Tuesday, November 22, 2011

DWG's Juggling Revolution Begins


Our project has officially taken its first steps. Our goal is to create a high quality juggling video, and teach as many people as possible to juggling along the way.


Our thirty new juggling balls came in from jugglingstore.com about a month ago, just in time for our SPLASH classes where we taught fifty middle school and high school students from the area how to juggle, most of whom had never tried before. We also used the juggling balls to hold the first ever joint Stanford Running Club and Down With Gravity event: Joggling! We juggled and ran around campus for about a mile. It is impressive, although perhaps not too surprising, that there is a large overlap in the two clubs; the mentality for both is actually quite similar as they involved a kind of meditation achieved through repetition that is best developed through challenge and practice.


We also got eighteen of the highest quality juggling clubs from the World Juggling Federation's site. The PX3 Deco's are perfectly weighted, and as seen in the teaser video below, they look great as well. The video below is just a small section of the footage we shot a couple of weekends ago. We learned that there are some fantastic places to shoot at around campus, but also that one hour of filming will probably correspond to about one minute of final product. We have a ton of ideas, and are excited to head out for another day of filming and to try out some more ambitious tricks. Enjoy the video below, and there will hopefully be much more material on the way.



Wednesday, June 8, 2011

Fragments-- Completed!

Hi everyone, I finished my paintings and they're currently hanging in Gallery 160. The project description and images are below:

Project Description

Throughout the Bay Area, mountain lions are predators to deer, pigs, and other smaller mammals; they in turn fall prey to humans who have urbanized the region. Fragments is an exploration of the tension nested within human-mountain lion interaction; it identifies the role of mountain lions both as apex predators and as victims of accidental or unjust interactions with humans.

This series contains six works, from left to right:

Puma concolor, oil on canvas

Mountain lions, also known as cougars and pumas, are territorial animals that prefer low population densities. The average male mountain lion stands 60 to 76 centimeters (2.0 to 2.5 ft) tall, and is around 2.4 meters (8 ft) long from nose to tail, about 80 centimeters (32 in) of which is the tail. They are the fourth largest cats.

Hesitation, mixed media on canvas

The Bay Area has seen a recent influx in mountain lion sightings, and indeed, it seems reasonable that twenty-first century industrialized Americans are scared of these felines roaming near the homes in which young children are being raised.

Fragmentation, oil on canvas

Urbanization in the Bay Area has led to humans building homes and roads through the areas mountain lions once lived. As a result, mountain lion territory has been broken into pockets in a phenomenon called habitat fragmentation. This reduction of habitat size leads to crowding and increased competition, factors which play into species becoming threatened or endangered.

CARNIVORE, oil on canvas

In the Bay Area Puma Project, scientists led by Chris Wilmers are tracking the movement of mountain lions in the Santa Cruz Mountains. They are currently following 15 pumas by way of a GPS collar tracking system named CARNIVORE.

Oops, oil on canvas

Because mountain lions require a large territory, human-induced habitat fragmentation has led these lions to cross roads such as Highway 17 near Santa Cruz in search of more land, prey, and vegetation. Unfortunately, not all mountain lions make it safely across this freeway.

Resolution, mixed media on canvas

One method to counter the harmful effects of habitat fragmentation is to build wildlife overpasses across freeways to connect one side to the other. These overpasses are landscaped bridges for animals to walk across.

Special thanks to Xiaoze Xie and Chris Wilmers. Sponsored by SiCa Spark! Grant.






Sunday, May 29, 2011

Re-... Mission Successful!

Our completed work was performed as the opening piece at the Dance Division’s “MOVES: Spring Student Works Showcase” which took place at 8:30pm and 10:00pm on Friday, May 13, 2011 at Roble Gym Studio 38. The finished product integrated the dance, interactive projection, and sound elements to present a unique collaborative work on the theme of memory.

We thank the Spark! Grant program for funding this project. The financial support supplied us with the equipment necessary to make this project a reality. It provided us with the means to thoroughly explore this partnership of artistic mediums, which has been inspiring and deeply gratifying. We also extend a special thanks to Diane Frank, Tony Kramer, Jaroslaw Kapuscinski, and the Center for Computer Research in Music and Acoustics for their help with this project.

