Stop The Clash Video

For Research

EXTENSIONS OF PHOTOGRAHY, CINEMA, VIDEO & LITERATURE
Jim Campbell http://www.kemperart.org/dwessy.htm
Ed Tannenbaum http://www.et-arts.com/index.html
Studio Azzurro http://www.imprese.com/video/net/st.htm
Su Do-Ho
Graham Harwood
Lisa Prah http://web.aec.at/infowar/PROJEKTE/bernadette.html
Peter d’Agostino http://www.temple.edu/newtechlab/TRACES/
Kevin and Jennifer McCoy
Lev Manovich http://visarts.ucsd.edu/~manovich/FLN
Judy Malloy http://www.well.com/user/jmalloy/
Jill Scott
Mark Amerika http://www.grammatron.com/about.html
Lynn Hershman
Peter Weibel
Christine Tamblyn
Joan Truckenbrod
Paul Sermon
Marita Liulia http://www.medeia.com/
Shu Lea Cheang
Brandon Project
Perry Hoberman Subdivision of the Electric Light http://www.Hoberman.com/perry/
Marjorie Franklin Digital Blood http://www-mitpress.mit.edu/e-journals/Leonardo/isast/wow/wow303/digital.html
Claude Closky http://www.diacenter.org/closky/intro.html
Bill Seaman http://research.umbc.edu/~seaman/
Tamas Waliczky Butterfly Effect
Erwin Redl
Joseph Squires
Annette Weintraub http://www.turbulence.org/Works/pedestrian/intro.html
Jean-Louis Boissier
Constance DeJong http://www.diacenter.org/rooftop/webproj/fprayer/fprayer2.html
“Doors of Perception” http://www.doorsofperception.com/doors/
Erik Loyer Lair of the Marrow Monkey http://www.marrowmonkey.com/
Beverly Reiser http://www.idiom.com/~beverly/
Toshio Iwai
Scott Sona Snibbe http://193.170.192.5/prix/1996/E96azI-motion.html
Elizabeth Diller and Ricardo Scofidio http://www.ace.co.uk/seriousgames/diller.html

ECOLOGICAL ART
Newton and Helen Harrison
Alan Sonfist
Mierle Landerman Ukeles
Agnes Denes
Paolo Soleri http://www.arcosanti.org/

NATURAL PHENOMENA: NONLINEAR SYSTEMS, WATER & WEATHER ART
Ned Kahn
Michael Brown
Athena Tacha http://www.oberlin.edu/~art/athena/tacha2.html
Bill and Mary Buchen
Robert Muolder and Kristi Allik
Mind into Matter exhibition http://www.bostoncyberarts.org/mindmatter/mimtitle.html

BODY & MEDICINE ART
Stelarc
Marcerl.li Antunez Roca
Stahl Stenslie
Orlan http://www.cicv.fr/creation_artistique/online/orlan/manifeste/carnal.html
Eduardo Kac http://www.ekac.org/amach.html
Paras Kaul http://www.well.com/user/parasw/
Catherine Richards
Steve Miller http://www.stevemiller.com/

TELEPRESENCE ART
Rafael Lozano-Hemmer http://www.telefonica.es/fat/elozano.html
Stelarc
Project Taos http://www.sensorium.org/

