freelance work CV

THERESA DOYLE

Mixed media artist

Curriculum Vitae

Theresa Doyle
Email: Doylet@sky.com

36 Balgray Crescent

Barrhead

Glasgow

G78 2nd

WordPress blog:  Zemra76@wordpress.com

I am a mixed media artist. Using a variety of different materials in my work.

I also make video and sound pieces.

This allows me to create lots of different types of work.

Materials include:

Ink

Paint

Photographs

Digital art work

Chalk and pastels

I use adobe products in my work using the adobe master collection 5.5 to create many of my artwork. Well practised in Photoshop, premier, audition and after effects. Using adobe flash to create some of my 2D animations.

I also use mixcraft 5 to create my sound pieces.

I am also have experience doing life drawing this to in a variety of materials.

Collage techniques are a way I mix all the work together this is a style I am comfortable with.  I also write short stories and poems.

Examples of my work can be found on my blog Zemra@wordpress.com.
Personal Profile
I am a motivated and confident individual who can follow instructions and use my own initiative. I enjoy working with other people as well as being competent to work individually. The ability to communicate well are skills that I posses. I am keen to learn and a conscientious worker.

Education

Holyrood secondary school

Holyrood secondary school from 1990 to 1993 and have achieved results, which are listed below:

Standard Grade
Computing Studies-3
English-3
History-3
Drama –3
Art-2
Biology-2
Maths-4

Higher Grade

Art B
English C

Scotvec Modules

Core maths 3 &4
Residential experience

HNC Computing Art and Design Grade A

Personal Interests

I am a mother of 4 children ages 16, 14, 11 and 7.

I enjoy painting, drawing and writing poetry as well as short stories. I like keeping fit and consider myself to be an active person.  I love to cook and enjoy entertaining my friends.

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FAIR TRADE OUTCOME ONE

Today in a global recession we are all to often looking to cut our out goings and try to survive this ecconomic troubles  most of us are feeling.  however in our world that is has more than enough resorses for all of us to sustain a decent way of life its seem sad that so many people around the world face aject pverty and hardships fairtrade charitys are trying to make the world a little fairer by giving farmers a decent price for there produce instead of what happens all to often large fat cat companies are exploiting the farmers and forsing them into the ground paying them a pitence for there produce in a world that is constantly on the go seem no one ever sleeps working more and more and large companies taking more and more, Fair trade gives a set of rules, guides that the buyer has to adhere to also the seller to make there produce work for them ie less pestasides on produce. This gives the farmers more room to make money to build better comunities and the buyer to make a more considered purchase making money for themselves and helping others making money also, Surley this is a better way forward for us all and iam surprised its not just common practice by now. although us the conusrmer has to pay a little more for the products coffee or bananas or what ever the product it is in fact only a few pence on each item and i would argue that it fairtrade was adopted by all then the price would just be the same as the knock on effect from busness thriving is that we all are better off.

FAIRTRADE OUTLINED

The Fairtrade minimum price is the minimum price that a buyer of Fairtrade products has to pay to a Producer Organisation for their product. It is not a fixed price, but should be seen as the lowest possible starting point for price negotiations between producer and purchaser. It is set at a level which ensures that Producer Organisations receive a price which covers the cost of sustainable production for their product. This means it also acts as a safety net for farmers at times when world markets fall below a sustainable level. However, when the market price is higher than the Fairtrade minimum,the buyer must pay the market price.

Producers and traders can also negotiate a higher price, for example on the basis of quality, and for some products, FLO also sets different prices for organic crops, or for particular grades of produce.

The standards also allow producers to request partial pre-payment of the contract. This is important for small-scale farmers’ organisations as it ensures they have the cash flow to pay farmers at the time they deliver their crop. Buyers are also required to enter into long-term trading relationships so that producers can predict their income and plan for the future.The Fairtrade premium is a sum of money paid on top of the agreed Fairtrade price for investment in social, environmental or economic development projects, decided upon democratically by producers within the farmers’ organisation or by workers on a plantation.

The premium is fixed by the FLO Standards Unit in the same way as the minimum price and remains the same, even if the producer is paid more than the minimum price for the product. The premium fund is typically invested in education and healthcare, farm improvements to increase yield and quality, or processing facilities to increase income.

FAIRTRADE STANDARDS

minimum requirements that a producer organisation must meet in order to be certified and progress requirements in which the certified organisation must demonstrate permanent improvement over time. For example, a minimum requirement is a ban on the use of agrochemicals in the FLO list of prohibited materials. A progress requirement is the ongoing reduction in the use and toxicity of permitted agrochemicals. In this way, the standards enable poorer, more vulnerable farmers to enter the system, while supporting them to gradually improve their practices. It is recognised that the degree of progress depends on the level of economic benefits the organisation receives from Fairtrade and on the specific context of each organisation.