Choreography/Dancers: Ali McKeon and Katherine Disenhof
Live Video Processing: Hunter McCurry
Sound: Chris Carlson (cloudveins.bandcamp.com)

Saturday, May 28, 2011

Inside and Out

hi there,

i realize i've been a delinquent when it comes to posting, but i have finished the horse! if you visit the website below, you can see photographs of the exhibit it is currently in... or you can head over to Gallery 160 in Wallenberg Hall and take a look at it in person :) if you decide not to, at least read the project description below (it was displayed with the horse) before you take a look at the website...

thanks,
fallon

website: http://www.stanford.edu/~suemcc/TSR/2011_Exhibition.html

Project Description:

me:

quiet, composed, and content above the water.

legs paddling frantically below the surface to stay afloat.

you:

quiet, composed, and content above the water.

that’s all i know.

When you look at another being, what do you think about? Chances are the surface dominates your thoughts. When we see the facade of something familiar, we often forget the complexities that exist within. We forget that hopes, dreams, anxieties flood other living beings. We forget about the bones, the tissues, the living breathing cells. We forget the effort that ducks put into floating serenely across the lake.

How does this general unawareness affect our perception of the world and ourselves? Where does the life go when we talk about another’s appearance? If we are not aware of it, does it even exist?

I’d like to ask you a favor: please have an experience with this piece. You may look briefly and walk away, or stand and stare at a single element. You may even feel the need to spend minutes inspecting the placement of every diagnostic scan. Feel free to get up close, to move away. Talk to someone near you, or to no one. Share your thoughts in the notebook below, or choose to keep them private. See if you can discern the place of separation between the surface appearance and the internal occurrence. Maybe you can find it. Maybe then you can explain it to me…

About the Artist:

My name is Fallon Segarra. I am a Biology major, an Art Practice minor, a long-time horse fanatic, and an aspiring equine orthopedic surgeon. I enjoy thinking up conceptual art projects that do not always work out aesthetically, but do always teach me something.

My work tends to be photographic and hand-held. This is my first attempt at anything you cannot put in a carry-on suitcase.

Monday, May 23, 2011

_______: A Debut in Performance Art

http://www.youtube.com/watch?v=R_UK9oma5Vg

_______: A Debut in Performance Art - highlights of our final performance!

Thursday, May 19, 2011

Tensegrity: A New Scale

Over the past two quarters I have learned an incredible amount about tensegrity, perhaps most importantly that it is very difficult to achieve. I have always been interested in structural systems, and this is one of the most intriguing because of how interconnected every single piece is, even though the compression rods actually never touch each other. My bamboo materials proved to be much too difficult to use, and over the past few weeks I have struggled to make the tensegrity happen. In the past few days I have decided instead to try the tensegrity first at a smaller scale, and in fact the material choice, pencils, allowed for an interesting meaning to be attached to the form.



The above image shows how the tensegrity sculpture looks flattened out in the construction process. As you can see, each pencil has three strings attached to each end. On each layer there are four pencils each angled 45 degrees, and when going up one layer the pencils are shifted half a string and angled the other way. After tying all the strings onto the pencils I then wrapped each layer unto itself and connected the final strings. A little tweak here and there, and suddenly the form sprung to life.



This is one of those examples of why I consider structural engineering to be an art. When something stands with an elegance of mechanics like a tensegrity sculpture, it is essentially comparable to magic. I feel that when art demands your attention and never leaves your memory, it has done its job.


I thought about what the pencil structure meant to me, and the first thing I thought about was writer's block. The chaos of the form made me feel as if creativity were being locked in an invisible prison. I put a piece of paper under the form and the metaphor became clear.


Then I put it on my head and I thought, maybe this is exactly the opposite of writer's block. Maybe it's a symbol of imagination, the sprouting of ideas. I feel content with both of these images and invite you to consider other meanings for tensegrity, at different scales and with different materials. I plan to buy stronger rope and create a bamboo version that stands at least ten feet high. I was considering lining all the rope with artificial vines to create a form that suggests an intelligence in nature's design. This just goes to show how artistically flexible engineering and structure can be.

