Printed Figurine

Today I awoke to an exciting text message telling me my figurine was ready to be picked up from the basement in Graham Sutherland. I was very excited to see it and couldn’t wait to get my hands on it. It was presented to me and I was confused at first, the figurine was surrounded in a plastic waxy substance, the technicians put me at ease once they told me that is to be washed away. The figurine is also slightly smaller than I originally wanted but due to the Universities 3D printing facilities it is the biggest I could get it.

The next step was to soak the figurine in cold water, I did so for about an hour before starting to clean it.

On the technicians advice I used a tooth brush and scrubbed the figurine, this took just over an hour but was strangely therapeutic and relaxing. I took a video of myself cleaning the figurine for around 10 minutes, I found it really hard when doing research to see any videos on the post production of 3D printing i.e. cleaning, prepping and painting so I thought I would make a video which anyone could access and not have the problems I had.

The figurine still has a rough texture on the back half so I will leave it in soak over night and scrub it again tomorrow, then it will be ready for painting.

RPG and Virtual Reality

I have this urge with this project to produce something really technologically advanced, the one down side, I have no idea how to build software or electronics. Or even how to go about finding someone who does, and get them to do it for free.

Recently I have been watching an anime about an RPG. The first season of ‘Sword Art Online‘ see’s the creator of a virtual world release only 10,000 copies of the game, and once logged in you cannot log out. It’s his way of playing God. Also unlike normal RPGs once you die in the game you die in real life too. The series sees almost 2 years of the game inside, people start to prefer that world to the real one, get married and forget about reaching the 100th level, as their bodies in real life are laying in a special SAO victims hospital being kept alive by a drip, exploring issues of which is the real reality? I won’t go into the storyline too much as it has loads of flaws and unanswered questions but my point is that this anime has been voted by many websites the best of 2012, when I started my symposium I wanted to explore the photograph as an alternate reality but I kept on stumbling and getting stuck with no research content. So I abandoned it, but as this anime has made me think about virtual reality even more I think there is some way I can tap into this with photography. I am not sure how yet but this has got to be a way forward for not only my work but for society too. How long will it be before products like Nervgear are mainstream? (not in the crazy trapped in a virtual world way) And how can this be utilised within photography?

Upon a new fascination with virtual realities I bought this book, which I am currently reading. Once I am finished reading it I will storify my tweeted notes and see how this has had an impact on me and how the author utilises virtual reality.

image (1)
The book is going to be made into a film as well due to it’s popularity. Watch this interview with Ernie Cline the author to hear about the book plot and the plans for the film.

Symposium Proposal…

This is my proposal for our end of year symposium. Let me know what you think, and if you have any relevant practitioners I can look at, or if you can help me in any way 🙂


TITLE OF RESEARCH PROJECT
An examination into contemporary (1980-2012) Japanese photography that challenges Japan’s Post-WWII adolescent culture.

MODE OF PRESENTATION SELECTED
Symposium Presentation

DESCRIPTION OF SUBJECT TO BE INVESTIGATED
The main subject I will be examining within my symposium is how Japan’s Kawaii (cute)/Otaku (geek) culture came about as a reaction to the events during and post WWII (including Hiroshima, Japan’s surrender and the peace constitution), and how contemporary photographers are trying to challenge this culture through their work. I define contemporary as being from 1980 as this was around the birth of Art influenced by Kawaii culture and mass consumerism in Japan, it’s also the time the term Otaku became synonymous with a particular group. Defining this time frame allows me to avoid discussing documentary photography post hiroshima and lets me focus on a specific 30 years of culture shift rather than the 70 years since Hiroshima which would be too broad and has been looked at before. 