The first town to achieve Fairtrade status was Garstang in 2000 – it has since been joined by more than 450 other towns. There are also 100 Fairtrade Universities, 3,000 schools, more than 5,000 Fairtrade Churches, 40 Fairtrade Synagogues and one Mosque.

Fairtrade bananas now account for 1 in 4 bananas sold in the UK.

Since the introduction of Fairtrade certified cotton in 2005, annual sales have risen from a humble 200,000 to a marvellous 7.79 million in 2008.

videos for fairtrade below:

http://www.soniassmile.com/

http://www.oxfam.org.uk/?pscid=ps_ggl_GR_Brand-High+Vol&gclid=CO-mptPJ86wCFZQhtAod60O2MQ

http://www.fairtrade.org.uk/what_is_fairtrade/facts_and_figures.aspx

THE SCOTTISH MINI – HILMAN IMP

The Suez crisis of the 1956 certainly had a lot to answer for: petrol shortages in the UK meant that those cars that could get out the most from a gallon of Petrol were judged to be the most desirable.

it was a situation that arose when the Arabs discovered that they could hold the world to ransom using their control of the majority the world’s oil supplies. . The situation blew up in September 1956 when Colonel Nasser decided to nationalize the Suez Canal. The British tried to stop him the intervened and the Arabs decided to close their oil pipeline across the Mediterranean.

In the ensuing war, the Arabs blew up the Syrian pipeline that provided 20 percent of Britain’s petrol supply. Of course the ment that all oil supplies from the Middle East would need to be transported in giant oil tankers around the Cape of Good Hope in South Africa.

Petrol rationing returned to the UK in December 1956 and people began to clamour for more economical means of travel. The sales of 900-1000cc cars quadrupled in the period from 1956 to 1957, while car sales in the wider market slumped.

German bubble cars began to appear, and although they may have been awful to drive, with questionable safety, they did achieve more than 40 miles per gallon, which was the most important statistic a car could boast in those petrol-starved times.

The Rootes Group certainly felt that way forward was to respond to these hard times, they decided that the utmost priority should be given to its new economy saloon.

……..a small car project begun, not so much to come up with an economy car like the Mini, but to provide an idea of what sort of affordable car could be made with performance to rival.

Parkes and Fry proposed a 2 adults – 2 children car, that could do 60 mph and manage 60 mpg Looking at the competition Fiat 500, BMW 700, Citroen 2CV , considering costs, they opted for a rear engine.

Privatly known in Rootes as the “Apex” project, the Imp was to be the first post-Second World War small car by the Rootes group.

They wanted the car to be a fun ride also.

It should be able to compete with the small Fords and BMWs, including the Mini.

At the time Coventry Climax were building an aluminium alloy engine that Tim Fry thought might fit, so he wrote them to get the installation drawings.

Coventry Climax co-operated and Fry succeeded to fit both it and a radiator into the tiny engine compartment.

The 750cc racing engine was tamed and just about every component was changed. But it remained unlike most car engines, being made of aluminium, with an overhead camshaft. The size was increased to 875cc, producing 39bhp.

A gearbox cased in aluminium, was specially designed to match the lively engine, with synchromesh on all four gears unlike the 1959 Mini.

It had the third and fourth gear set rather high, to reduce noise and improve economy. The new transaxel was technically advanced. At that time, it may have been the best gearbox ever produced, and it still does not have too many equals.

It was launched in 1963 a neat, refined little four-seater. The Hillman Imp.

The Imp was a massive and expensive leap of faith The company did not have any recent experience building small cars, even though it started off as a car builder by offering the then small Hilman Minx back in 1931. However the Minx had since grown larger and larger, and by the time the Imp was introduced it was well established as a medium-size family car.

Rootes had to build a new computerised assembly plant on the outskirts o Glasgow, in the town of Linwood.

this  time for the Scottish Economy. The country was recovering from World War II and the newly nationalised industries were working flat-out to get the British Economy back on its feet. At the same time, competition was weaker as countries like Germany and Japan had still not recovered from the effects of the war. Traditional manufacturing industries enjoyed a brief reprise before the effects of competition and the development of newer industries saw their eventual decline.

the hilman imp certainly was a part of the boom that was going on however with a few issues the

Maybe if the Imp’s reliability had not suffered as a result of being rushed through the final stages of design, and if it had been marketed better, it might have been as successful as it perhaps deserved. the last production was in 1976. it still remains an a part of our culture in Scotland and is at the heart of how industrial glory days of the past.

INTERNET ART

Looking up lots of web based art sites I found this: Oulipoems it is 6interactive poems to help you build a poem using the interactivity ofthe web and mathematical solutions to to achieve this. I really likedthis website although at first glance it may not seem to have thegreatest artistic quality with a bright yellow page with mathsequations and words scribble over it I really liked this site perhapsthe styling not the most dynamic in the world but when you begin tochose a poem and interact with it you realise that this is a greatsite and in my view could be considered word art. You are pointingyour mouse over different nm areas to achieve different outcomes. Forme someone who writes a lot of poems and is not mathematical minded Iloved the fact that the different poems were like mini game gainingmy attention to the written word.