Friday, April 29, 2011

"Re-"

With the performances only two weeks away, our new work is finally coming together. We have most of our materials and have been able to work with the projection images in the studio space. Moreover, the music and choreography are almost complete. Hopefully we will be able to finish the piece by the end of next week.

This new work will be performed as a part of the Dance Division's Student Choreography Showcase in Roble Gym on Friday, May 13th, at 8:30pm and 10:00pm.

Tuesday, April 26, 2011

Fragments

The materials finally came in, and I've started working on some of the canvases.





Saturday, April 23, 2011



I'm wondering what Mark meant to capture here - the reflection or the mansion in the background. These seem like two different pictures imposed on each other. Almost looks like something from a Holga camera.

Why am I curious? Because this photo was taken using one of the cheapest cameras on the market, and it's a masterpiece. If you can't see it closely enough, click on it. It's amazing what Mark managed to do with one shitty $2 disposable camera that was probably knocked around, x-rayed, and sat on before it ever got to Dubai let alone got back to the US.

This photo will never need Photoshop. Look at the guy's sleeve -- textbook chiaroscuro. This piece has an amazing sense of foreground and background. But there's an added layer of complexity when you realize that the "foreground" in this picture is actually our (and Mark's) background, aka the real guy who's actually creating the reflection. I can't think of any other way that this picture could have come through this way unless Mark was intentionally trying to photograph the reflection of the young guy and not the chunky Dubillionaire suite, and that just proves how subtle his eye is.

Then the miracle that the picture actually came out after it went through more airport security, had layovers in Amsterdam, Paris, New York, LA, all the while bouncing around with all the other cameras in a bright yellow bag with Arabic script printed all over it that I used a precariously weak ponytail holder to close. For some reason, a lot of our photographers ripped the paper and some of the components off of the cameras we gave them, and thankfully this didn't affect the photos either.

This photo is a miracle. I worried (often) that our film had been shot or ruined, or maybe didn't even work in the first place. These cameras were the 2-buck chucks of photography. Now, I realize they were harbingers of genius.





See more of Mark's photography of Dubai and some of our cameras at the Wallenberg 160 Gallery near the staircase.


Worlds of Dubai, or Dubai by Dubai
December 2010 - ongoing

------------------------------------ -- -- -- -- -- ---------------------------------------

Thanks to Emma Webster and the 160 staff for making the gallery happen. Stay tuned for more Dubai by Dubai/Worlds of Dubai exhibitions this quarter...




Monday, April 18, 2011

_______: A Debut in Performance Art -- construction


1 - Independence Day - Timeline

It’s been a long journey and the show is going up next week. From auditions last quarter to rehearsals this, from weekly production meetings to figuring out non-traditional lighting, we’re about a week and a half from opening night and it’s pretty nerve wracking.

Here’s the information for our performances:

FREE ADMISSION
April 21-23 2011, 7:30 pm
Thursday, April 21st, 7:30PM - French House, 610 Mayfield Ave
Friday, April 22nd, 7.30 pm - Roble Theater (in Roble Hall), 374 Santa Teresa St.
Saturday, April 23rd, 7.30 pm - Synergy, 550 San Juan St.

Hope you guys can make it! Tickets can be reserved at http://goo.gl/4PUOD

*

For documentation’s sake, this was our timeline for the past two quarters:

WINTER QUARTER
Early February: General preparation and planning
February 23-24: Auditions
February 26: Casting decisions

SPRING QUARTER
March 27: Rehearsals begin
April 5: Visit by Word for Word San Francisco
April 12: Visit by Word for Word San Francisco
April 13: Flyering begins
April 21-23: Performances…!

