A little about a portion of my study.

As part of my semester study I hope to have some dialogue with artists, researchers and others who are working with art and technology. As part of this study and as part of a new website that I am putting up on the subject I am conducting podcasts that will soon go live. Here is a post form my creativesculpture.com/blog website that talks about how this is going.


Yesterday I conducted my new podcast that I have created as a part of my research into "Bridging the gap between the traditional sculpture studio and new technology." It will be located on my blog and our new website ( not up yet) Digitalsculpting.net. This site should be up by May along with the podcasts. It will be a community of artists offering a vast amount of resources on this subject. It was prompted by our publisher Elsevier and the new book on Digital Sculpting with Mudbox.

My first interview was with digital sculpting pioneer Robert Michael Smith. Monday I will interview Joris Debo from Materialise. My hit list for others in this podcast of Art and Technology are both artists, those in research and those providing the technologies for artists. I'm espeically interested in things that are near and dear to my heart. All aspects of technology that help to create figurative sculpture, methods that will assist in creating a new type of foundry and bronzes, clay and the history of digital art, as well as the mix of math, science and art.

I am continually reminded how much this bridge is needed, by both the vendors and by those working and passionate about creating and the technology. As Robert Michael Smith said in our interview.

"I'm glad to see people like you are picking this up and doing it on your own now. This stuff really should be financed from a single source. There should be a single hub of information. "

The others on my hit list.

• The other artists involved in the Digital Stone exhibit.

• The Digital Stone Project Not the same as the Digital Stone Exhibit

• Carl Bass CEO of Autodesk and a sculptor and involved with the Digital Stone Exhibition

• Synappsys Digital Services along with Shan Gray on the new process Data Direct To Mold used to create The American

• Christiane Paul Who wrote these articles about digital technology and sculpture. The were written 10 years ago. This is how I was introduced to Robert Michael Smith. I would also like to interview the other artists in this group who were working in this digital sculpting 10 years ago they are:

• Dan Collins

• Kieth Brown

• Michael Reese

• Derrick Woodham

• Christian Lavigne

• Curator of Design and the Elastic Mind at MOMA Paola Antonelli

• Someone from Solheim Laboratories at the Mechanical Engineering Department at the University of Washington about their digitally printing of clay and glass. I would love to cover one of their other collaborators with them. Perhaps Ron Rael @UC Berekely who asks in this post "Are we the first in the world to 3d print translucent Porcelain?" It does not take long to float through this blog and find another 6-10 people that I want to interview. and I must say I want to be able to print 3d ceramics in my studio!

• I love Robert Lazarini's work and would be thrilled to interview him!
• Adrian Bowyer about RepRap Open source.
  

Robert Michael Smith also gave me an extended hit list. Please, if you know anyone who is interested in being a part, and of course those wanting to sponsor the site, send them my way!

More on a G2 progress report

I can see where some people might think this is a bear of a project. Along with your regular packets. Reading the new revised addendum really has helped. I am glad I am starting on this early, though I think in hindsight I might have even tried some of this through break.

The Progress Report contents

Narrative statement 4-6 pages utilizing guiding questions in Addendum)
I'm not sure if this si double or single spaced. I think it depends on the advisor.

Annotated Bibliography including 10-20 key resources utilized in G1/G2
Here is another good reason for keeping that annotated bibliography. Now I just need to combine them. Mine is huge.

Artist's Statement ( 1 page)
I know many people have these that they use when they are showing their work, but as a commissioned artist, well, it has never really been part of my thought process, until now. So I have done a search for some guidelines on this.

Molly Gordon has a section on writing an artists statement on her website. It will really get you thinking. Here is another good example from Artbusiness.com

Sample of Representative G1 & G2 work 3-6 total samples with introductory remarks to frame the significance of each to your studies.

Thanks for the clarification

The Degree Criteria listed on the Goddard website and in the MFAIA ( Master of Fine Arts in Interdisciplinary Art) Addendum handbook, can make your head spin. But recently in the new version of the handbook these questions were stated. Which if you look at the Degree Criteria you will find they are the same thing.

"Address the 6 "Degree Criteria", one by one. Worked for me."

"Degree criteria! and where you see yourself meeting them or falling short. Where did you see yourself coming into the program and where are you now in relation to meeting those goals?"

1. Describe briefly your current art practice. How do you feel your practice is meaningful? What strategies do you use to create and convey meaning? What is the relevance of aesthetics, form, and intention to your practice?