The game

“TheElectronic Muse,” we are in the range of almost infinitepossibilities. This program generates lines of poetry using thevocabularies of one of six different poets. The algorithm to generatethe lines is based on the linguistics theory of Phrase StructureGrammar (developed by Chomsky). “The Electronic Muse” is awriting tool and not just a text generator, because the user caninteract with it by editing the texts it generates. The user can alsoadd words to the program’s vocabulary. This piece is mathematicalbecause of its use of maths linguistics. The texts it generatesfollow constraints since they use limited vocabularies and aregenerated according to rules.

I found this site to be interesting and informative and I wanted tolearn more about the mathematical logistics behind it although myselfprobably one of the most un mathematical minded people in the world,yes the world I found myself wanting to interact and wanted to gain awider knowledge of how the works. I like the idea of mathematics andlanguage being intertwined each both essential to us all, each asinteresting the idea that someone who is not mathematically mindedcould gain interest in maths even if only at the most basic level andsomeone who is perhaps more mathematical minded could write poemsassisted by the interaction of this site

The only thing I would suggest is to make the face of this site moreinteresting and dynamic more artful as I would consider this tobe word art.

OULIPOEMS INTERNET ART

Oulipoems is a website that has works presented these range from poems, poetry games, tools for writing poetry. Inspired by the Oulipo moment, a French literary movement which combines writing and mathematics. Works of literature that are governed by rules (“constraints”). E.G words might have to contain only vowel E or words might be spelled phonetically. Members of the Ouliopo interests include algorithmically generated texts, including, text-generating machines which can result in an infinite, or at least very large, number of different texts.

One famous Oulipo book is Raymond Queneau’s Exercises de Style, which is a retelling of a very banal anecdote in many different styles and following many different constraints. The computer is central to the piece instead of having several static versions of the text; the text varies along two dimensions, controlled by the position of the mouse pointer in a coloured square.

The mathematical idea behind this is the notion of a vector space, which each point (text) has a coordinate representing each basis vector  thus version of the text, or dimension along which the text can change.

Some of the other pieces also involve modifying a text via a specialized user interface, to generate either a small or large number of possible texts. In “No War,” the text is on the soundtrack instead of in print. The mouse pointer position triggers a series of words in which each word has the same vowel sound but the order of the words is random. Some mouse positions also generate sound effects relating to war. The mathematics here is the idea of a random generator. The constraint that each word in a particular series must share a vowel sound is a typical Oulipo rule.”Sundays in the Park” also involves variations on a text the number of texts that it is possible to generate is very large.

The text as a whole has no definite meaning, but each group of words suggests the next by a process of punning or association. The groups can be displayed in several different ways, involving phonetic re-spellings, and the user cycles through the possibilities for each group by clicking on it. Phonetic spelling is an Oulipo procedure which was used in Queneau’s book.

The mathematics here is the combinatory which tell you how many possible texts can be generated by this “text machine.” The number of possibilities for each group ranges from 2 to 6, and there are 33 groups

“Headline News” introduces a new level of complexity. This piece is an analogue of the Rubik’s cube, only it is presented in two dimensions. The puzzle is in the form of a grid in which the user can rotate the rows and columns independently to rearrange the texts. The piece can be used to compose texts that one is interested in or it can be viewed as a mathematical puzzle in which the goal is to restore the initial configuration. There is a lot of math in this piece the game board is topologically a torus Secondly, there is also a lot of group theory in this puzzle.

Each position can be seen as a permutation on all the squares. The number of times you must repeat the move for this to happen is called the order of the move. Since each column has 8 elements, the move which rotates a column by one square has order 8. Likewise, the move rotating a row by one square has order 10. More complicated moves may have either smaller or bigger orders, depending on the move. The texts themselves are alliterative another constraint in the Oulipo sense.

“Poggle” returns us to the realm of easier games. Poggle is a version of the game Boggle, but the tiles have fragments of poetry on them instead of single letters. Like Boggle, the player has a time limit in which to select as many series of adjacent tiles as possible. But here, the goal is to create a good poem, not to score points.

