Written Response to Third Reading "WHere is creativity"

I think the contemporary artist of today resembles tremendously the art director/designer. She/he has to know who their audience is and how they are seen and made credible by curators, gallerists, buyers, etc.The creative reading you assigned seems to address the same issue. The art director is working off the same ideal that of tapping into what is needed right now, what is of the moment, who their audience is that they want to reach. The selling of oneself. The packaging.
"The second component of creativity is the field, which includes all the individuals who act as gatekeepers to the domain. It is their job to decide whether a new idea or product should be included in the domain. In the visual arts the field consists of art teachers, curators of museum, collectors of art, critics, and administrators of foundations and government agencies that deal with culture. It is this field that selects what new works of art deserve to be recognized, preserved, and remembered."
I can't help but think the art director is the equivalent of a contemporary artist who works well in this domain for example Jeff Koons, Damien Hirst, Murakami. These artists are essentially art directors, and play upon the hype marketability of their ideas to a specific audience (albeit it very large one) and understand the needs of the now, the trends, the fashions. But they twist them in a way to question their own pop-centric, sexualized, necrophiliac, fetishized, and pedophilic forms to excite and evoke a reaction from their audience such as art directors do in advertising design.
I guess my work is between art and design as I'm always looking for slogans, soundbites, a catchall phrase to accompany my images, videos, and/or am working with the audience in mind thinking of how glossy I can make something while resembling the commercial art world but turning it on its head a bit in a humoristic and sometimes dark way.

My own presentation of myself

After Haystack I took some mental notes on how artists put together a presentation of themselves and their work that I thought would be very helpful for my future presentations.
-image of myself young and funny
-here I'm from (Elizabeth, worlds largest container port)
-church
-take defects about myself and write down rhymes
-why i started making art (look way back perhaps with an image of very early work)
-where did my artmaking come from
- use quotes a lot
-party girl, waitress, designer, video art, photographer, installation, performance artist, instructor, student, psychoanalyzer, vj, collaborator, interactive work.

Audio Bingeing on Michael Beirut and Jessica Halfend's podcast the observatory

http://designobserver.com/topic/theobservatory/1045

As I drive back and forth to orono and any place that is beyond an hour from my domicile, I make sure to play the next podcast from "the observatory". Both Beirut and Helfand are such great orators that I drive with pen and paper in the passenger seat to quickly jot down phrases they say and recommendations they give.
An example of my note taking the last couple of weeks.
We traffic in metaphor constantly. We give people a way of understanding via metaphor-
It is part of our design language.
Massimo Vignelli tells a client his color choice is black. The client freaks out thinking in his mind death and shroud but Vignelli says "no black like a shiny piano, black like a tie, like a tuxedo" giving the client a new way to look at black through the use of metaphor.
"helping people get their minds around something"- the role of the designer.

Class notes

where is creativity reading/

japanese inventions that work but don’t work

the invention to find one solution and then find another one

3m post it notes a failed other kinda glue, i should be able to do something else with this and the post it notes came to be

samuel mockby

start with something that’s important to you

it has to come from something

sit back step back from the “i’m a painter, I’m a musician, I’m a watercolorist”

ok I have an idea I want to engage 

I have something I want to say

who do I want to say it to 

how am I going to present

tune the idea and the material to who your audience is you are going to fall flat.

major part of this class. we are more composers and orchestrators then producers

producers take on more of the craft model

it’s about arranging  and making fluid process decisions. requires broad thinking along lots of processes

the world is this kind of broad breath things.

i’m a person who has spent time listening thinking or looking at.

WHAT IS THE WRONG QUESTION IT IS WHERE

thinking about the sociocultural context or the system.

people still argue that there are other fundamental aspects but thinking about how you become a creative in the professional world this reading is useful and important.

an individual can change a field through their domain by the impact of the individual which is measured by the field (gatekeepers who allow people or specifcally ideas to enter.

individual uses symbols of a given domain sees a new patttern or has a new idea and is chosen by the experts gatekeepers for inclusion into the relevant domain.

if the domain is held in place are the field experts within.

protected from the individual

field research

review the field, figure out what everybody has done so you have an overview of the field. one of the reasons to do that is to be able to pace yourself as part of that. 

know all the gatekeepers 

and to see where the gaps are what’s missing in areas of new work and new developments

you have to do it a few times in order to become a member or stay a member

creativity can not happen within the domain

domaiin is the set of rules set of ideas

the field can become prohibited

page 47 the person who wants to work within the system and reproduce that system in his/her mind

creative personality types - agree disagree with the 10 elements

creative response

why materials why you chose to use objects you did.

methods and materials not refined

1st creative response

1st creative response

Flamenco Dress research and manton projecting.

