GMU:Sustainable Aesthetics/Juyoun Oh: Difference between revisions

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Juyoun Oh

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 == Vibra ==
+[[File:photo_2023-02-14_14-44-46.jpg|600px]]
 [[File:play1.MOV||600px]]
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 What do we think and expect from this object, Drying rack?
-For someone, this laundry drying rack is a household tool for 'living', and it is this object that has an inherent folding and unfolding movement. Using this object as the main material, this art piece changes the approach to the object by making an unexpected sound. By amplifying and playing the sound of this object, which was used as a common tool in everyday life, it gives variations in the way of viewing objects. When this object is used as a tool for other activities, rather than a routine role of hanging and drying clothes, should it really fall into the category of laundry drying?
+For someone, this laundry drying rack is a household tool for 'living', and it is the object that has an inherent folding and unfolding movement. Using this object as the main material, this art piece changes the approach to the object by making an unexpected sound. By amplifying and playing the sound of this object, which was used as a common tool in everyday life, it gives variations in the way of viewing objects. When this object is used as a tool for other activities, rather than a routine role of hanging and drying clothes, should it really fall into the category of laundry drying?
 The concept of the simulacrum from Gilles Deleuze is used as a principle of this work.
 ===The concept of the simulacrum===
-This article examines Gilles Deleuze’s concept of the simulacrum, which Deleuze formulated in the context of his reading of Nietzsche’s project of “overturning Platonism.” The essential Platonic distinction, Deleuze argues, is more profound than the speculative distinction between model and copy, original and image. The deeper, practical distinction moves between two kinds of images or eidolon, for which the Platonic Idea is meant to provide a concrete criterion of selection “Copies” or icons (eikones) are well-grounded claimants to the transcendent Idea, authenticated by their internal resemblance to the Idea, whereas “simulacra” (phantasmata) are like false claimants, built on a dissimilarity and implying an essential perversion or deviation from the Idea. If the goal of Platonism is the triumph of icons over simulacra, the inversion of Platonism would entail an affirmation of the simulacrum as such, which must thus be given its own concept. Deleuze consequently defines the simulacrum in terms of an internal dissimilitude or “disparateness,” which in turn implies a new conception of Ideas, no longer as self-identical qualities (the auto kath’hauto), but rather as constituting a pure concept of difference. An inverted Platonism would necessarily be based on a purely immanent and differential conception of Ideas. Starting from this new conception of the Idea, Deleuze proposes to take up the Platonic project anew, rethinking the fundamental figures of Platonism (selection, repetition, ungrounding, the question-problem complex) on a purely differential basis. In this sense, Deleuze’s inverted Platonism can at the same time be seen as a rejuvenated Platonism and even a completed Platonism.
-source : https://link.springer.com/article/10.1007/s11007-006-3305-8
 The Deleuzian concept of the simulacrum can be defined in terms of three characteristics, which stand in contradistinction to the three components of the Platonic Idea summarized above..
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 https://philarchive.org/archive/SMITCO-5
+DW Smith · 2005
+''This article examines Gilles Deleuze’s concept of the simulacrum, which Deleuze formulated in the context of his reading of Nietzsche’s project of “overturning Platonism.” The essential Platonic distinction, Deleuze argues, is more profound than the speculative distinction between model and copy, original and image. The deeper, practical distinction moves between two kinds of images or eidolon, for which the Platonic Idea is meant to provide a concrete criterion of selection “Copies” or icons (eikones) are well-grounded claimants to the transcendent Idea, authenticated by their internal resemblance to the Idea, whereas “simulacra” (phantasmata) are like false claimants, built on a dissimilarity and implying an essential perversion or deviation from the Idea. If the goal of Platonism is the triumph of icons over simulacra, the inversion of Platonism would entail an affirmation of the simulacrum as such, which must thus be given its own concept. Deleuze consequently defines the simulacrum in terms of an internal dissimilitude or “disparateness,” which in turn implies a new conception of Ideas, no longer as self-identical qualities (the auto kath’hauto), but rather as constituting a pure concept of difference. An inverted Platonism would necessarily be based on a purely immanent and differential conception of Ideas. Starting from this new conception of the Idea, Deleuze proposes to take up the Platonic project anew, rethinking the fundamental figures of Platonism (selection, repetition, ungrounding, the question-problem complex) on a purely differential basis. In this sense, Deleuze’s inverted Platonism can at the same time be seen as a rejuvenated Platonism and even a completed Platonism.''
------------------------------Process
+source : https://link.springer.com/article/10.1007/s11007-006-3305-8
-== Ideas ==
+==Process==
-As we experimented the Lemon battery, the electric current could also be produced by, for example, potatoes, or humans. In my project, I'd like to work with this concept. Supposedly each object has a different volume of electricity. When I can auditoryize different currents, it could be played like instruments.
+=== Ideas ===
+As we experimented the Lemon battery, the electric current could also be produced by, for example, potatoes, or humans. Supposedly each object has a different volume of electricity. When I can auditoryize different currents, it could be played like instruments.
 In additional, I'm also curious about friction. If an object is frictioned by an impact, does an electric current occur then? Or does it change from the current it originally had? For example, when I hit an iron hanger on an iron laundry dryer(clothes dryer), friction occurs, and will electricity be generated?
-[[File:clothes_dryger.jpeg]]
+[[File:clothes_dryger.jpeg|600px]]
+[[File:sketch_0811.jpeg|600px]]
+===Sound test===
 [[File:sound_test.mp4]]
-[[File:sketch_0811.jpeg|400px]]
+===A test with the piezo microphone ===
+.12.2022
-i rlly don't know why sometime the picture are shown on the page without any link connections..
-.12.2022 A test with the piezo microphone
-https://youtu.be/t_fpvrnxf4o
+{{#ev:youtube|t_fpvrnxf4o|600}}
 i took this video by using my DSLR to record my performance and iPhone to record the sound. I put the iPhone just next to the computer. and at the same time i used able-ton for sound... I edited this video with Final Cut X to combine the sound and video.
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 This moment let me think about skeletons of objects. Through the skeletons we guess the objects or shapes of the objects.
 In a good way, i can define the possibility of beings with it.
-But in a more complicated way, simulacrum from Deleuze and idea from platon.......................... need to time to thinkkkk
+But in a more complicated way, simulacrum from Deleuze and idea from platon.
+===new sound test===
+.12.2022
-.12.2022
 [[:File:1218sound.wav]]
-new sound test
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- * In terms of sustainability in aesthetics
+===thoughts on sustainability in aesthetics===
 it could be a solution or art which is green and more eco friendly. to be ...
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 When it comes to sustainability in aesthetics, the final artwork should be eco-friendly and green which means it will be proper when we work with recycled stuff or nature-resource. Either the solution of the works could be for future.
-==Experiments==
+===Further experiments===
-[[Experiments]]
+*[[Experiments]]
 ==References==