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AFH Real "PURE" Digital

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( ART FOR HUMANS Lead Artist Paul McLean is accomplished in new & traditional fine art media and a pioneer in dimensional production and integrated exhibit practice. [AFH Real "PURE" Digital] will showcase a series of images that are entirely computer-created. Please feel welcome to offer feedback on the artwork.

Other AFH links:
Main Site: www.artforhumans.com
Still Images: www.flickr.com/photos/artforhumans/sets
AFH Blog: www.artforhumans.com/afhblog
Moving Images: www.youtube.com/artforhumans
AFH Facebook: www.facebook.com/artforhumans
AFH Twitter: www.twitter.com/artforhumans
AFH MySpace: www.myspace.com/artforhumans
AFH Store: www.artforhumans.com/shop
AFH Calendar: www.artforhumans.com/events
AFH blogs on tumblr.com:
* Real "PURE" Digital
* "I Love You, Monster" Exhibit Design
* ALT.dimension
* HOW TO START A COLLECTIVE DURING A RECESSION
* CURSOR
* Defining Art
* Transthesis
* VisiOn + Beauty
* Proposals
* American Road
* Cali Car Culture
* Not an Artist
* Transmissions from Marfa
* White Buffalo
* ARTSTAR )

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11/21/2012 13:22:39

Side Effecting

“It is a safe guess that not more than one human in 10 million is conceptually familiar with and sensorially comprehending of the principle of ‘precession’ [orthogonal side effects].”

—Buckminster Fuller, Critical Path

Set 1 | Play Lab

A play/work/lab on how to feel, recognize, pick up, and send spinning, the ripple effects of artistic endeavor through movement, theory, and drawing. Gain a working, sensory facility with the potency of side effects, and join us in envisioning the collective effects of coming together as part of the Occupational Art School.

What are the ways in which an experience of precession can generate an immediate effect? Say through a movement exploration that then translates into a sketching process of precessional effects themselves. Feel precession in movement, and then, while it is happening, touch charcoal to paper. This would be one level of resolution, coupled with a documentary effect. Or drawing as a trace of precessional awareness.

November 24th, 1-4pm. Movement, charcoal, words.

Set 2 | Temporary Formation

And then you keep it going… Infinitely resolvable, it is something to be continually set in motion. One can set it back out into the world, as a ripple effect, seeing how this appreciation would effect art works and movement to come. The collective traces can be gathered into an exhibit, a temporary formation, a rippling rather than traveling show. At another level of resolvability, we can begin to play with the collective formation itself. How can we image different organizational axes for precessional effects? What is the precessional effect of art-production, of occupation, of schooling, of architecture?

November 30th, [time?] A showing of traces, and talk on the occupation of art.

@Art House | Chashama

Chris Moffett and Blake Seidenshaw collectively assemble, on occasion, as The New Ergonomics (thenewergonomics.com) only to collaborate in turn with other assemblages, reworking the nature of work.

Blake is a contributing editor at ecogradients.com, an online journal of interdisciplinary culture and education. A ceramicist and a musician, he is a cofounder of the Ashtanga Yoga Outreach network. Also: interdisciplinary edutecture; the history and practice of philosophy and the natural sciences; and contemporary (cosmo)political (ethno)ecology.

Chris engages the imagery, philosophy and architecture of education, the way we image forming and being formed by our environments. Sitting in a chair, or refusing to sit still, becomes a form of art making. A nomad scholar and movement educator, Chris is also a founding member of the artist collective ARE (aestheticrelationalexercises.com).

[Facebook Event]

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07/27/2012 14:16:00

Coupling.

Coupling.

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01/27/2012 14:11:43

Occupy with Art @EYEBEAM/Activist Tech Demo Day

https://mail-attachment.googleusercontent.com/attachment?ui=2&ik=65725a2d17&view=att&th=135201927bcd3040&attid=0.1&disp=inline&realattid=f_gxwel2290&safe=1&zw&saduie=AG9B_P_WzBbvqMZXKUAWmlbtwRWp&sadet=1327683454700&sads=ImGFqEDMwOc2GKCBrBSVIwHctGI

[See you there.]

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06/26/2011 20:56:31

afh2011:

Animation, f/x, editing and audio by Paul McLean.