WEB ART ARCHIVE & INFO SITES
ZKM Net Condition http://on1.zkm.de/netCondition.root/netcondition/start/language/default_e/
Walker Art Center Projects http://www.walkerart.org/
Walker Art Center http://aen.walkerart.org
Natalie Bookchin’s NetNetNet http://calarts.edu/~ntntnt
Whitney Museum of American Art, Biennial Web Art
Pipsqueek Productions http://www.TheTherapist.com
Disinformation web Site http://www.disinfo.com
Barbara Lee and Beverly Reiser http://www.ylem.org/private_loves/public_opera.html
Akke Wagenaar
J. Bradley Adams and Steven West
Vitaly Komas and Alex Melamid http://www.diacenter.org/km/
Jenny Holzer http://www.adaweb.com/project/holzer/cgi/pcb.cgi
Paul Vanouse, Eric Nyberg and Lisa Hutton
Trevor Blackwell
Elizabeth Diller and Ricardo Scofidio http://www.diacenter.org/dillerscofidio/index.html
Amy Alexander http://shoko.calarts.edu/~alex/recycler.html
Mark Napier http://www.potatoland.org/shredder/
Peter M. Traub http://music.dartmouth.edu/~peter/bits/
Bonnie Mitchell
Knowbotic Research http://www.khm.de/people/krcf/IO/
Madelyn Starbuck http://www.cyberopera.org
Sharon Daniel
Carol Flax http://www.cmp.ucr.edu/Ex/ex_changing_right.html
Abbe don http://www.bubbe.com/
Jodi http://www.jodi.org
Linus Torwalds http://www.linux.org
Igor Stromajer http://www.intima.org
Nick Philip http://www.best.com/~nphilip/instal.htm
http://www.potatoland.org/landfill/
Judy Malloy
C5 http://www.c5corp.com/
Noah Wardrip-Fruin http://www.cat.nyu.edu/agent/
Etoy http://www.etoy.com
Digi-crime http://www.digicrime.com/dc.html
Fred Forest http://www.gpdoc.com/htm/filnet05.htm
Herman Hack http://www.hack-roof.de
Su Lea Cheang http://bowlingalley.walkerart.org/
Konrad Becker’s “Remote Viewing” http://www.t0.or.at/~konrad
Jenny Marketou http://smellbytes.banff.org
Steven Greenwood http://members.tripod.com/sgwood
Jeffrey Shaw http://escape.lancs.ac.uk
Yahoo Cool Links Directory

MICROWORLD, PLANTS & ANIMAL ART
George Gessert http://www.geneart.org/gessert.htm
Athena Tacha http://www.oberlin.edu/~art/athena/tacha2.html
Hubert Duprat http://mitpress.mit.edu/e-journals/Leonardo/isast/articles/duprat/duprat.html
Eric Samakh and David Rokeby http://www.interlog.com/~drokeby/pt.html

ATOMIC PHYSICS & NANOTECHNOLOGY ART
Shawn Brixey http://digitalmedia.berkeley.edu/shawn/brixey.html
Felice Frankel http://web.mit.edu/felicef/http://web.mit.edu/felicef/

SPACE ART
Tom Van Sant
Michael Heivly http://academic.csubak.edu/~mheivly/deepspace/bio.html
Pauline Oliveros http://www.deeplistening.org/pauline/writings/moon.html

ALGORHYTHMIC ART
Institute for Artificial Art http://www.parc.xerox.com/csl/members/bern/algoart.html
Roman Verostko http://www.verostko.com/
John Maeda & MIT Media Lab Aesthetics and Computation Group
Stewart Dickson
4-D web site
Clifford Pickover http://sprott.physics.wisc.edu/pickover/ad6.html



ARTIFICAL LIFE & GENETIC ART
A-Life on Line http://Alife.santafe.edu/
Joel Slayton
Louis Bec
Yves Klein
Thomas Ray
Digital Biodiversity Preserve http://www.biota.org
Christa Sommerer and Laurent Mignonneau
Karl Sims
UCLA A-Life art exhibition

KINETICS, SOUND INSTALLATIONS, ROBOT ART
Carnegie Mellon University
University of California at Berkeley http://robotics.eecs.berkeley.edu
Rodney Brooks http://www.ai.mit.edu/people/brooks/

CONCEPTUAL KINETICS & ELECTRONICS ART
Milton Komisar
Bryan Rogers
Perry Hoberman http://www.hoberman.com/perry/
Bruce Cannon http://www.siliconcrucible.com