Sunday, April 17, 2011

"Re-": react, reflect, recount, reflex

A bit about our project, Re-:

Inspired by SiCa’s theme of Memory and the work of Frieder Weiss, we are working on a collaborative work between dance and an interactive motion tracking video system that will be performed as part of the Dance Division’s Student Works Concert on May 13, 2011 at 8:30pm and 10:00pm in Roble Gym. With Ali and me serving as both choreographers and dancers, the work’s foundation will be rooted in dance. An interactive computer system designed by Hunter will be strongly integrated through the use of live motion tracking technology and projection. To our knowledge, no work of this kind has been created at Stanford ever before. While dance is frequently performed on the typical stage venue and interactive sound and video systems are developed separately at the Center for Computer Research in Music and Acoustics (CCRMA), this will be the first time that the two creative mediums join forces.

This unique partnership between dance and technology will generate an interesting dialogue on the idea of memory. On one hand, the overall conceptual basis of the work is cause and effect. The learned choreography that the dancers perform acts as the cause that stimulates the motion-capture system and affects the nature of the images projected onto the screen. In this way, the dancers represent memory while the projections make those memories tangible through visual abstraction. Additionally, the narrative context for the work will further explore memory. Although the choreography will not tell a linear story, it will subtly evoke the idea that the performers are reminiscing on memories of the past. The projections might include images such as water effects that reflect pictures (representing memories) which the dancers distort by using their movements to stimulate ripples throughout the projection.

This affiliation with memory is echoed in our project’s title, Re-. Through the process of developing the outline for this work, we were consistently using words containing the prefix “re-”: react, reflect, rewind, recount, retrace, reflex, etc. We then came to realize that, by definition, the prefix “re-” attaches the theme of memory to nearly any word that it is paired with. Thus, we have decided to title the project “Re-” because of the fact that this work will provide a multidimensional commentary on the theme of memory.

Progress Update:

While we have made a lot of progress so far, there is still a lot of work to be done before the May 13th performances. Due to the fact that this is much more complicated that a typical dance work, most of our group meetings have been more about planning logistics than actual dance rehearsals. For instance, we had to meet with the Dance Division’s facilities manager to ensure that our equipment would meet the fire codes to Roble Gym and that we would not blow the fuses to the dance studio. Ali and I also met with the four other choreographers who will be presenting work in the performances to discuss the format of the evening. Our group also struggled for a little while as we tried to figure out the best way to obtain two 7x10 foot rear projector screens that would stand on their own.

Meanwhile, we found a great music artist (Chris Carlson) who is currently composing the score for our work. Hunter is busy working on some fantastic projection images. Ali and I have made good progress in the studio, but we still have a long way to go. Here’s a quick glimpse of what we have so far:

Monday, April 11, 2011

Drug Wars

For this project I am doing a large charcoal drawing (by large I mean 72"x 112"). I will be receiving the paper next week, and I will start doing the final drawing. For the first couple of months I was doing research about the current drug problems in Mexico (the so called "Drug War"). After thorough research and conversations with faculty, I arrived at well oriented conclusion about the situation in Mexico. I will try to depict in my drawing the different elements that fuel this conflict and narrate a story of the "war".

Here is a sketch of the final drawing:


The drawing resembles Mexico National Flag, with some variations. The drawing is divided in three sections: On the far right, there is the Mexican elites controlling President Calderon (who acts like a dog) and the army in the background as a threat in the horizon. On the far left there is the American side of the problem, a group of people consuming drugs, lost in a vicious and disgusting environment, and the American government feeding the monster (a million headed snake that lives under the Mexican soil - the illegal drug industry). In the middle there is the Mexican people, guarded by an eagle which is attacked by the snake.

There is a lot of symbolism in the drawing, however it will make more sense to explain it once I have a more rendered view of the final drawing. I will keep posting...

Thursday, March 24, 2011

Second Poster Done



This poster was pretty fun to make. I divided the poster into regions, each with a different motif. Then I had the regions melt and expand into each other, which worked better for some than others. I think maybe a more circular region structure would have blended better. I'll try a more unified structure for the next poster.

Saturday, March 19, 2011

First Poster Finished


Alright, I've finished the first poster. It ended up having a balanced amount of semantic and non-semantic content. I wonder how it will look when I print it out.

Sunday, February 20, 2011

Tensegrity: Attempt One




I was unable to start playing with the bamboo rods on Jan 30th like I previously planned, but today I was finally able to take the rods to the solar car shop and experiment with one method of building the structure.



