Monday, April 2, 2018

Proposal

Area of Interest:

I’m interested in researching the ghost/paranormal stories surrounding the University of West Florida campus and compare it to those of other popular Florida college ghost stories. I believe that such a comparison will be more interesting than a ghost story about UWF alone, while reminding my audience that though the university is so prevalent in our lives, it is but a larger piece of culture, and each university has a football team, and an art department, and a ghost story. I am also interested to see what the most compelling ghost story, and how much evidence I can find at UWF to compare to the evidence to the most compelling one elsewhere.

List of Primary Research:

“Are There Ghosts on Campus?” The Voyager, 1 Nov. 2016, uwfvoyager.com/2016/11/are-there-ghosts-on-campus/.

“NorthEscambia.com.” Human Remains Found At UWF Identified As Missing Man : NorthEscambia.com, www.northescambia.com/2012/10/human-remains-found-at-uwf-identified-as-missing-man.

“School Spirits: Ghosts at Florida State.” Illuminations, 28 Oct. 2015, fsuspecialcollections.wordpress.com/2015/10/28/school-spirits-ghosts-at-florida-state/.

Enkerud, Mark. “UF Campus Holds Decades of Legends, Ghost Stories.” The Independent Florida Alligator, 16 Aug. 2009, www.alligator.org/news/campus/article_28668d1f-4473-57b1-9d52-ddce62158263.html.

“Ghost Stories Of Flagler College.” The Odyssey Online, 11 Nov. 2017, www.theodysseyonline.com/ghost-stories-of-flagler-college?sec=pop6&utm_expid=.53hHQ_sIS_GVYl9TPM4psw.3&utm_referrer=https://www.google.com/.

“Haunted Tours Return to Downtown Pensacola.” Pensacola News Journal, Pensacola News Journal, 4 Oct. 2016, www.pnj.com/story/news/local/pensacola/downtown/2016/10/03/haunted-house-tours-return-downtown-pensacola/91483268/.


Locations to Conduct Fieldwork

1.     Edward Ball Nature Trail
2.     UWF Library


Information/Sample Collections

1.     Map of the Campuses with locations of ghost sightings marked
2.     Photographs of the haunted sites at UWF
3.     Photographs of reported sightings from all the campuses, including UWF
4.     Video and audio recording of the haunted places


Final Project/ Product

The goal is to take all the information I collect and make an abstra

Saturday, March 3, 2018

Week 7 Storyboard

I went through several storyboards, trying to find a story or idea that I was actually invested in and that made sense to me. After several tries, I decided that my everyday routine was something that would be interesting to turn into art, as it is not necessarily profound or moving, but rather a somewhat mundane storyline turned into something anything but mundane. I also finished the site map, linking all the pages together like blank canvasses, and though it took me a while, I felt rather accomplished when I was finished.

Week 6 Reflection Post on Gifs

My work with the gifs was more difficult than I anticipated. From the tutorial in the class, I thought that I had it down pretty well. However, when I went home and worked on them, I realized I needed quite a bit more practice, and I spend a lot of time on Youtube watching simple tutorials on how to get what I needed. Although my gifs are still fairly amateur, I feel that I have a better understanding of how to do it that I did previously, and certainly a better understanding than I did a few weeks ago. My ideas all stemmed from my desire to investigate simplistic designs and movements as a way for me to start off and really get a hang of things.

Gif Read and Response

Gabriella Gong
Professor Tasmuth
Intro to Digital Studio
3/3/18
Gifs Read and Response
In 2018, the term “gif” makes one think of the infamous internet debate on pronunciation (gif or jif), Twitter memes, and, perhaps to some of the moms of Facebook, those eCards that say clever things and you send to your children or friends on their birthday, sometimes with a gift card and sometimes without. According the the articles, particularly “Ubiquitous Minicema,” gifs can sometimes be thought of as amateur or as a form of art that has been preserved and used in modern culture. This is entirely correct. Gifs have indeed evolved, and often they are a loop of a part of a video, rather than individualized pieces of art, like those of Chuck Poytner, but their reach is still expansive. Gifs are a quick, easy form of communication, and they evoke a sense of movement, relatability, and often humor. Particularly in my generation, gifs are used as fast and disposable memes, and while the content may be different, the format remains the same.

More than the cultural phenomenon of gifs remaining relevant to the next generation of internet users, gifs are also social and democratic. The social aspect is mostly addressed above, as the quick means of communication across the globe is simply punctuated by easy access to gifs. They are even included in our text messages, now, as a means to respond to a person in the form of a moving image and not actual words. However,  gifs are also democratic by nature, promoting the exchange of information and culture all across the globe, and inviting everyone’s voice to be heard with just a few seconds of a moving image on loop.