The basis for this idea came from a quote by Takashi Murakami (founder of the superflat movement) “It would not be an exaggeration to say that the American-made constitution prevented the nation from taking an aggressive stance… it cast Japan in the role of a “child” obliged to follow America’s “adult” guidance, and the nation willingly complied.” Recent exhibitions such as ‘Bye Bye Kitty’ have directly opposed the assumption that Japanese art is commercial and cute, and Adrian Favell has given a lecture on the new art movements within Japan, one being a group of women photographers who challenge the role of japanese women in otaku culture and Murakami’s work. Obviously this offers a whole new research project so I intend to use these photographers within my research without focusing on the gender aspect.  My background study for this project will consist of analysing the Superflat manifest and it’s practitioners, questioning why photography was rarely involved unless advertising a product? researching more on Kawaii culture and the acceptance of child-like obsessions like figurines, cosplay, animation, comics etc. and presenting and interrogating contemporary photographers work who point out flaws in this culture and are aiming to change the Japanese art scene. I am approaching this debate in a way I didn’t intend, I am a lover of Japanese pop culture and artists such as Murakami and have been for years, my original intent was to explore this culture in reaction to Hiroshima through photography, but I quickly came to realise the only photography involved with the superflat movement is commercial, and that fine art photographers are trying to push through the dominating mass culture production of art and create more politically and socially challenging work. At the moment I consider myself worried that the culture I have so much admiration for holds no place for fine art photography, however this is just a reflection it may have on me personally rather than me as a practitioner, so is something I will avoid swaying my research, it’s just interesting to note it now and see how this changes.

SOURCES TO BE UTILISED
I expect that the main source for my work will be within book and articles. Finding photographers who have directly and purposely used their work to oppose Kawaii culture, rather than finding work and applying my personal reading onto it. I have also learnt that there is an English speaking J-Art expert called Adrian Favell, who has written books, given lectures and made videos on Murakami’s work as well as the anti-Kawaii art. I will interview him and any other people I find relevant to do so, including at least 1 photographer. At the moment exhibition catalogues seem to be providing me great quotes and insight, so I will continue using these, as well as Films, Newspapers, TV programmes. Any qualitative source I can find. The broader my method of research the greater knowledge i will gain.

METHODS TO BE USED IN ACQUISITION OF SOURCES
Using the Coventry University ‘locate’ system, I will broaden my resources from just photography but other applicable areas. In terms of interviews I wish to understand whether Murakami’s theory on Japan using the child state of mind as a reaction to WWII is something they have experienced and agree with, whether they believe that superflat has had it’s time and needs to let less commercial art forms like Fine Art photography have a say on cultural matters, also whether they agree with Kawaii cultures view on the world or if it’s just shallow. A difficulty will be the language barrier, as I am looking at Japanese practitioners and don’t speak any Japanese. Another difficulty might be that I find no one else agrees with Murakami and that they believe photographers had a big part of the superflat movement, It wouldn’t ruin my project, but it would mean some re-considering and researching would be in order.

METHODS/FORMS OF INTERPRETATION/ANALYSIS TO BE USED WITH THE INFORMATION AND SOURCES 
I will organise my data through categorising the areas I want to talk about and placing each practitioner’s, theory or interview into each area, I will then analyse how much information I have and how much more I need to get.

PLAN/ SCHEDULE OF WORK

November – Researching, create contact with people to interview, write interview layout for each individual. More background researching.

December – Conduct Interviews, Continue  background research, provide an overall analysis, trying to break it into categories, work out from that what’s missing, research missing areas. Filter down research to key points and artists to go in symposium. Start writing Symposium.

January – Finish writing first draft symposium early on, proof read and re-write at least twice. Write final symposium & make power point, work out how I will best remember it, full text, notes, symbols. Rehearse Symposium over and over.

February – Rehearse Symposium. Do symposium.

BIBLIOGRAPHY

Emag:

Adrian Favell, 2011. Bye Bye Little Boy.[online magazine] Art in America: Brant Publications. Available at: http://www.artinamericamagazine.com/features/bye-bye-kitty/ [Accessed on: 5/11/2012]

Jill Connar, 2011. Japan’s New Breed: Bye Bye Kitty. [online magazine] Art in America: Brant Publications. Available at: http://www.artinamericamagazine.com/news-opinion/news/2011-03-29/bye-bye-kitty-japan-society/ [Accessed on 5/11/2012]

Lucy Birmingham, 2011. Bye Bye Kitty: The Dark side of Art in Japan. [online magazine] Time entertainment: Time inc. Available at: http://www.time.com/time/arts/article/0,8599,2069261,00.html#ixzz2BMS825iw [Accessed on 5/11/2012]

Adam Millar, 2011.  An Editorial: The bomb in popular culture. [online magazine] axiom magazine. Available at: http://www.axiommagazine.jp/2011/08/06/an-editorial-the-bomb-in-popular-culture/ [Accessed on: 2/11/2012]

E-Book/PDF’s:

RoyalTevent, 2008. Tokyo Tremors. [PDF] UCLA. Available at: http://www.sscnet.ucla.edu/soc/faculty/favell/RoyalTevent.pdf [Accessed on: 5/11/2012]

Books:

Murakami, Takashi., 2005. Little Boy. London : Yale University Press.