Finally with “The Electronic Muse,” we are in the range of almost infinite possibilities. This program generates lines of poetry using the vocabularies of one of six different poets. The algorithm to generate the lines is based on the linguistics theory of Phrase Structure Grammar (developed by Chomsky). “The Electronic Muse” is a writing tool and not just a text generator, because the user can interact with it by editing the texts it generates. The user can also add words to the program’s vocabulary. This piece is mathematical because of its use of maths linguistics. The texts it generates follow constraints since they use limited vocabularies and are generated according to rules.

http://www.sporkworld.org/oulipoems/menu.html

oulipo (Fr. Ouvroir de Litterature   Potentielle = Workshop for Potential Literature) 1 a French literary   movement involving Raymond Queneau, Jacques Roubaud, Italo Calvino, and   others 2 a combination of mathematics and poetry 3 texts   generated using constraints or rules

BIG BANANA BOOTS – BILLY CONOLLY

Billy Connolly born 24/11/1942. His first career was as a welder in the docks of Glasgow at the height of the ship building industry. He gave his day job up and pursued a career as a folk singer in the hummblebums then going solo. singing in clubs and pubs. always being a funny character his shows would often have comedic significance leading him to further his comedy career to become one of the best stand up comedians of our time. Nicknamed the ”Big Yin” (big one).

Connolly’s banana boots were made by the renowned Glasgow pop artist, Edmund Smith for The Great Northern Welly Boot Show in 1972, a satire on the Upper Clyde Shipbuilders work-in. The show led to Connolly’s big break. The boots currently sit in the People’s Palace and Winter Gardens in Glasgow

The boots made their first appearance on stage at the Music Hall in Aberdeen in August 1975. That same year the documentary, Big Banana Feet, was filmed, taking its title from the outrageous banana boots which almost became Billy’s trademark.

big banana feet tour 1976.

Fulton’s orrery

An orrery is a mechanical device that illustrates the relative positions and motions of the planets and moons in the Solar System in a heliocentric model. Though the Greeks had working planetaria, the first orrery that was a planetarium of the modern era was produced in 1704, and one was presented to the Earl of Orrery — whence the name came. They are typically driven by a clockwork mechanism with a globe representing the Sun at the centre, and with a planet at the end of each of the arms.

remarkable piece of engineering to demonstrate that the solar system is constantly moving, rotating and revolving.

John Fulton (1803-1853) was a shoemaker from Fenwick, Ayrshire. A typical  technical innovator his imagination and skill drove forward the Industrial Revolution. Self-taught, he studied botany, learned several foreign languages and constructed a ‘velocipede’ or early bicycle. He also experimented with the production of coal gas. Astronomy held a particular fascination for him.

Fulton built three orreries.the last of which took four years to finish, When it was completed he displayed it in Kilmarnock and then, in October 1833, brought it to Glasgow. It went on show in the saloon of the Argyll Arcade for a shilling admission fee and was a great success with the public. Fulton then took the orrery on a tour of the United Kingdom. The creation of the orrery won him a medal awarded by the Scottish Society of Arts along with a prize of ten sovereigns.

His technical skills brought him employment in London where he worked for a firm which produced scientific instruments for the King, William IV. Ill health forced him to abandon his professional activities and return to Fenwick where he died in 1853.

In 1869 a group of Glasgow businessmen led by William Walker bought the orrery for the city. It was toured around Glasgow schools and museums until the 1930s when it found a more permanent home in the Old Glasgow Museum. Now in the kelvingrove museum in Glasgow.

THE BAR AT THE FOLIES BERGERE AND THE ARNOLFINI PORTRAIT – AESTHETICS EXAMINED

INTRODUCTION 

THE WORKS                                                                                                                                                                      

The two pieces of work that I have chosen to evaluate is the bar at the follies Bergere by Edouard Manet. The painting is currently at the Courtauld Institute gallery in London. The artwork is of a woman, a barmaid standing at a bar looking outwards behind her is a large mirror with reflections of the crowd enjoying the nightlife. The foreground is a marble counter with a bowl of oranges and bottles with some flowers. Behind the bar counter the blonde barmaid is grasping the bar she is wearing a dark jacket with a pink corsage. She stares out to the crowd we see behind her in the mirror [1].  The second artwork to be evaluated is The Portrait of Giovanni Arnolfini and his Wife, presumably in their home in the Flemish city of Bruges s some scholars believed she had died the year before the painting was made either he had another wife that was not documented or the most supported notion that this is a sort of memorial piece made after the death of his wife. Not a strait forward betrothal piece or portrait it is considered among art critics as one of the most complex paintings in Western art history [2]. Signed and dated by Van Eyck in 1434, the panel painting to have been executed in oils rather than in tempera. The painting was bought by the National Gallery in London in 1842.  The painting is showing the married figures dressed in wealthy attire showing off their wealth and status hand in hand Arnolfini gazing into the distance while his wife stands head bowed towards her husband as if she as his wealth one of his trophies adorning him like the expensive cloth that he wears.

THE THEORIES                                                                                                                                                                

The aesthetic theories which will be evaluated are expressivism the theory that embraces the idea of emotions, the capacity that illicit feeling from the artist. The second is formalism this theory deals with the formal qualities of the work. The colour, shape, balance etc. it is concerned with the formal content not what the work represents [3].  I shall be using the bar at the follies berege and the Portrait of Arnolfini and his wife as a vehicle to evaluate these key theories.