My friend and I first drilled holes in four rods, about 2 inches from the ends. This made the effective length of the rod 44 inches, which meant that our rope members would be about 31 inches long (45-45-90 triangle). We developed a method of tying the nylon lacing that made them extremely taut, and we proceeded to connect all twelve rope members to the four rods.


Then we laid down the pieces on flat ground and attempted to tie the loose ends together, which would necessitate standing the structure up on its own. It turned out that the way we created the holes did not work for the 3D structure and caused our rope members to be of dramatically different lengths. As a result, our first level tensegrity sculpture could not stand on its own.




We now know that we should not tie each rope individually to the rod, but to an intermediate connection that allows for free movement around the circumference of the rod. This will allow all the ropes to adjust to the shortest possible distance once the entire structure is in tension.


The next chance we get, we will try this method and produce a successfully standing first level. Then we will build the next levels. I am considering adding a vine-like texture to the rope members once the structure successfully stands on its own, to give the complete product a more natural, organic look. I also now know that suspending the structure in tension from a ceiling is a viable option and perhaps even easier.

Sunday, February 13, 2011

First Prints



Prints from the first two rolls of film, taken with a medium format camera loaned to me by Stanford.  Sweet sensational squares, these negatives.  It's a whole new kind of composition!  I love it.

Saturday, February 12, 2011

_______: A Debut in Performance Art -- Doing Work...


After a day in the shop, progress was made!

Friday, February 4, 2011

Design Run




First design run was last night and everyone had costumes on! These are the basic tunics. They are almost all done -- I still need to stitch elastic for some people and I am going to screen print roman borders on the bottom of some people's tunics.
Fourteen different color tunics look pretty impressive when they all stand next too each other. My one concern is that it looks a little bit colorful for a tragedy but that should be solved by accessories.
In other news, I bought leather on Monday from a huge warehouse in San Francisco. It's called S & H Franks and people should check it out if they get a chance because it was amazing. There is now a huge role of cow hides sitting in my room.
That same day I drove down to San Jose and bought a 12' tall by 18" wide column drum so it was a full and exciting day of Julius Caesar.
This weekend my assistant costume designers will be making the leather into armor and I think it is going to be amazing. Meanwhile, I will be trying to do a marble treatment on plywood.

Wednesday, February 2, 2011

Partway Through Visual Poem #1

Note: You may have to click on the picture to the left to load it, it seems to be too big for a thumbnail.

I'm about 25% done with my first piece. I'm working on a 40" by 50" poster. I assembled hundreds of Ys to create a fractal network that resembles a mass of intestines if you focus on the white space. I then began filling the chambers of this network with stream of consciousness content with wordplay, encryption, free association, etc. Some of the wordplay and arrangements are easy to get, others take much more time. I plan on having the entire network filled with fragmented and chaotic content. The result should be an interesting representation of how the human mind stores and accesses ideas.

I'm having some problem with computer memory. I was barely able to export the picture as a low quality png in adobe illustrator. I may have to rasterize the poster and continue working off of the rasterized export to avoid exceeding my RAM limit. (My computer has 4 gigs of RAM).

Tuesday, February 1, 2011

January Updates.

1) Filmed New Sequences:

1/14 Queer and Questioning Students of Color Discussion (Spearheaded by Stanford Students for Queer Liberation and Counseling And Psychological Services)

1/20 Queer and Asians Workshop on Authenticity (Led by Donnovan Yisrael from Health Promotion Services)

1/22 Listen to the Silence Conference (Led by Belinda Dronkers-Laureta from Asian and Pacific Islander Family Pride, Co-hosted by Stanford Queer and Asians, San Jose State University Queer and Asians, and the Asian American Students Association)

2) Wrote, Confirmed, and Reviewed Treatment (Titled "Secondary Outline"):

Title: Should Be, Could Be, But Is

Producer: Nayoung Woo

Objective: The project is a fifteen to twenty minute documentary film about the queer and Asian American experience. Its objective is to build more awareness for the queer and Asian American individuals and their particular circumstance at the intersection of two somewhat conflicting identities.