KINETIC INSTRUMENTS, SOUND SCULPTURE
Nigel Helyer http://www.arts.monash.edu.au/visarts/globe/issue7/nhtxt.html
Trimpin http://mitpress.mit.edu/e-journals/Leonardo/gallery/gallery291/trimpin.html
Bill Fontana http://www.resoundings.org/
Bart Hopkins http://windworld.com/emi

ROBOT ART
Simon Penny
Survival Research Labs http://www.srl.org
Robot Wars http://www.robotwars.com
Seemen http://www.seemen.org
Louis-Philippe Demers and Bill Vorn http://www.billvorn.com
Chico MacMurtie’s Amorphous Robotics Works

Reem Bader's Rayya

The video we watched about exile is made by the video artist Reem Bader. Her video project is called Rayya.

Preparing Files for Video

FOUND HERE: http://www.kenstone.net/fcp_homepage/basic_ps_stills_to_fcp.html
The Basics - PhotoShop Images for Import into FCP

Preparing Stills in PhotoShop for Import into FCP
By Ken Stone

This article is being displayed here until the 2-pop Library is restored at the 2-pop web site.


Photoshop and other bitmapped graphics applications use square pixels in the formation of images and for display on the computer monitor. FCP and video in general (digital video formats DV, D1) use rectangular pixels, taller than wide, officially called 'non-square' pixels to display the image. When Photoshop files with their square pixels are imported into FCP, FCP converts the square pixels to a rectangular pixels to match the video format. This conversion process will change the proportions of the art work causing the image to distort. Your PS image in FCP will now be taller (stretched up). As we spend a lot of time designing our art work, images and type, to look just right in PS we will want it to look the same in FCP as it does in PS.

In order to have our art work look the same in both applications a 'work around' is needed. We will adjust the image size in Photoshop to compensate for the conversion process between square and rectangular pixels when the images are imported into FCP.

This 'work around' process, performed in Photoshop, starts with the creation of the file and the setting of a special file size. From the File menu > New File. In the 'new file' dialog box set your width to 720 pixels, set the height to 540 pixels, dpi to 72 and 'Mode' (color space) to 'RGB'. In the 'contents' box, set the type of background (white, background color or transparent) this choice will be discussed below as there are several options.

Now create your artwork in this file. When finished save the file. From the Image menu > Image Size. In the 'image size' dialog box first UNCHECK the proportions box. Now change the height setting from 540 to 480 (Targacard users, should change it from 540 to 486) and click save. If you look at your image in PS you will see that the above process has squashed down your image making it look fatter. This is what we want, as when this file is imported into FCP and the PS square pixels are converted to FCP rectangular pixels, the image will once again look correct. *Note; If you check the image in the Canvas window it will still look distorted but if you look at your NTSC monitor you will see that the image is now correct. The NTSC monitor is where it counts.

There are several options for setting the 'Background' in the 'new image' dialog box and the selection will depend on what you want your final results to be. If you want your art work to have a background, i.e. a photo or other art, then choose 'white' or 'colored' background. You can use layers if you like. When you are done, from the 'Layers' palette ( diamond upper right) choose 'Flatten Image'. This will collapse all your layers and merge them into the background, yielding a single layer.

It could be that you need your PS image to have a transparent background. You will use this approach when you want to have titles, art, logos, etc., that you can superimpose over video in FCP. Titles superimposed over video or a logo 'bug' displayed over the video for example. In this case, choose ' Transparent' as your 'Background' in the 'new image' dialog box. Again, you can work in layers to adjust and position the different elements in your art. When done, from the Layers palette choose 'Merge' layers. This will combine all layers into one but will still leave the background transparent. You might use this for a single title 'plate'. *Note, if you do use 'Flatten Image' PS will turn your transparent background into a white background and you will not be able to superimpose your image over video in FCP.

PS and FCP work well together so there is another option. If you want control over each layer when working with the image inside FCP, then when done with your art work in PS simply 'Save'. Do not flatten or merge layers. When you import this un collapsed image into FCP you will see that FCP will treat your layered PS file as a new sequence, inside this sequence FCP has put each layer on a separate video tract. You will now be able to work each PS layer as a separate video element in FCP.