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05/30/2011 18:01:33

afh2011:

RPD PATTERN [720px, V]
42” x 24”
Digital print on paper

afh2011:

RPD PATTERN [720px, V]

42” x 24”

Digital print on paper

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03/16/2011 10:07:55

Deactivation of AFH Social Media

The three social media or Web 2.0 sites that I’ve deactivated since March 10th are AFH Facebook, Myspace and Twitter. I also stopped directing email to my Blackberry. This Tumblr is currently serving as the main site for Art for Humans.

I started using Myspace in earnest in late 2005, on the hunch that a Lead Artist might utilize its burgeoning popular appeal and features to assemble a collective of qualified artists for collective projects. AFH formed the AFH Friend Collective to this end, and we launched several exhibits in 2006 and -7 that drew from the AFHFC pool of artists: “Stop Fucking Praying for the Apocalypse,” and “HUM 10 +1” were the two most successful. The latter formed the basis for AFH Gallery Chinatown.

Myspace was a difficult system to use. MS never seemed to resolve whether its operations were command-control or open source. The code hacks turned out to be the open source. The MS management, strangely assigned the “Tom” persona of artificial singular user, proved to be weird and arbitrary in applying force and restraint. To be sure, preventing spam and other abuses on and by such a big pool of users is no mean task. Still, there were head-scratcher moments.

One artist friend and ultimately collaborator Christian Moeller, developed a massive following of 30,000 MS friends. He devoted thousands of hours to his MS project. One day, MS shut down his site, without explanation, and Christian was forced to rebuild his site from scratch, a task that he could no longer instill with his initial enthusiasm for the wired community of MS. Such interventions were hardly uncommon.

Facebook came along at a lucky time for Facebook. Dependency is not something netters, especially young ones, long tolerate. The clumsiness of the MS platform and its limitations, as well as the lowest-common-denominator culture it encouraged by its structure, made some users crave a more elegant and exclusive - meaningful - solution. The cryptic drive-by commenter and friend harvester on MS contributed a lot to FB’s cause for existence, as a negation. Twitter, I guess, proved to be the second negation in this respect.

It should be recalled that Google in the meantime was crushing search engine competitors - harmlessly (?) - throughout the compressed timeline. The portable mobile devices of the telecoms were expanding their apps and utility simultaneously. The dimensional phenomena in the domain proved a perfect storm for MS. When Murdoch bought the company, it was over. I think he acquired MS to kill it, Gannett-style. The organizing promise these popular platforms presented for bottom-top democracy were apparent to any analyst worth his salt.

Which leads to a topic: the channeling effect of MGT society. A good metaphor is the food industry’s mechanism for pushing cattle to slaughter, then distributing the parts to retail outlets, and ultimately to the stomachs of consumers. Social media, for all the boosterism, has been co-opted to serve as a processing tool for online social exchange by the usual corporate syndicates.

While it’s very true that individual participants are still finding excellent uses for the systems, and that beautiful community organizing movements can work on Web 2.0 platforms, the macro is slaughtering the micro into media bits for consumption, and the promise of broadband and universal web access is failing to deliver democracy. What mostly occurs in today’s social media is an extension of media syndication, for commercial purposes.

This analysis doesn’t reach the real problem, however. The power-value of MS, FB and Twitter isn’t primarily in their advertiser apps. The juice fueling these platforms is their value as data pools, as case study environments, and back-door surveillance networks. An average user, enjoying FB for its capacity for reconnecting people separated by time and distance, isn’t usually aware of or concerned that an anonymous administrator or analyst or Homeland Security agent can acquire and apply data contained in a FB profile, 4Dimensionally integrating that information into massive databases to whatever end.

When the financial sector giants, the ones who caused the financial catastrophes of 2007 through the present and for the foreseeable future, began to divvy up the major social media sites among themselves, using blood-money from their US racket to do so, I’d had enough. If my high school friends want to let me know what they’re up to, they can email me at art at artforhumans dot com. I’ll be dumping all Google apps soon. “Do no harm,” my ass.

Animation Still, “The Marriage of Art and Science,” for the DDDD installation “Sirens + Conflagrations” (1999)

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02/23/2011 15:35:00

HTML 5 "Art for Humans" Graphic

Click “change message” to “Art for Humans” to see the F/X.

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11/22/2010 09:14:00

MATTERHORN SKETCH 8

Video, concept, editing by Paul McLean. Audio by Shane Kennedy, edited by Paul McLean. The object and subject in union.

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10/10/2010 17:31:38

kauai still life 2006

kauai still life 2006

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01/29/2010 14:16:58

Baudrillard > ©2010 PJM

Baudrillard > ©2010 PJM

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