2. What is your understanding of "rigorous exploration" within an art practice? What experiments have you conducted in the past semesters? In what ways has your original practice changed and expanded?

3. In a few sentences, what is your definition of art (your personal theory of art)?

4. Who are other artists, thinkers, activists and scholars or artistic movements with whom you most closely identify, or whose work you connect with? Are there other branches of knowledge you have been exploring? How does this exploration inform, intersect, or otherwise engage your art practice.

5. How have you engaged critically with the work of these artists and with your own artistic practice?

6. How do you understand the concept of interdisciplinary art?

7. How do you see your work within the context of the cultural, social and political framework in which we live? How do you think about your personal responsibility as an artist? How do you understand the impact of your practice on your community?

All of these questions and thinking... I must be in grad school!

O.K. So I have a pedagogical Philosophy and now am thinking about writing a pedagogical philosophy as it pertains to technology or art and technology but now I have other questions I ponder.....

what is My personal theory of art?

Packet 2 is in. I am on to number three.

Packet one is a bit nerve racking as you wonder what it will be like, the relationship between you and your advisor. Packet two, well I was not sure what I had, but apparently I did a lot. Now I'm on to packet three. I feel my direction is a good one and I love my study. But I still have not gotten any remarks back on packet 2. If I feel any hesitancy in receiving this it would be because my adivsor had such good suggestion, but I cannot follow all of her suggestions and continue in the direction that I am going. So I have to weigh them. If you are interested in more about my work and study, my professional blog posts a lot about that.

G2 Progress Report

This used to be done with a G3. Now it has been switched to a G2. I'll post any suggestions I have here. I suppose the point of this G2 report is to be sure that you are on track as far as meeting the degree criteria needed to graduate. There is a section in the MFAIA addendum dedicated to this G2 report. But be sure to read the new addendum. I have the old one and it does appear to contain different instructions. I have posted the degree criteria elsewhere on this blog. Here are the instructions for the progress report.

So many people have freaked out about this progress report. I have decided to tackle it as I am preparing packet 3. That way my draft will be ready in time. I don't think it will be nearly as difficult as it seems. My plan to copy the degree criteria and to see how my work has fit into this. Then to answer the questions they pose in the new addendum. That should be pretty simple! Yes, but time consuming. Maybe I'll post what I do here.

By the end of your G2 semester, you are required to prepare a Progress Report. This report informs a conversation between you and your G2 and G3 advisors and your Program Director regarding your engagement with the degree criteria at this mid-point in your studies. Its goal is to assess your progress toward the degree requirements, and determine which areas, if any, might need special attention. In addition to engaging in dialogue throughout the packet process, your G2 advisor will comment on this report in the advisor comments section of the end of semester evaluation. (Please note: while not part of your interim transcript, these comments are available to you, the Program Director and Faculty as part of your student record.) Based upon this assessment, your next advisor will work with you to plan the coming semesters accordingly. The progress report must be submitted to successfully complete the G2 semester.

The Progress Report is a 4 to 6 page narrative statement outlining your progress toward the degree criteria, taking into consideration the guiding questions listed below. In it you will summarize your work in the program so far and explain how, in your view, these activities relate to the degree criteria. The report will also include selected documentation of representative creative and critical work completed while in the program, an artist's statement, and an annotated bibliography. (Please refer to the following list for all required materials.)

Make sure you prepare your documentation with care: you may submit it on CD, via a website, on tapes,slides or any other medium most suitable to the works you want to showcase.

Can art divulge secrets of science?

I am intrigued with the notion that somehow art can help us to understand hidden concepts that math and science cannot. I was first introduced to this idea when I happened upon weaver Nathalie Miebach in my first semester graduate studies at Goddard College. In this presentation of “Weaving Science Into Sculpture” for the Cambridge Science Festival, Nathalie talks about how she takes data that she has collected and weaves the data. The results are somewhat strange, but I cannot help but look at the artwork more closely, differently than I do just ordinary art. I feel Nathalie unknowingly weaved some secret here.

I wonder, can art be an additional source of exploration for things such as math and science? Then of course, still in my first semester at Goddard, I was introduced to the Design and the Elastic Mind exhibit at the Museum of Modern Art (MOMA). There are several videos on this site. They explore this very concept or art depicting science and math. Together MOMA, artists and scientists found through SEED magazine, worked together to create this exhibit. Again I am intrigued. What does the artwork say, that until the point of viewing the “data” in this way, could not be understood?