A few other tips:

If you plan to do a 'Ken Burn's effect', enlarge or move around inside your image (a photograph for example) you will need more digital information to avoid pixillation. There are two different ways to do this. You can increase the overall dimensions of the file and leave the dpi at 72. For a 2X enlargement create your file at 1440 x 960 or for a 4X 2880 x 1920. Another way to achieve the same results would be to increase the dpi of the file, leaving the file dimensions at 720 x 480, from 72 to 144 dpi for a 2X enlargement or 288 dpi for a 4X enlargement.

'Title Safe' area in Photoshop.

When you are creating your titles or art work in your 720 x 540 file there is no way to know where your 'title safe' area is. You will need to leave a top and bottom border of 70 pixels each. On the left and right hand side of your image leave a border of 67 pixels each. To help facilitate this in PS; from the menu > Window > Show Rulers. The default setting for rulers in PS is inches so; menu > file > preferences > units. Set 'Ruler Units' to pixels. You can place your cursor inside your image and the rulers along the top and left hand side will show your position.

Enjoy,

--ken

Why Aren't You Blogging?

Thank you Judy for getting the class started. Okay, maybe you feel a little strange about what this thing is, or what you should be writing in there. Think of it as a thinking tool, or an artist journal, a scrapbook in a public sphere. Write in your own personal style! It is not an art paper, but a subjective (but well thought-out) response to the videos/art we are exposed to in the class and online. Think critically! Think emotionally! Think any which way you want, but let us into your thinking process. Tell us how the work is affecting you, changing you, giving you ideas, inspiring you, what it reminds you of. Show us through links other artists, videos, reading material that relates, BUT TELLS US WHY YOU THINK IT RELATES.

Ask yourself questions, type them in your blog, and go forward to answering those questions in your blog. For example, how does the image and text in a TIME BASED format make you experience Brent's video? Can you imagine it in a static book format, or as an exhibition in the wall. How does that change its impact? Does the artist have a better chance at directing your emotions when he controls the pacing, sequence, etc?

Start writing people! A couple of good paragraphs is not hard, just get yourself in the habit of writing each night after class, when the ideas are still in your head.

Stop Motion Video by Zepher2go Channel

This is funny! I am just putting it up because it put me in a good mood.

Iraq in Fragments (best movie I have seen in years)

Brent Hirak Video (we watched on 1/10/07)

Check Out This Great Site on Collaboration/Collaborators

Ground and Spaces (click here)

This has link to a ton of artist collaborators and spaces

Syllabus

Syllabus

Advanced Digital Photography, Art 444/544 Spring 2007, M/W, 2-3:50 pm
Sama Alshaibi alshaibi@email.arizona.edu 621-7575 Theatre Arts 16
Office Hours: Mondays, 4pm to 5 pm or by appointment

W Jan 10 Introduction / pass out essay

M Jan 15 MLK DAY OFF
W Jan 17 Intro to Lab/ discussion on first essay

M Jan 22 Demo/work day
W Jan 24 Critique Assignment #1

M Jan 29 Demo/work Day
W Jan 31 Critique Assignment #2

M Feb 5 Demo/work Day
W Feb 7 Critique Assignment #3

M Feb 12 Demo/work Day
W Feb 14 Critique Assignment #4

M Feb 19 discussion on second essay / work day
W Feb 21 Work Day

M Feb 26 Midterm Critique (all groups are due), Artist Statement
W Feb 28 Midterm Critique Continued, Artist Statement

M March 5 Demo – Video Cameras (do not miss this class)
W March 7 Demo – iMovie (do not miss this class)

M March 12 spring break OFF
W March 14 spring break OFF

M March 19 Grad Student Presentations, iMovie and Quicktime (do not miss this class)
W March 21 Work Day – Final Proposals are due (if needed, more graduate student presentations and/or more demo time)