REASONS FOR CHOICE OF THESE WORKS AND THEORIES                                                                            

I have chosen the works because they embody a whole social setting of a time. In the Folis Berger for instance in Paris where the bohemian lifestyle was prevalent for many. The emotions of the woman in the painting are apparent her loneliness and isolation. The painting is very busy with lots of activity. Yet there is a sombre feel to the piece this contrasts with the hustle and bustle of the revellers enjoying the Parisian nightlife. There are many emotions that one can gain from viewing this painting yet the formal qualities are distinct. Manet’s brush strokes and use of colour add to the atmosphere of the painting.

Van Eyck’s portrait similarly conveys of wealth and glamour or the time when portraits where considered to be the one thing among the wealthy to show off their status in the worlds. The connotations of this piece are many and open to interpretation. The subtleties in this painting the different facial gestures the candle being lit in the daytime the depictions of the passion of Christ these all add to the emotional qualities of the piece. The illusion in this painting was innovative for its time, the detail but particularly for the use of light to evoke space in an interior it deceives and plays with the light. The painting is often recognised for its deceptive non-Euclidean geometry in which they lived. With the realistic photographic quality. There is a regal feel to this painting with a hint of sadness expressed in the eyes of the Arnofini.

THE BAR AT THE FOLIES BEREGE  – OUTLINED                                                                                                     

Gazing outward the barmaid stands alone in the crowded bar. She has a detached expression on her face somewhat melancholy distracted from her job serving the masses enjoying the bohemian lifestyle. She has a locket around her neck perhaps the remnants of another life or love away from this job.  She seen alienated from her surroundings we are seeing what she is seeing in the mirror, the trapeze artist dangles on the top left side of the painting detached from the action in solitude. The bottles and the class bowls seem to be her only company apart from the top hated gentleman who is approaching her on the right hand side of the painting. The only solid realities are the marble top bar and the bottles. She has both hands firmly placed on the bar as if she needs to touch something solid to keep her firmly placed should she get carried away with the flow of revellers indulging themselves in the nightlife [4]. The dislocation of her world as if she floats helplessly holding on to her bar. Seeing what she sees we are the participant. The lines of the bar are detailed in firmer line depiction, being somewhat realistic. We see her through her common vernacular.

Some figures been angled differently, perhaps if the lines crossed in different patterns, a different analysis of their characters could be drawn. The glass reflects angles different than from the front. Some view the faults in the reflection to be fundamental to the painting as they show a double reality and meaning to the work [5].

EDOUARD MANET                                                                                                                                                          

Edouard Manet born in Paris January 23rd in 1832. Often identified with the ”impressionists” and  had a productive career scandalising Parisian life works included nudes painted in bold poses with outward gazes  His career could be a statement of the luxuries and frivolous extravagances he experienced for himself [6].

He painted A bar at the Folies – bergere in 1881 – 1882 this was his last ambitious painting he was gravely ill and would die one year later. This was showed at the Salon the same year.

THE ARNOLFINI  PORTRAIT –  OUTLINED                                                                                                                             

Arnolfini stands opposite his wife who appears to be pregnant, they are very richly dressed, despite the season their outer garments, his tabard and her dress, are trimmed and fully lined with fur. The furs may be the especially expensive. He wears a hat of plaited straw dyed black, as often worn in the summer at the time. His tabard was once rather purple than it appears now, as the pigments have faded; it may be intended to be silk velvet another very expensive element. Underneath he wears a doublet of patterned material. Her dress has elaborate cloth folded and sewn together, then cut and frayed decoratively on the sleeves, and a long train. Her blue underdress is also trimmed with white fur. [7]

Both outfits would have been enormously expensive, and appreciated as such by a contemporary viewer.

The interior of the room has other signs of wealth, the brass chandeliers is large and elaborate by contemporary standards, and would have been very expensive. The convex mirror at the back, in a wooden frame with scenes of The Passion painted behind glass, is shown larger than such mirrors could actually be made at this date another discreet departure from realism by Van Eyck. There is also no sign of a fireplace including in the mirror or anywhere obvious to put one. Even the oranges placed to the left are a sign of wealth and may have been one of the items dealt in by Arnolfini. [8] Another sign of wealth is the small Oriental carpet on the floor by the bed, many owners of such expensive. The view in the mirror shows two figures just inside the door that the couple are facing. The second figure, wearing red, is presumably the artist. Scholars have made this assumption based on the appearance of figures wearing red headdresses in some other van Eyck works e.g., the Portrait of a Man (Self Portrait?). The dog is an early form of the breed now known as the Brussels griffon.