Saturday, February 3, 2018

Chimeras


     This piece originated from throwing ideas around with my best friend, where I said "presidents" and she said "drag. The conceptual idea behind this was that a chimera is a mashup of different entities, yes, but they also mashup that which is traditional and nontraditional, a combination that can sometimes make people uncomfortable. I decided that the hybridization of our US presidents and Rupaul's drag queens would make some uncomfortable. To create this piece, I photoshopped together a painting of Abe with a drag queen's dress, and make them a separate layer to put over the Empire magazine template. I made the template mostly transparent, and layered everything over a copy of the emancipation proclamation, in which I turned down the opacity so it kept the emphasis on Abe. 




     For this piece, my conceptual idea was around the same. However, this time, I wanted there to be a more subtle vibe, something that people could look at and not immediately place as being different, or a chimera. For this, I used a painting of George Washington and cut him out from the rest, and I did the same with the bottom of the dress. Then, I found a Time magazine template and erased the entire background to only leave the logo. I added the constitution to George's hand where his sword used to be, and I adjusted the transparency on an old flag with only 13 stars to add to the background, but I ultimately decided to just incorporate the stripes.


     This piece was the emphasis of the three, having a mostly white background. The concept behind this was to really nail the magazine feel, and I found a transparent Vogue cover to do that. I had a lot of trouble cutting out Teddy because the background was so similar in color to his coat, so I eventually cut out parts and merged all the layers to come up with his body. I also cut out another drag queen, counting on the exposed leg to contrast comedically with his stern face and fist, reinforcing the idea of non traditionalism relating to chimeras. 

Wednesday, January 31, 2018

Photomontage Work

For the photomontage, I've chosen to reimagine famous presidents, specifically George Washington, Abe Lincoln, and Teddy Roosevelt, as drag queens on magazine covers. As the description implies, chimeras and hybrids are meant to intimidate and make one uncomfortable. With the amount of patriotism and nationalism most Americans feel, regardless of politics, I would venture that seeing a well-respected president in drag, something that is not often quite as respected for one reason or another, would be somewhat unsettling and uncomfortable for the viewer, creating the feeling of being a hybrid while the actual photo itself is a sort of chimera, collaging together bodies and text. These are some of the images I am using.






Sunday, January 21, 2018

Darkroom to Digital

Gabriella Gong
Professor Asmuth
Intro to Digital Studio
January 18, 2018
Darkroom to Digital
The most obvious difference between darkroom photography and digital process is that one is strictly physical and one is strictly digital. In Philip Gefter’s essay “Icons as Fact, Fiction, and Metaphor,” the implication is that photography is widely regarded as truth, as it’s the closest we can get to actually being in a place or time without, in fact, being in that place or time. However, Gefter’s entire essay goes on to debate the importance of truth in photography, an argument that relates to the divide between darkroom photography. Just as Gefter wonders if a photo being arranged or set up somehow dilutes its truthfulness, many often view the digital process as a more diluted, and more untruthful, version of the darkroom.
People are often fascinated by being fooled, and they go to Ripley’s Believe It or Not museums and magic shows to prove it. However, most would not appreciate the idea that we like to be fooled by photographs, too. Rather, we want the full truth from them. The connotation with the digital process is that manipulation and alteration are made that much easier by simple technology, from Photoshop to Instagram filters.  What people fail to realize is that as they edit their photos, just slightly, to put the best version of it they possibly can forward, they are using the digital process, the same one that so many think of as less authentic.
The common misconception is that people did not edit their photos in the darkroom, and that they were the purest form of a moment that it could be. However, darkrooms were for more than just developing photos. People cut, arranged, and manipulated photos there, just as they do now. This shows that the assumptions regarding the drastic differences in the truthfulness of photos are entirely incorrect, as photography has always been about making a good composition. On the other hand, do we want a good composition, or do we want unadulterated and unfiltered truth in our photographs?
The actual changes between the darkroom and the digital process is simply in the execution. The darkroom took expansive amounts of time for developing and editing; digital processes can take seconds to do simple tasks. The digital process also offers much more flexibility and ability to be edited within a single photo, accessing technology that simply did not exist in the era of the darkrooms. With the touch of a button, the click of a mouse, there are an unlimited amount of combinations that we can use to edit our photos to match our vision, and to portray what we want them to.

The darkroom and the digital process are different, yes, but the two are undoubtedly intertwined as separate means of giving us the same outcome: a photograph that we enjoy and appreciate. The debate over truthfulness is a separate one than that of the difference between the darkroom and the digital process. There is no doubt that the two were, and are, both used to edit a photo, and people like Gefter will always wonder whether that detracts from the authenticity of a photo or not.