M March 26 Individual Meetings/Work Day
W March 28 Individual Meetings/Work Day

M April 2 Individual Meetings/Work Day
W April 4 Work Day- 3rd Essay Discussion

M April 9 Work Day
W April 11 Work in Progress Discussion Group 1

M April 16 Work in Progress Discussion Group 2
W April 18 Work in Progress Discussion Group 3

M April 23 Work Day
W April 25 Work Day (on your own)

M April 31 Final Portfolio Critiques, all work due including Artist Statement
W May 2 Final Portfolio Critiques, Documentation due, YOUTUBE/website/blog updated, last day of classes

Digital Photography: The use of digital photography and the digital darkroom and their application to the production of a body of contemporary photographic inquiry.

The purpose of this class is to develop exhibition quality skills using digital photographic technology and to develop an expressive visual language using these skills. It is the goal of this class to make each student in the class competent in both the conceptual, aesthetic and technical aspects of the medium of digital photography and stretch the boundaries of the static photographic. Beyond this, each student will be encouraged to use digital photography to develop a personal vision as evidenced in his or her own portfolio of contemporary photographic inquiry.

Assignments: Each student will be required to complete the technical assignments as well as the two long-term projects (the midterm and final). The technical assignments will be displayed on the wall for group classroom critique. Late work will be accepted with a penalty of one letter grade. The Midterm will be critiqued from a projection but should be put on your website. The final should be submitted on DVD and should also be posted to your YouTube account with an embedded file into your blog or website. Please forward me the links.

Essay discussions: you will be called upon to contribute to the discussion. Have prepared questions and analysis written down so that you can demonstrate your ideas about essays. Failure to participate and engage the essays in a meaningful way will diminish you grade.

Homework BLOG: from time to time I will forward you links of videos on YouTube or websites on Digital Artists to look at. You have one week to respond in a paragraph on either your blog or website (bloggs are probably easier and you can link one to your website). Please foward me your blog and website address by Friday so I can include a link on this portal website. Failure to blog about the video/websites will result in a lowering of you "participation" grade.

Equipment: Each student will be required to provide their own digital camera. Contact instructor for current camera recommendations. You may also check out a digital camera for up to three days at the Cage.

Class attendance is mandatory for individual development and for valuable contributions that each class member is expected to give the group. These contributions of opinion, information, and discovery are an essential element for an exciting studio class. Miss three or more class (unexcused) and you will be dropped one letter grade. Miss more than five classes, you will fail the course. Excused absenses will be taken on a case by case basis. At some point, it might be necessary for you to repeat the course. Three tardies equals one unexcused absense. Be prompt! I will not repeat what you missed. It is also your responsibility to inform me when you come in that you are late, not absent. Please do so at the end of class.


Statement on Grading

Work presented in this class must be current work, not work done previously. It is against Art Department policy to submit the same work to two different classes for credit in both. Plagiarism can result in an immediate E for the course.

All assignments must be completed. Late assignments will be accepted with a penalty in grade.

Grades are based upon the following criteria:
1) Creative work produced in the class by an individual.
2) Degree of growth made by the individual in their creative work.
3) Completion of projects by due dates.
4) Contributions to group critiques and discussions.
5) Attendance.

The grading system is outlined in the University of Arizona catalog as follows:
A-Superior B-Above Average C-Average D-Below Average E-Failure

University policy requires each instructor to notify students as to the grading practices of their class. The following guidelines will be used in this course, complying with University grade designations.

A - Superior. Creative original vision, high level technical ability, able to articulate ideas in class discussions, understands basics of fine art b/w photography.
B - Above Average. Working toward a personal vision, high level of technical ability, contributes to class discussions, understands basics of fine art b/w photography.
C - Average. All assignments completed, understands technical concerns, contributes to class discussions, understands basics of fine art b/w photography.
D - Below Average. Meets all course requirements but performs below average. D is a passing grade, not a failure.
E - Failure. Student either does not meet all course requirements or performs inadequately or both. E is a failing grade.

