight, scale, temperature, sound and movement. These sensations are the basis of a non-verbal language employed both in processes of self-discovery and collective explorations among a group of participants. There is a significant conceptual link between these collective explorations and the characteristic of telecommunications art Roy Ascott calls “distributed authorship.” Clark’s collective creations became her main focus during the period she lived in Paris

Clark is commemorated as a pioneer, first of interactive art and then of participatory performance—themes that are everywhere these days. But without a better sense of the thorny drama of her biography, it’s easy to forget, today, in a world of social media and flash mobs, Google Glass and Oculus Rift, that the dissolution of “art into life” was a truly radical art theme of the ’60s and ’70s, one of the ways which fine art and the counterculture merged into one gumbo in the churning cauldron of a decade of political cataclysms.

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Wemolab GIF commissions

Tuesday, August 12th, 2014

I have been using tumblr and twitter connect with gif artists in the web and commission them with making small animated loops inspired by the Wemolab logo. Here are some of my favorite results. Beautiful.

By zolloc:

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By Dave Whyte:

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By Maxwell Ingham:

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Records, cassettes and my childhood memories are back

Monday, July 14th, 2014

Thanks to the guys from Rest in Haste, who have invited me to illustrate their cassette and record covers with my drawings, I have renewed my interest on two cultural artifacts from my childhood that are experiencing a renaissance in music today: records and cassettes. It turns out that the relatively primitive technologies and processes required to produce and distribute music and other sound-based media using records and cassettes offer a viable —and affordable— alternative to the digital formats and distribution channels that have become the mainstream standard over the last decade. It turns out a garage band can afford to produce a 100 cassette edition or a 500 record edition for very little money, and these precious items are welcome in local venues.

To me, visiting a local record store and listening to some tapes and records while I talk to other people in the store is a more effective strategy to discover new musicians that I like. I have been finding some of my favorite music this way, and I am completely positive I would have never found any of it from my friends playlists, or any of my social media feeds, or from amazon or itunes or spotify recommendations. My musical life would not know about Boris, Oake, Thee Oh Sees, Oneida, Blonde Red Head, Harassor, Author-Punisher, and The Elevator Drops, just to mention a few of them.

Of course, I had to get a record player and a cassette player again. I haven’t had any of those since I got my hands on a CD player/burner. I was quick to abandon the fragile vinyl and the magnetic tape as soon as a “better” playback/recording alternative came about. Ironically, CDs faced the same fate at the hands of the web, hard drives and mobile phones. I havent really had used a CD in probably ten years. I have a hunch even CDs are going to face some kind of resurgence within the next few years, and VHS tapes too!

Note: I have a flickr album where I collect all kinds of high-res images in connection to my work with Rest in Haste. The cassette sleeves and promotional posters for The Realistic Sounds of Rest in Haste were printed by Kudla Press in the Czech republic using a Risograph printer.

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El Billar de Lucrecia & Cielo Abierto

Tuesday, July 8th, 2014

I have been designing poetry book collections for a while now. I started in 2005, when Rocío Cerón invited me to design a collection dedicated to showcase latin american poets born in the 1970s. We called the collection El Billar de Lucrecia and decided to pair each book with each one of the 15 different billiard balls in a perfect bijection of number and color. Only 15 titles were going to be produced. Inspired by the Roman tragedy of Lucretia, I created a female avatar for the collection, a shadow-woman that came back from death to avenge injustice against women. My fantasy super heroine hasn’t made it to the pages of a comic book, but she elegantly decorates the colorful sleeves of every book in the collection.

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After the fifteenth book was published and the collection was closed, Rocío proposed me to design a new collection with a completely different set of curatorial rules. This time Rocío’s intention was to create pairs of territories (cities, countries) and get poets living in different territories of the same pair to translate each other. Each pair would become a book and each pair would always feature a Spanish-speaking territory, thus making sure the collection connects world poetry through the Spanish Language.

This relatively convoluted formula inspired me to devise a similar mechanic to produce the art for the covers. Once I had defined a design template and style, I decided to invite a new artist for every book, send them a couple of notes about the book and a color and ask them for a black and white drawing featuring a human subject. Once I got back the drawing from them, I would design a graphical pattern to finish the book, using the color I had sent them. We called the collection Cielo Abierto to honor the geographical space in which airplanes are held beyond the influence of specific national interests, and gave it a logo representing an airplane reflected in the surface of a human eye.

The books feature drawings by Demián Flores, Ernesto Morales Campero, Luis Alberto Becerril Fonseca and Utamaro García, who made the drawings for the last two books.

I am not sure we will still be publishing any more books for Cielo Abierto. It seems the logistics involved in coordinating so many poets across the world have taken a toll on Rocío and her small team —five after all is a pretty good number for a mini collection of global poetry. I am ready to make more, but I can easily jump into some new thing. Only time will tell.

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