OUR COMING OUT STORIES

Three queer and Asian individuals share their coming out stories, 1) in which a parent actually had a heart attack and refused to be taken to the hospital by his child, the only person that could drive, 2) in which it did not happen because of the knowledge that the only other sibling is also gay, 3) in which a parent never again readdressed the issue.

The title of the film, “Should Be, Could Be, But Is,” appears.

HIS IDENTITY

Here is Christopher Lee, a sophomore and sociology major at Stanford University. He is going to classes, working in his sociology lab, and growing rare plants in his room as a hobby.

Chris has an American born and raised mother and holds an American passport; he identifies himself as Korean American. However, it can be said that he puts an emphasis on his ethnic background, as he was raised for a long time in Korea as well as in China.

In his interview, Chris talks about feeling comfortable in Asia because it is a place where there are people like him, and he knows and fits into its cultural norms and customs. More specifically, he looks, talks, and acts like a Korean, and the community embraces him for being of one nationality, of “one blood.” Also, he does not have to think constantly about the differences in and judgments against his race and ethnicity, not only in his physical appearence but also in his upbringing, habits, and beliefs.

THE AMERICAN DREAM

Only feet and torsos appear in the scenes in which Chris is hanging out with his friends in Korea. There is something strange about the picture. The friends are saying their farewell to Chris, as Chris has chosen to go to America to study, and eventually to live. He has made this decision because in America there is the opportunity for him to pursue a lifestyle that he would like for himself: to be accepted for being gay.

Yes, Christopher Lee is a gay man. His friends in Korea are gay as well, and hence unable to appear in this film. In his interview, Chris says that he wants a future in which he is be able to talk openly about his partner and to build a family of his own, in which he would not be the only person whose face appears in this film.

Unfortunately, such a future is currently not a viable option in Korea, not as a fault or backwardness of the country and its inhabitants, but because of its traditional beliefs based on family values, and on a macro-scale, community values. It bothers Chris that he has not come out to his family, the people that are most important to him, but that is simply the way it is.

THE PROBLEM

Often, though, his inability to come out does more than to just bother Chris. He is accused by his friends in the gay community as a hypocrite, particularly in his role as a gay-rights activist. But in his opinion, these criticisms are made without an understanding of his family’s immigrant status, their Confucian and Christian values.

Perhaps due to this reception, when Chris is participating in the mainstream gay community events, his movements and volume of voice are a little restricted, as if he is a little more careful in what he does or says. In his interview, Chris talks about his experiences working as an intern at the Lesbian Bisexual Gay and Transgender Community Resource Center at Stanford University and a gay organization in New York, as well as frequenting the Castro district in San Francisco. He remarks that he is almost always the only Asian person in these places.

Chris says that he is unable to express his ideas and be taken seriously for them, in his opinion, because he fits into the Asian stereotype of a good but quiet worker with a thick accent, who would not make much of a leader anyways. Even when he has organized an event, he takes the back seat because he tends not to be as extroverted and straight forward as his American collaborators. Chris is ultimately crowded out by them.

Chris, in his interview, says that he is frustrated because of this barrier not only to be a leader, a role that he easily occupied among his friends in Korea, but also to be one of many a kind, as he was too frequently the only Asian in the mainstream gay-rights activism events that he has been to in America. As a result, he feels isolated and has surprisingly been unable to embrace this community as his own.

HIS VISION

More importantly, Chris is interested in providing basic support for individuals who are struggling with their sexual orientation and identities but have no forum to speak about their ordeals because, to list some examples: it is taboo, linked to the provision of tuition and other livelihood, against religious beliefs, damaging to friendships and career options, and will lead to disgrace to and even disownment from family. However, he has learned the hard way that the mainstream gay-rights activism is focused extensively on providing more advanced form of rights, such as those to marriage, adoption, from rejecting military service, preventing bullying in schools, et cetera.

Chris, hoping to build a unified gay community of mutual support, realizes that his aspirations are nearly impossible to fulfill in the American society, which empowers gay people to different extents depending on their different backgrounds and circumstances. He is rather unnerved by the silence within the gay community caused by the mainstream gay activism that neglects the fact that not all members of the gay community can exercise the rights that it has secured.