Spent a few hours researching fabrics for a flamenco dress to make. Don't want to spend a ton of money on the wrong fabric. Went on facebook to ask other flamenco dancers what they use but only got responses from friends who don't dance and own flamenco dresses. THen moved onto ebay and etsy searching for already made bata de colas(long skirt with long train for dancing flamenco) and found they are also pretty expensive around $300 a pop. Ugh. Going to see if I can find a local seamstress to make me one and see what she charges.
Then started thinking about the large shawl (manton) that women wear for certain flamenco dances and thought that it might be interesting to project images on the shawl only when the dancer (myself) turns away from the audience and spreads it out like wings behind her. Could be very interesting the projection on it. Could be images of people reaching into her or newsclippings and images from the past of dancers or spanish war images.
Must try.

hot showers bring ideas

Considering the use of video projection or specfically projection mapping, I thought it might be interested to project onto myself a video of a flamenco dancer dancing and my body doing the same exact moves in order to keep the image mapped to my image. THis would be included in the "i could have been a contender" series. I would also have another video projected with a short throw to the wall directly behind me where there is a scenario of either a tablao or a street or abstract imagery that includes kitch images of flamenco, bulls, dots, as I dance.
My dress would be made of white paper with all the ruffles and waves needed along with a train.
On the opposite wall in front of me would also be a short throw projection of an audience encouraging me to dance and shouting out olé as what is normally done in Spain when dancers, guitarists or singers perform on stage. Essentially I'm a one woman show performing for myself and my own audience (clapping soundtrack included).

I then started thinking about the fact that I always do use some form of commercial art in my artmaking and started thinking of creating posters that looked like performance concert posters with my image on them as if I was to perform somewhere. I looked at the vintage posters of flamenco dancers and bullfight performance and thought I could do a likeness of myself and new typography in the same vain to further validate the lie. I also thought it might be interesting to name the show
jk/psych but really I like "I could have beeen a contender".

Flamenco in the graduate dorm

I decided I wanted to do a triptych of sound from my flamenco practice which would include footwork, castanets and the fan. I had brought all my stuff with me from home to the school to record in the morning on Tuesday before class. I decided to use my dorm room to shoot my vignettes.  I rested my D5 on top of a towel(to angle the camera down a bit) which was resting on top of rack which sat on top of the microwave which was situated on top of the refrigerator to finally get level with the bottom of the window pane that looked out to a bunch of trees which filled the lens with green. On one shot, I was trying to capture my arms reaching out from the left of the screen with castanets in hand at center of the frame as silhouettes against the leafy tree background. After several attempts and changes to my iso, shutter and fsstops I was pleased enough to record myself. I didn't have any piece in mind to play with my castanets just exercises I had learned (barely could remember) that I hope I could keep in counter rhythm time to record. I got enough footage to edit out a section where it sounds good enough or believable enough that this person does indeed play castanets. I then proceeded to capture my hand with a fan again in silhouette framed by the window and the trees as a backdrop. This time I wanted to not necessarily focus on the swerving of the fan but more on the sounds the fan makes when you snap it open or close it.
https://www.youtube.com/watch?v=Ck_84KwaEpE

More Bookcover ideas

Bookcover idea : "Speak English, You're in America.", and other stupid things white folk might say to a bilingual person who can speak 2 or more languages and enjoys switching between them dependent upon who they speak to or where they are (yes even in America).
I still can't find the right subhead after the title. Trying to find the proper word for a certain type of American person who generally likes atvs, motorcycles, guns, budweiser or coors, sports, bbq, a little rough riding, watching lots of tv, big suvs, getting a little fat, fox news, john hannidy, and Trump.
You see I'm generalizing but also describing people I know.
They also will fight to make sure we sing the national anthem with our hands to our heart standing at the beginning of every baseball, football, nascar, and hockey game.

notes 9/13/16

short overview

these are the topics

open discussion

these are questions that came up from my reading

2 chapters out of the lfow of creativity psychology of creativity 

where is creativity creativity in a context.

michaelangelo - having others work for you being the director

artist weren’t

artr and ceativity

creativity leads to art art oomes out of the creatiity

someone is saying this is art

feelings emotions

knitting 

something becomes art when it isnpired people  

it’s all about designation and naming it art

cognitive

all is possible

chapter 8 culture to me

2nd creative response flamenco sounds experiment

fan, castanets, flamenco feet from vvaldes on Vimeo.