Design and the Elastic Mind Videos

• Introduction
• Nanodesign
• Organic Design
  
• Visualization
  
• 3D-Sketch
  
  
  
  
  
  

This semester my intrigue continues as my professor sends me this link and the work of “Margaret Wertheim and her sister Christine on the beautiful math of coral.” She explores the hyperbolic geometry involved in creating coral reefs and the idea that up until this expressive form of art- crochet, mathematicians have not had a way to model the structure.

“Through this sort of modality, crochet, other plastic forms of play, people can be engaged with the most abstract, high powered theoretical ideas. The kind of ideas that normally you have to go to universities departments to study in higher mathematics.” “ But you can do it through playing with material objects.” States, Margaret. Surprisingly there has been an evolution of crochet species created by deviating from the algorithmic code.

In the video Margaret talks about how Chicago Cultural Center was filled with a crochet version of coral reef. The crocheting of coral reefs has become a movement of people spanning 3 continents. It is not only a way to link art and science but also a link between, “marine biology, feminine handicraft and environmental activism,” states Margaret Margaret and Christine have developed The Institute For Figuring. “The Institute For Figuring is an organization dedicated to the poetic and aesthetic dimensions of science, mathematics and the technical arts.”

My fascination and research continue. It is a bit different than what my original study is. Although I am studying art and technology, I am also extremely intrigued with how math and science plays into arts. The study has been, up to this point, about bridging the gap between technology and the traditional art studio. I’m focusing on digital printing and milling and scanning, and the creation of my new book, “Digital Sculpting in Mudbox.” Though I must say, this off shoot of my study has me enthralled. I’m not sure what I will do with it besides, look at the artwork and the marriage of science, math and art a bit closer, but then, my study is just beginning, who knows where this will lead. At a College like Goddard you are free to explore, and encouraged to engage in things that you might never have seen yourself explore and engage. For me, it is the best fit and an adventure in education.

As part of my study, this semester I have committed to interviewing others on art and technology in an online podcast. I look forward to beginning this creative endeavor. My initial thought was that perhaps it would be interviews with those who deal with digital sculpting, 3d printing, milling and 3d scanning, but I can see the possibilities for the podcast growing. More on this in up-and-coming posts, our first podcasts are scheduled for recording this month and available online soon.

Citations

"Weaving Science into Sculpture." Forum-Network. Web. 22 Oct 2009. .

"Weaving Science into Sculpture." Forum-Network. Web. 22 Oct 2009. .

“Design and the Elastic Mind: Introduction.” Museum of Modern Art. 10 Nov 2009. http://www.moma.org/explore/multimedia/videos/12/123 .

“Design and the Elastic Mind: Nanodesign.” Museum of Modern Art. 10 Nov 2009. http://www.moma.org/explore/multimedia/videos/12/124 .

“Design and the Elastic Mind:Organic Design.” Museum of Modern Art. 10 Nov 2009. http://www.moma.org/explore/multimedia/videos/12/125

“Design and the elastic mind: 3d-Sketch.” Museum of Modern Art. 10 Nov 2009.
http://www.moma.org/explore/multimedia/videos/12/126.

“Design and the elastic mind: visualization.” Museum of Modern Art. 10 Nov 2009.
http://www.moma.org/explore/multimedia/videos/12.

"- The Institute For Figuring -." Web. 4 Mar. 2010 .

"Margaret Wertheim on the beautiful math of coral. “ TED. Web. 4 Mar. 2010 .

This post has also been posted on the artists fine art blog at http://www.creativesculpture.com/blog

First G2 packet is back from my adviser

I just received my first packet back from my adviser. I have talked with another classmate about that first packet. You wait, wonder, “Did they get it, not physically get it, but do they understand my direction. How will they respond? Will it be with encouragement and direction, which is what I think it is supposed to be, or will I feel that they missed the boat, and I’m floating around at sea?" So my classmate and I keep working, but periodically ask, did you get yours yet?

Once you have your first packet back you can breathe a sigh of relief. Now you know what the dynamics will be between you and your adviser. Hopefully you were able to get a sense of that at residency, but in all honesty residency is intense and that is not always apparent. For now it is one on one, soul to soul and with art—how can it be any other way.