The painting is also signed, inscribed and dated on the wall above the mirror: “Johannes de Eyck fruit hic. 1434” (“Jan van Eyck was here. 1434”). The inscription looks as if it were painted in large letters on the wall. [9]

JAN VAN EYCK                                                                                                                                                                 

Jan van Eyck (or Johannes de Eyck).  A Flemish painter active in Bruges and considered one of the best Northern European painters of the 15th century. [10]

Van Eyck was among the earliest Early Netherlandish painters to use it for very detailed panel paintings, and that they achieved new and remarkable effects through the use of glazes, wet-on-wet and other techniques. Because of his early mastery of the technique, he was traditionally known as the “father of oil painting. He painted this panel painting in 1434. [11]

EXPRESSIVISM                                                                                                                                                                 

It is said in art the emotion is an important part for the experience of viewing a piece of art for us to feel the emotions of the artist and emotional impact on the audience. [12]

Both these paintings have a sombre and haunting presence to them although dating centuries apart they both have sadness to them. We feel the haunting gazes of both the characters in the two paintings the girl from the follies Berge has an emptiness her lonely expression looking outward to the audience her stare detached It is a matter of personal reaction as to what emotions the waitress is expressing. It could be that of a sad and resigned exhaustion, the extreme physical fatigue of a working woman in a modern city. Her expression could be interpreted as one of alienation and degradation given her place of work; she is quite possibly a prostitute herself too. Her half-vacant stare could also be that of observer of the cavorting crowd of patrons we can glimpse in the mirror.

Are we to think this is a political piece of sorts that Manet was making a social commentary of the time the people were partying in a hedonist existence thus filtering down to add to the poverty and ills of society at that time.

As a participant of this piece of art our responses may differ we may wonder what sort of place is the follies Bergere. What kind of people frequent there? And what was Manet’s intention behind this artwork?  Like the Van Eyck portrait with the staring husband with his wife by his side has a stoic quality to it the realistic qualities not only reflect in the proportions but in his uses of glazes add to the realism of the piece. The emotions of the woman in the painting are that of a dutiful wife head bowed to her husband  an almost angelic appearance yet he appears to be standing holding her hand as if she was one of his possessions this not being an uncommon role for the man to adhere to at that point in history. However if we believe this is a memorial piece then we see his gaze perhaps differently we see a man honouring his wife being the strong husband mourning his wife emotionally in turmoil. The emotions that the painter may have wished to convey could of course open to interpretations. His enigmatic gestures the melancholic stare the difference between the two her angelic face almost doll like his face real convincing as a man in grief. [13]

If we look at a few of the elements in this painting the mirror for instance depicts the final moments of Christ in the reflections  all of the scenes of Christ living are on his side and all the depictions of Christ’s death on the side of his wife. The lit candle positioned over his side and the unlit candle over her side, despite the visual evidence of daylight in the painting why have a lit candle at all? If we take this at face value and this is nothing more than a snapshot of sorts pained to represent a moment in a married couples life then we could be missing the point of the juxtaposition of the candles being that he is alive and she is dead and he is honouring her life as a significant part of his life. That has now gone. When we look at the painting with this position we feel his pain we can as an audience member feel the mourning that van Eyck perhaps was trying to convey. [14]

Likewise when we look at the bar in the folies berge we notice with in all the busy nightlife we see in the mirror a spectical of life trapeze artists and fun and laughter. The woman’s posture is somewhat ambivalent she looks less interested but in the mirror she seems more engaged with the gentleman in the right hand corner a level of intimacy yet she looks at us with a vacancy in her eyes.

the reflection the real life activity or her face as Manet sees in her? We seem to feel her pain is this Manet’s intention? Are we to feel what he feels does he see her face in a different light?  Are we or is she in fact this sad vulnerable woman we see and are engaged with. Whose perspective are we holding is our sympathy with her or with the locket is this to remind us of another life she once had? The mirror seems to be a metaphor for life or does it? Manet plays with the notion that mirrors merely reflect real life yet he has clearly manipulated the figures in the mirror there is a deconstruction and manipulation playing with perspective. The mirror is not just a truth it can be false based on our point of view. The perusals of truth in the social dynamics of the time in Paris. We can feel fleeting intense feelings of jealousy, pain, solitude, and joy, a festival of fun just as at Manet’s understanding of the time fast fleeting past just as the light is fleeting just as the trapeze artist is fleeting and Paris at the time was fleeting. Manet captures these beautify. An emotional intensity with openness to meaning.

FORMALISM                                                                                                                                                                     

Formalism describes the critical position that the most important aspect of a work of art is its form, that is, the way it is made and its purely visual aspects, rather than its narrative content or its relationship to the visible world. In painting therefore focusing exclusively on the qualities of colour, brushwork, form, line and composition. How the artist applied the techniques he had learned throughout his life. [16]

Jan van Eyck executed this piece in oils on wood panel. His technique involved detailed under drawing of specific segments, with pigments and glazes arrayed in layers to create a highly finished, visually realistic effect. Scientific analysis of the panel, and constituent pigment and ground layers demonstrated chemical factors consistent with other pieces from the period.