like tarkovsky

“In a certain sense the past is far more real, or at any rate more stable, more resilient than the present. The present slips and vanishes like sand between the fingers, acquiring material weight, only in its recollection.” 
― Andrei Tarkovsky

class notes

earning your ancestory

everyone that came before us

you have to know your past

5 faces of modernism

the artistic self

we make art out our lives and experiences

transform your past by negating it

very modern art

art has impact

universal symbol

original intention of the piece??? 

sometimes intention isn’t known until it’s done

creative responses 

what were you responding to

and what did I do for my creative response infinite games

happenstance

multiple ways of responding

delve deeper into the source

take off and head into your own direction projection out. directionally look at your responses. responses can take any shape or direction say for example one word.

could be an affirmation your creative responses

broad range of what you choose and how you choose to respond.

fundamental element of the creative process is just to pay attention.

taking time to be attentive. 

make a smell piece with wind. when you open up.

have someone test me with probes and my sensitivity to your environemtn.

behavioral sean elll

give you exercises for food for thought.

your individual take on it as a response.

individual aspect of choice, you choose something you do it.

Carse Infinite Games Notes & creative response to play randomness

finite games

pg 16

The true Master Player plays as though the game is already in the past, according to a scrpt whose every details is known prior to the play itself.

this in modern day is called visualization which is encouraged specifically to ease anxiety when talking in front of people. know your game back and forth and you will be fine. you will win.

infinite players on the other hand continue their play in the expectation fo begin surprised. if surprise is not longer possible, all play ceases.

this is best associated with improviisation and also the process of trying a million ways of doing the same thing like interpreting an apple visually.

because finite players are trained to prevent the future from altering the past, they must hide their future moves. the unprepared opponent must be kept unprepared. Finite players must appear to be something other than what they are. Everything about their appearance must be concealing. To appear is not to appear. All the moves of a finite player must be deceptive: feints, distraction, falsiifications, misdirection, mystifications.

It is not an openness as in candor, but an openness as in vulverability. It is not a matter of exposing one’s unchanging identity, the ture self that has always been, but a way of exposing one’s ceaseless growth, the dynamic self that has yet to be. THe infinite player does not expect only to be amused by surprise, but to be transformed by it, for suprise does not alter some abstract past, but one’s own personal past.

to be prepared against suprise is to be trained. to be prepared for surprise is to be educated.

I guess I would want to look at this as technically savy is to be prepared against surprise to be trained

to be prepared for surprise is to be educated is to know how to let your mind go and be able to take the skills you have to play.

“Carse describes infinite gamers as people who think beyond the artificial constructs of our lives (nations, societies, possessions, etc.) and recognize that most of social hierarchy is a form of play (drama, performance, roles).”

much life facebook and photoshop. nothing needs authenticity anymore. it’s not in vogue. I can be a vacuum cleaner if I choose to be.

the super you the chosen one

life in death concerns those who are titled and whose titles, since they ar timeless, may not be extinguished by death. immorttality, in this case, is not a reward but the condition necessary to the possession of rewards. Victors live forever not because their souls are unaffected by death but because their titles must not be forgotten.

the joyfulness of infinite play, its laughter, lies in learning to start something we cannot finish. I could have been a contender. names titles the contessa.

to see power is to look backward in time. to speak meaningfully of a person’s power is to speak of what that person has already completed in one or another closed field.

power is bestowed by an audience after the play is complete. 

power is contradictory and theatrical.

it’s a bit cheesy and simple minded especially when he goes off on what is considered evil returning to zion, islamicization because your history does not belong to me.

ted talk

ted talk 2

unpredictability of the future and what we educate children in is questionable

talent is squandered in children

education and creativity

creativity as important as literacy.

they are not frightened at being wrong

they’ll have a go at it not worrying about being wrong.

we stigmatize mistakes

educating people out of their creative capacities

process of academic inflation

job = bach, then masters and now phd to get a job

original ideas that have value different disciplinary ways of seeing things

corpus collsal is thicker in woman because we are able to multi task

epiphany how people discovered their talent

educate their whole being not just one side of their brain.

david kelly founder of ideo

hot to build your creative confidence

designers have to learn to find justification for what they do and why it’s good as oppossed to the painter who can say they did it because they just felt it.

creative confidence

albert bandura psychologist curing phobias david kelley was interested in talking to him

small baby steps to get person comfortable with their phobia scared of snakes 

guided mastery

self efficacy the sense that you can change the world set out on what you planned to do.

a series of small successes turn fear into familiarity

journey looks like this