In receiving this first response to the first packet I’m thrilled that I am not only going in the right direction but have already been there. This is a different adviser than last semester. She cannot know how much I researched and read and her suggestions were ones that I had done last semester! That is cool. Though there were a few suggestions that I will also jump on, as I trust my adviser and respect her input. The teacher poses questions that I pose as well, and it is one of the reasons why I wanted to create interviews with others who have been in the field, not just interviews but dialogues.

I’m renewed in my excitement for the next packet and can not wait to get it to her. Thanks Ju-Pong.

Thursday night.... PARTY!

Well what is college without a party. Ours is done in the most creative way. First there is a talent show. It is quite interesting what comes out in the talent show. After the talent show there is a dance and drinks, then the party moves down to the fire and the music room. I didn't stay for the dance this time but went right down to the fire to keep the new fire starter company. Our previous fire starter was a graduate and he passed the torch, or should we say the flint to my friend Patrick.

Closing session is the next day, and I promise I have read that this is required to go to, though there are not many people that attend. I can understand why. IF you are flying a far distance, I fly to Texas, then it is hard to have to wait until closing session is done. It is after all an hour drive to the airport.

Many students were stuck in Philadelphia as this was the weekend of the big snow storm. I traded my airline ticket in and drove to Buffalo to see family. Now it is on to our packets and our semester.

I have taken more pictures, and thought it was especially important to take pictures of some of the dorms. It is hard to pick a dorm when you don't know what they look like. I'll post these at a later date.

Monday- the atmosphere changes.

Monday- the atmosphere changes.

New study groups will soon be posted and individuals will meet with their new advisers and group. Plus everyone is busy trying to write their study plans. There are still plenty of workshops, etc that are on the schedule. But with the graduates gone and the new students settling in the atmosphere is quite different.

The two questions bantered about as meal conversation, “who is your adviser” and “what is or what was your study focus.” Everyone is so passionate about what they are doing it is exciting to hear their intensity and focus.

We escape to Montpelier and my favorite place to eat on Meatless Monday. I love getting off campus. It truly feels like an escape. On the way back to campus our driver is kind enough to stop by the sculpture I created of Dick Hathaway and is part of the T.W .Wood Collection. It is up at the Montpelier Vermont College campus. I love taking a picture of him with my classmates. Another tradition!

FAIRWELL TO THE GRADUATES

Graduating students are not on campus for the entire residency. Graduation is on Sunday, but all the graduates are busy getting the final details complete. From what I can tell, this consists of having signatures on their thesis or what is referred to here as the portfolio. This is bound and is stored in the Goddard library. I actually pulled a few of these this semester as it was recommended to look at 3 each semester. I didn’t find them as intimidating as most would because they are extremely similar to what Vermont College undergraduate program refers to as “The Black Book.” Of course there are some suggestions that others have given me about this book and I’ll be sure to post them here.

They also give their graduating presentations. I love seeing the presentations of other students. Sunday is graduation and is unlike a normal graduation. Your graduating adviser says something about you and presents you with your diploma. It is a great opportunity to get a “feel” for the different advisers.

That evening was the last night to sit around the fire with the graduates as well as jam with them in the music room. These two things are my absolute two favorite things about residency. People will play anything they can get their hands on, including the back of a drawer. I myself play my coffee cup against my room key.

Ahhhhhhhh,

Ahhhhhhhh,

Do you hear that sigh of relief? My book is complete and off to the publisher and my first Goddard G2 packet is sent into my adviser. Of course, I must go full force into packet number two, but I thought I would take a moment to update this blog. (For those new people reading this blog your study consists of two residencies a year on campus and then when you go home you must create 5 packets of work, per semester to send to your adviser.)

Looking at my last residency post I see that the last time I posted was on Saturday the 30th. So let me proceed from there.

RECAP
As a recap remember that residency starts on a Friday, though many students get in on a Thursday. And many had a difficult time getting in because of the snow. I have made a mental note to always try and get the earliest flights during winter residency, just in case. The first days of residency have such a different feel from the last days. From Thursday until Friday there are new students, G1’s who are trying to find their way about campus and their way around the "student driven learning process "and meanwhile the graduating students are preparing to leave.

All of the returning students have study groups that were assigned last semester. These meet several times before graduation. Here is my study group from last semester with my adviser. We had three graduates in our study group- David, eric and Kaendra. I will miss them all.