There is evidence to suggest Jan van Eyck could have employed optical devices, such as mirror and basic lenses, frequently depicted in his works, as an aid to composition. This is supported by the modelling of the chandelier achieved with a focused beam from a prominent light source, is possibly suggested in the image shown in the convex mirror central to the piece.

The colours of this piece are strong and vivid with special attention to detail the line and the form of the artwork give such a sense of realism and the use of light in this painting adds to the space of the piece the perspective this being the effect of illusionism van Eyck is considered one of the best at employing this technique. [17] The brush strokes are delicate the dog hair and the tiny scenes from the passion of Christ seem to be singularly done as if he used a very fine brush. The tiny cuts in the green robe the crispness of the lace around her head. Van Eyck was using oil paints in a way that hadn’t been done at this level before layering up the paints, layer after layer of these glazed which allows him to give the luminosity and deep rich colours which you could not achieve using tempera. The light streaming through the window to cast the light on the faces, the hands and the chandelier. Certainly a master of the northern renaissance period.

Manet’s use of brush strokes adds to the fluidity to the piece. This painted in a style of dash and brilliance, with textures such as the velvet of the barmaid’s jacket, the waxy skin of the oranges, and the crinkled gold foil on the champagne bottles rendered beautifully. The reflections in the various glass surfaces are especially vivid and convincing.  Most of Manet’s earlier works make use of the traditional techniques of the past. He was unique in his use of unorthodox composition and colour, employing broad planes, and solid construction he made considerable use of black pigment. “Colour is a matter of taste and of sensitivity”. – Edouard Manet.

Manet also painted in patches of color, cutting out in-between values (shades of color) to make sharper contrasts. So instead of painting a range of progressively lighter or darker shades of orange to indicate how close an orange dress is to a light source, he would simply slap on a patch of bright orange. This technique is called Tachism. (Tache means “spot” or “blot” in French.) The Impressionists modified this technique by breaking up Manet’s color patches into much tinier patches, flecks, and dabs of color.  “There is only one true thing: instantly paint
what you see. When you’ve got it, you’ve got it. When you haven’t, you begin again. All the rest is humbug.” —Edouard Manet.

CONCLUSION                                                                                                                                                                   

To conclude my evaluation on these artworks I would say the key theories I have chosen do in all honesty have proved a difficult challenge. The expressivism was the easier of the two theories to analyse. As is the nature of feelings and emotions where there is no definite answer merely our own conclusions and what we gain from the indivdual pieces. Whereas looking at the formalism is somewhat more difficult to gauge. Looking at books and internet articles I would have thought the latter of the two theories would have been and easier challenge however it seems there is less formalist evaluations than I thought as I believed there would be more individual examples of how these are works were created as they have been analysed and evaluated through history but I noticed that a lot of these were statements on the style rather that the exact procedures for instance Manet’s part in impressionism or Van Eyck’s revolutionary advances  on northern renaissance.

Van Eyck’s work was the easier of the two to evaluate in this regard with lots more information on how he achieved his final piece rather than another art critics take on how he did it. I would suggest this is because it is known as the father of oil painting. Pioneering the techniques that in later years Manet would employ himself.  As I mentioned earlier I found it much easier to evaluate the theory of expressivism equally in both works with a plethora of information about what emotions we can gain from each of these works moreover the symbolism within both of these artworks was immense and I found myself getting more and more intrigued subtle meanings of each. With this regard it would have suited more to evaluate the symbolic qualities of these paintings. I wanted to find a contrast between feelings and emotions and the techniques that are used when creating a piece of art how the paint is used and types of brushes used to achieve the final outcome.  Weighing up the” how’s” of something with the”emotions” we feel as a viewing participant.

I found it interesting the social commentary of each of these artist were trying to convey Manet’s Folies de Berge commenting on the fleeting bohemian lifestyles of the Parisians enjoying nightlife throwing caution to the wind or van Eyck’s portrait commenting on the social status of a wealthy man with his wife by his side showing his peers what he has and owns.

The use of light to make these pieces have a light and luminous feel. Manet’s large brushstroke also creating an illusion of light in this dark Parisian club.  Van Eyck’s sunshine pouring through the window. Both of these artworks have a light feel yet some of the subject matter may not be so. Giving a still quiets ambiance to the works.

In conclusion although the theory of formalism was explored I feel that the theory representationalism would have been more productive to explore to see the symbolic qualities what these painting stood for and where about. The theory of expressivism was explored fully and I found myself having to edit a lot out I found it interesting how me the spectator got to feel what the artist may have wanted me to feel. What they were trying to convey and make us feel to sympathise with the characters in the paintings and understanding that they had a life with thoughts feelings and I found these characters taking on a whole new meaning as I was empathizing with them.