Holborn, Mark., 1991. Beyond Japan: A photo theatre. London : Barbican Art Gallery, in association with Jonathan Cape.

Murakami, Takashi., 2000. Superflat. S.l. : MADRA

Blog:

Admin, 2011. NYAB The event – “Bye bye Kitty!!! Between heaven and hell in contemporary Japanese art” Exhibition. Gaia Gallery. [blog] 7th April 2011. Available at: http://www.gaiagallery.com/artists-self-representing/prints/contemporary-prints/nyab-event-bye-bye-kitty-between-heaven-and-hell-in-contemporary-japanese-art-exhibition/ [Accessed on: 5/11/2012]

The Kawaii project, 2012. The kawaii project.[blog] Available at: http://kawaiiproject.tumblr.com/ [Accessed on: 3/11/2012]

Lawrence Eng, 2012. The Politics of Otaku. Digital Melodies of Dispair. [Blog] October 28th 2012. Avialable at: http://digimero.blogspot.co.uk/2012/10/the-politics-of-otaku.html [Accessed on 3/11/2012]

ARIELAMAZING, 2010. Britney Spears and Takashi Murakami collaborate for Pop magazine. The Vine. [Blog] 25/8/2010. Available at: http://www.thevine.com.au/fashion/news/britney-spears-and-takashi-murakami-collaborate-for-pop-magazine/ [Accessed on: 3/11/2012]

Mark Stevens, 2005. Toxic Cuteness. New York Art. [Blog] 21/5/2005. Available at: http://nymag.com/nymetro/arts/art/reviews/11707/ Accessed on 3/11/2012

rwpick, 2010. Pop Psychosis: the Influence of the Bomb on Superflat Art. Post Bubble culture. [Blog] 19/4/2010. Available at: http://postbubbleculture.blogs.wm.edu/2010/04/19/pop-psychosis-the-influence-of-the-bomb-on-superflat-art/ Accessed on: 2/11/2012

Website:

Ryoko Suzuki, 2012. Ryoko Suzuki Website. [website] Available at: http://www.ryokobo.com/ [Accessed on 3/11/2012]

James hamilton Butler, 2012. JHB. [website] Available at: http://www.jameshamiltonbutler.com/jhb-gi [Accessed on 3/11/201]

Number 1 Gallery, 2012. Number 1 Gallery. [website] Available at: http://www.number1gallery.com/exhibition-item/otaku/ [Acceseed on: 3/11/2012]

Publication available on website:

John Roco Roberto, 2000-2003. Japan, Godzilla and the Atomic Bomb. the History Vortex. Available at: http://www.historyvortex.org/JapanGodzillaAtomicBomb.html [Accessed: 2/11/2012]

1 day left

There is one day left to submit your work to #PHOTOGRAPHY magazine. Issue 3 will be released in December but entries sent in after today will be considered for Issue 4.

We accept all form of photography, to see the standards please read Issue 1 or 2 . http://hashtagphotographymagazine.com/readthemag.html

We also have specific features and a competition for Issue 3.

Features:

“Photography Influenced by Art”

Art has influenced photography since its birth,
and although some people regard them as two
completely different mediums, we don’t. That’s why we
want to see your work that is influenced by art, or that
uses the techniques of a specific art movement.

 

“Toy Camera”

It is our belief that it doesn’t matter how much money
you have or how much your equipment cost you,
a talented photographer can produce interesting and
thought provoking images with even the cheapest of
cameras. So this is our challenge to you, using your toy
camera produce an image/aseries of images which prove
money can’t buy talent.