Final Grades:
40% final portfolio (including documentation and artist statement)
30% midterm portfolio (including updating website/blog and artist statement)
20% technical weekly assignments
10% contributions to class discussions


CLASSROOM BEHAVIOR AND ACADEMIC INTEGRITY

Student Code of Conduct:
“The aim of education is the intellectual, personal, social, and ethical development of the individual. The educational process is ideally conducted in an environment that encourages reasoned discourse, intellectual honesty, openness to constructive change and respect for the rights of individuals. Self-discipline and a respect for the rights of others in the university community are necessary for the fulfillment of such goals.”

Code of Academic Integrity:
“Integrity is expected of every student in all academic work. The guiding principle of academic integrity is that a student’s submitted work must be the student’s own. This principle is furthered by the student Code of Conduct and disciplinary procedures established by ABOR Policies 5-308/5-403, all provisions of which apply to University of Arizona students.”

Both the Code of Conduct and Code of Academic Integrity can be found at http://www.arizona.edu/~dos/SPC/policies.htm

Cell Phones/Pagers:
Please keep these turned off when in the classroom and labs.

Policies against plagiarism: http://studpubs.web.arizona.edu/policies/cacaint.htm

Policies against threatening behavior by students:
http://policy.web.arizona.edu/~policy/threaten.shtml

Students with Disabilities
If you anticipate the need for reasonable accommodations to meet the requirements of this course, you must register with the Disability Resource Center and request that the DRC send me official notification of your accommodation needs as soon as possible. Please do this as soon as possible if you wish to have accommodations made. After 3 weeks of school, you may jeopardize my ability to accommodate you adequately. Please plan to meet with me by appointment or during office hours to discuss accommodations and how my course requirements and activities may impact your ability to fully participate.


Assignments

3 essays:

1. The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin.
2. The Paradoxes of Digital Photography by Lev Manovich
3. What's so New about New Media Art?, by Susan Elizabeth Ryan and Chapter 8 The Financial Advantages of Anti-copyright (Chapter 8 of Digital Resistance by Critical Art Ensemble)

Assignment 1: Digital BW / Three prints


• Color to grayscale conversion methods: Color to grayscale (IMAGE/MODE/Grayscale, IMAGE/ADJUSTMENTS/Desaturate, Channel Mixer, Channel throwaway, IMAGE/MODE/LAB (throw away channels “a” and “b”), IMAGE/CALCULATIONS, Hue & Saturation adjustment layer

• Making multiple-toned prints: duotone, tritone, quadtone, gradient map.

1. Convert your “normal” color neg or chrome to grayscale using your preferred conversion method, and print it in the following two ways: 1) printed as a desaturated RGB, and 2) converted to grayscale.

2. Print one of your color negs or chromes as a tritone.

Due Week 3


Assignment 2: Image Harvesting, Part 1.

Extending the tonal and color range of the photographic print through merging more than one scan of the same negative or transparency

To do:

Image Harvest project #1: From your color neg or chrome, combine one or more element from one into the other. When finished, make a copy file with layers intact and resize to 72 ppi. Label it as “yourlastname_assign2” and email it to me via yousendit.com.

Due Week 4


Assignment 3: Image Harvesting, Part 2.

Image Harvesting, part 2: Camera RAW exposure and controls, ProPhoto color space, global settings, DNG format, Digital Workflow (use of Bridge, custom workspaces, job folders, batch renaming of digital files, metadata, keywords, writing actions for batch processing)

To do:

1. For those of you with digital cameras capable of capturing images in the RAW format: shoot at least ten different shots. Create job folders. Rank the files within Bridge. Create your own metadata and keywords, then assign them and batch rename the files according to your preferred naming convention. Process the files using the ProPhoto color space and the camera RAW settings within Bridge. When finished, make a folder and place your files within it. Burn it to a CD-R. Those of you without cameras that shoot in RAW, please arrange to checkout a camera or borrow one. As a last resort, have a classmate give you duplicates of their RAW files. Save to folder and burn a CD to turn in.