OUR DISPOSITION

Chris is, in fact, not alone in his disappointment and frustration.

Other gay and Asian individuals speak about their experiences, 1) in which not being flamboyant enough makes them feel unauthentic in the mainstream gay community, 2) in which they cannot discuss their considerations about their sexual orientation and identities affecting their family’s business or honor or investment in them for the fear of being thought as crazy.

HIS VISION TAKE TWO

But there is a budding community of gay and Asian individuals. It holds weekly meetings, quarterly retreats, numerous lunch or dinner outings, movie screenings, study parties, discussions, workshops, et cetera.

It brings together exactly those individuals who have been marginalized from the Asian community for being gay, and the gay community for being stereotypically Asian, that is, being unexpressive and caring excessively for family values. It is a place of much tears and laughter, and the sense of togetherness when these emotions are shared.

Chris even has someone he looks up to as a mentor in the community, and everyone is his very close friend. The queer and Asian community has become his strength, and the new focus of his activism has become the delivery of its grievances to the queer, and separately, the Asian communities at large. Although he stumbled over it due to sheer need and accidental fortune, Chris is thankful for this community.

We are queer, and at the same time, Asian. There is what we “should be,” a man having to love and marry a woman, as prescribed by the Asian community. And there is what we “could be,” a man being able to love and marry another man, as proposed by the gay community. But in fact we are what we are: an undefined something, somewhere between what should be and could be. We are the “but is.”

3) Plans for February:

- Put together existing footages into visual treatment

- Film interview sequences of Chris during a weekend (Most likely February 25th, 26th, 27th)

Cheers, N.

Monday, January 31, 2011

Worlds of Dubai





What's sparkin' sparkees?

Worlds of Dubai is taking its first and most formative steps -- we have developed many of our cameras (the disposable ones that we distributed to people in Dubai...) and gotten them put on CDs which we've uploaded to our Flickr. Check it. On the right hand side, you can peruse the sets of the individuals that took the photos, they are migrant laborers, ex-pats, students, tourists, hotel workers, waiters..
Next steps: select and print photos, make an installation, tour dorms, make art.

Dubai love

Saturday, January 29, 2011

_______: A Debut in Performance Art -- wood

3/4 of us made a wood run to The Home Depot.



















Thursday, January 27, 2011

_______: A Debut in Performance Art -- getting started


Warning: Due to desired anonymity, this post is vague...hope you like the group’s alias g-mail!


Three weeks in and we have a sturdy design for our grand project. But, with grandeur come glitches...alas. One thing we did not pre-mediate was that, with the construction of a giant structure, comes the need of a place to build it (and eventually to store it - but we will master that obstacle later). ________ is on a quest across campus to find every wood/design shop and it looks like we might figure out some solution. In light of the present challenges, _______’s very own designer decided that collapsibility of the structure is important, and came up with some new features to enable the structure to collapse into smaller parts once it is built (see a small bit of our drawings attached!).

This Friday _______ is trekking to buy supplies and soon the actual building will commence.


More ambiguous news soon!



Sunday, January 23, 2011

white rabbit zine



just printed our first issue of the zine.
the release party is this thursday night in the painting studio.

we're still assembling them, but you'll be able to pick one up at the art lib, coupa, the bookstore and/or the coho sometime next week.

Monday, January 17, 2011

Materials Received


I have received my materials, which are 24 of these bamboo rods. My first impressions are that they are a bit shorter than I expected, they are fairly light, and their thicknesses vary a lot (see below), which may affect my design a bit.


I've also received two roles of nylon string, which look and feel a lot like dental floss. I'm not sure how they'll support loads but I'll just have to experiment.



I haven't had time to work on the actual design/construction yet, but on 1/30 I'm planning on taking all the bamboo rods to the machine shop and drilling holes at the ends, through which I will do the string connections. I will have my friends help me with the process.

The following images show my basic design plan, taken from a great online blog. I'm going to see how it works with my materials and then play with the concept from there.