For anyone who isn’t sure toy cameras are simple
inexpensive film cameras, such as Holga or Lomo.

 Competition:

“Story”

We love a good narrative at #PHOTOGRAPHY, for the
issue 3 competition we want you to take a line from your
favourite book and interpret it in an image/short series of
images. Submit your finished image to us along with the
quote it was based on and we’ll choose a winner 20th
October 🙂


Apply here: www.hashtagphotographymagazine.com

Document my Journey to school…

I wanted to talk a bit about the lighting before you see the pictures. I made a conscious decision to have more faith in my abilities and set up the lighting prior to taking any photos. I knew I wanted a soft light because it would compliment the fold in the paper well, for this reason I used my bed side tabled lamp. Fearing it would still be to aggressive on the delicate and intricate origami I decided I would reflect the light onto the paper by using a mirror. All set up and I was ready to go, and to my delight the lighting turned out just how I imagined it, strong enough to create interesting shadows and make the origami have depth, whilst not being so harsh the images become agressive.

Time for the images…

Origami Me

This project looks at my journey to where I am now in my school life. My last year. I have always loved being in the education system, this series is a visual story of how school and university has helped me to grow and become more confident. Daisy.

At the current point in my education this is where I am. A nearly fully bloomed flowers. Hoping the next year will push me to become this…

Using light to bring comfort

For this Journey to school project I want to use lighting to bring comfort. The language of lighting is something I really want to push in 3rd year. I don’t want a generic warm bright image though, as that’s not my way of shooting. In my Digital Rest series there I tried to show how technology can bring us comfort, one way I think I successfully did this was through the composition and the lighting.

The light source is focussed in a specific area, almost like an place of warmth in the darkness. The light from the mobile phone is cold and blue but still offers comfort. As 2 individual photos it would convey loneliness, but as a whole it becomes comforting. This is relevant to this piece as it is about 2 people in a long distance relationship being comforted. So my next task for the Journey to school project is to figure out which lighting is most appropriate to this project.

Phonar Task 0 – Pre Task

Tell the story of your journey to school

So this is our first Phonar task, and the first photography task I have been set in a long time, so I’m going to cut no corners, I have been waiting all summer to sink my teeth into a task.

Like all assignments I want to start by breaking down the sentence, so I don’t skip any essential aspects and start spiralling off into something completely different as I have done in the past.

Tell the story – One thing I am really bad at in my work is telling stories, I tend to focus on aesthetics and come up with the concept later which is a really bad way to work. Phonar is about narrative within photography so this is the key element i need to focus on, especially because it’s my weak point.

Journey to school – This is the part that confuses me the most, is it a mental journey or a physical journey? I know that the decision is down to my interpretation and my ideas, so maybe I will come back to this section once I have researched how to Tell a story through photographs.

New website

I spent 6 hours yesterday making a new website design. In the last 6 monts I have probably gone through 5 designs, I keep on making sites people tell me are professional and simple to use, but I was never satisfied that it was reflecting me and my work. I decided last night I need to start branding myself so hopefully thats what i’ve done through this new website 🙂 let me know what you think, especially men, is the colour off putting?

www.daisywarejarrett.co.uk

polaroids

I recently acquired a polaroid camera, and since i have got it, I have wanted to produce a polaroid series. However I don’t want to do the hipster thing and use it to document how “awesome” my life is.

This polaroid camera got put to the back of my mind until today, when I found 10 polaroid sheets for 1.50. I saw this as a sign, I must do this project.

But what do i photograph? what series of images would benefit the effects of a polaroid camera?

For a while in my head I have though about a series which I have yet to name, this is a series of people in wigs, I want to produce close up images of people in wigs that make them anonymous. When I went to my first Anime Con it fascinated me how normal everyone was under their costumes, most had office jobs and brown hair, this was their escape and hobby. in my mind i picture 10 polaroids, each with a different person wearing one of their wigs, but all thats in the frame is the hair that might have been missed when putting on the wig. No identity or context just a hair line which is being desperately hidden by the wig.

The reason I want to take these images on polaroid is because its disposable, just like their identities they consume at the weekend.

Lets begin the nameless series…

Re-think, let’s begin the series called…

Weekend Heroes

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