Due Week 5


Assignment 4: Image Harvesting, part 3.

High Dynamic Range Images (merging images of different exposures to create an HDR image, methods for adjusting HDR image brightness and contrast, converting from 32-bits to 16- and 8-bits per channel)

To do:

1. Using a tripod and shooting either in camera RAW or in analog, shoot a single scene with an enormous dynamic range. Take from five to seven separate shots, bracketing each by two exposure stops separating each shot. If shooting in analog, scan your exposures. All: using Bridge, assign your metadata and keywords to the files, and then batch rename them according to your preferred naming convention. Create a High Dynamic Range image utilizing all your exposures. When finished, make a folder and place your files within it. Burn it to a CD-R.

Due Week 6


ASSIGNMENT: PROJECT PROPOSAL / MIDTERM / FINAL

Conceive a digital photography project that can be interpreted into both a static, 2-D format (the Midterm) and a time-based form (Final). You will use your static images to build your time-based project. You can also add sound, moving imagery, installation, etc. to the final. The midterm will consist of at least 30 images. The midterm does NOT have to be printed, although you can if you should choose.

Your project proposal needs to outline your midterm goals and indicate the direction your final will take. The final will probably be modified as your ideas grow through out the semester.

The final project needs to be turned into me on DVD in a QuickTime format. Projects that are installations must be documented in an agreed upon format and are due on the last day of class.

The intense critiques will follow your “works in progress” slot. You are given at least a week to improve your project. The final week of classes are reserved for a screening of completed works. Each student will evaluate your project privately and I will provide you with a copy of those evaluations.
Selected Digital Photography Web Resources

VTC Software Training (tutorials) – VTC.com
UA Multimedia Learning Lab - http://mll.arizona.edu/index.shtml
Shades of Paper (paper) - http://www.shadesofpaper.com/
Atlantic Camera Exchange (paper, ink) - http://atlex.com/
Inkjet Mall (paper, inks) - http://inkjetmall.com/
Inkjet Art (printing supplies) - http://www.inkjetart.com/
B & H Photo (digital cameras, etc.)- http://www02.bhphotovideo.com/
UA Multimedia Learning Lab - http://mll.arizona.edu/index.shtml
Digital Photography Review (news, reviews, forums) - http://www.dpreview.com/
Luminous Landscape (digital photography) - http://luminous-landscape.com/
PXL SmartScale (interpolation software) - extensis.com
Genuine Fractals (interpolation software) - http://www.altamira-group.com/
Fred Miranda Software (interpolation software) - http://www.fredmiranda.com/
NIK Multimedia (Photoshop plug-ins) - http://www.nikmultimedia.com/
Lyson (inks) - http://www.lyson.com/includes/frames.html
Mac Mall/PC Mall (equipment, supplies) - http://www.pcmall.com/pcmall/
Battery Connection (NiMh batteries)- http://www.batteryconnection.com/
Color Vision (color management) - http://www.colorvision.com/home.html
Answers.org (tutorials) - http://anzwers.org/free/cp5000/pshelp.html
Digital Dog (tutorials) - http://digitaldog.net/
Short Courses (tutorials) - http://www.shortcourses.com/editing/index.htm
Dr. Xu's (forums) - http://www.drxu.com/
B/W Conversions - http://www.atncentral.com/download.htm
CCD’s (technical) - http://www.jyi.org/volumes/volume3/issue1/features/peterson.html
Digital Secrets (digital information) - http://www.digitalsecrets.net/index.html
Digital Photo Outback (digital information) - http://www.outbackphoto.com/
FAQ (photo information) - http://www.cs.duke.edu/~parr/photography/faq.html
Amazon (cameras, digital film, books) - Amazon.com
eBay (equipment, supplies) - eBay.com
Theortical- Art practice- rhizome.org


Critiques:

Guidelines for Group Critique by Prof. Goodwin

In preparing for a critique in this or any studio art class, it is at least as important to determine what you want or need from the critique, as it is to understand what is expected of you. Your critique should address form and content, and should consider the work of art in and of itself, and in the context of issues discussed in the reading assignments. Terry Barrett, in his book Criticizing Photographs, defines criticism as "...informed discourse about art to increase understanding and appreciation..." As such, criticism involves much more than the relatively simple act of judging--of determining whether one "likes" or "dislikes" a piece. Rather, it is a means toward the end of understanding a work of art. Critical consideration usually consists of at least four main activities:

1. Describing the work (what does it look like?): Assume the audience has not and will not view the piece and that you are the sole mediator for their understanding of it.
2. Interpreting the work (what does it mean?): Here you are asked to synthesize any contextual or biographical information you have with your own subjective interpretation of the work's significance.
3. Evaluating the work (is it art? is it interesting? does it "work"?): This is, perhaps, the most difficult critical task, yet it is usually the one to which most people skip when criticizing a work of art. To thoughtfully evaluate a work of art, you must determine what your criteria are for judging its relative worth or effectiveness. Only you can provide this information. Do not assume the reader (or your fellow student) shares your point of view. Explain why you feel the way you do. "Thumbs up" or "thumbs down" will not cut it. This is college.

Here are some simple guidelines for a successful critique:

1. Listen! Most people new to the critique forum fail to understand that criticism of a work does not mean the work is "bad", or that the artist has failed in some way. In order to refine our ability to produce effective artworks, we must listen to what the participants in the critique have to say about it. This is not to discourage robust debate, by any means. Some of the most lucid insights arise out of heated arguments about a work of art. Rather, it is imperative that each point of view be expressed so as to maximize the benefit of this most unusual form of public discourse. The whole point of the exercise is to go make better work.
2. Describe the image: What do you know with certainty about what you see? What do you see? What adjectives come to mind? What is the subject matter, really? What about form? How does the relationship between light and dark, contrast and tone affect your description? How does the technical treatment of the print affect your reading of it? Can you compare/contrast this image with another in the group?
3. Interpret the image: What does this image mean? How is this meaning manifested? Can you discern a difference between what was intended and the result? Are there metaphors you can decipher? Although the denotative meaning may seem clear (a photograph of a still-life set that includes a roll of toilet paper, a plastic garbage bag, and a wad of aluminum foil can be said to denote (show) a roll of toilet paper, a plastic garbage bag, and a wad of aluminum foil), what is the connotative meaning? The same photograph could, for example, connote (suggest, imply) fragility, entropy, waste, excess, or any number of completely different ideas. Do the objects depicted in the image have a connotation that owes its context to the nature of the materials they resemble, or is the connotation based in something else like light, shadow, form, composition, color, etc.? Further, from what perspective do you bring your interpretation to this work? Comparative? Archetypal? Feminist? Psychoanalytic? Formalist? Semiotic? Biographical? Intentionalist? Technical? No work of art nor artist ever existed in a vacuum. Can you identify a combination of approaches or cultural influences in your interpretation?
4. Can you categorize this photograph according to Terry Barrett's system? Is it Descriptive, Explanatory, Interpretive, Ethically Evaluative, Aesthetically Evaluative, Theoretical, or some combination thereof? Explain your criteria for determining the appropriate category.
5. What is this image's internal context (that which is descriptively evident)? What is its original context (what was physically, psychologically, and/or politically relevant to the artist at the time of the creation of the work? What is its external context (the situation in which the work is seen or presented)? How does the latter inform the former?
6. Is this a successful work of art? Why/why not? What criteria have you used to make your judgement? Be very specific.

The most important thing to remember is that, although we may each be in this class for different reasons, we are all (presumably) striving to make more and better works of art. The old adage "...I don't know about Art, but I know what I like.." is no longer applicable to your mode of inquiry. Yours is to be a rigorous and rich process of taking your work apart and putting it back together--better than before--with the help of this lively critical forum.