REFERENCE

[1]          http://www.guardian.co.uk/culture/2000/oct/21/art(26/11/11)

[2]          http://www.guardian.co.uk/culture/2000/apr/15/art(26/11/11)

[3]          http://www.dailymail.co.uk/home/you/article-2036955/The-Arnolfini-portrait-Jan-van-Eyck-The-mystery-National-Gallery-masterpiece.html(26/11/11)

[4]          Art Education : Journal of the National Art Education Association, (26/11/11)/(01/12/11)

[5]         http://en.wikipedia.org/wiki/A_Bar_at_the_Folies-Berg%C3%A8re(01/12/11)

[7]          http://www.oneonta.edu/faculty/farberas/arth/arth214_folder/van_eyck/arnolfini.html (26/11/11)

[8]           http://realitybitesartblog.blogspot.com/(26/11/11)

[9]          http://www.ibiblio.org/wm/paint/auth/eyck/arnolfini/(26/11/11)

[10]        http://gardenofpraise.com/art29.htm (26/11/11)/(01/12/11)

[ 11]       http://www.guardian.co.uk/culture/2000/oct/21/art (27/11/11)/(01/12/11)

[12]        pholosphy in art : An introduction to aesthetics Gordon Graham p41. (27/11/11)/(01/12/11)

[13]       http://www.ibiblio.org/wm/paint/auth/eyck/arnolfini/(26/11/11)/(01/12/11)

[14]       http://www.oneonta.edu/faculty/farberas/arth/arth214_folder/van_eyck/arnolfini.html  (27/11/11)

[15]        http://www.guardian.co.uk/books/audio/2009/feb/25/philip-pullman-folies-bergere (27/11/11)

[16]        http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=109 (28/11/11)/(01/12/11)

[17]       http://www.studyarthistory.com/jan-van-eyck-arnolfini-and-his-bride-284.php (27/11/11)/(01/12/11)

[18]       http://quote.robertgenn.com/auth_search.php?authid=1517 (26/11/11)

BIBLIOGRAOPHY                                                                                                                                                             

Cachin, Francoise & Kaplan, Rachel. Manet: Painter of Modern Life. Thames & Hudson, 1995
Clark, Timothy J. The Painting of Modern Life: Paris in the Art of Manet and His Followers. Princeton University Press, 1999
Foucault, Michel. Manet and the Object of Painting. Tate Publishing, 2009
Fried, Michael. Manet’s Modernism or the Face of Painting in the 1860s. University of Chicago Press, 1999
Krell, Alan. Manet: and the Painters of Contemporary Life. Thames & Hudson, 1996
Neret, Gilles. Manet. Taschen GmbH, 2003

Impressionism – Art, Leisure, & Parisian Society Robert L. Herbert, Yale University Press, 1988. The New Painting – Impressionism 1874-1886, Charles S. Moffett, Richard Burton SA, Publishers, Geneva, 1986. Impressionism, Edited by Ingo F. Walther, Taschen, 2002. Gardner’s Art Through The Ages, Kleiner, Mamiya, and Tansey, editors, 11th edition, Harcourt College Publishers, 2001. skin, Ruth E. “Selling, Seduction, and Soliciting the Eye: Manet’s ‘Bar at the Folies-Bergere’.” The Art Bulletin. March 1995 v77 p25-44.

http://www.lucidcafe.com/library/96jan/manet.html

http://www.guardian.co.uk/culture/2000/oct/21/art

http://www.guardian.co.uk/culture/2000/apr/15/art http://www.dailymail.co.uk/home/you/article-2036955/The-Arnolfini-portrait-Jan-van-Eyck-The-mystery-National-Gallery-masterpiece.html

Campbell, L. Portrait of Giovanni Arnolfini and his Wife. National Gallery Catalogues: The Fifteenth Century Netherlandish Schools. London. 1998. pp.174-204

Carleton, D.L. A Mathematical Analysis of the Perspective of the Arnolfini Portrait and Other Similar Interior Scenes by Jan van Eyck. The Art Bulletin. 64:1. College Art Association. 1982. pp. 118-124

Collia-Suzuki, G. The Arnolfini Portrait. The Perplexed Palette.

http://www.nationalgallery.org.uk/paintings/jan-van-eyck-the-arnolfini-portrait

Falco, C.M. Art Optics – The Hockney-Falco Thesis. University of Arizona hosted webpage. – Art Education : Journal of the National Art Education Association,

http://en.wikipedia.org/wiki/A_Bar_at_the_Folies-Berg%C3%A8re

http://www.oneonta.edu/faculty/farberas/arth/arth214_folder/van_eyck/arnolfini.html

http://realitybitesartblog.blogspot.com/

http://www.ibiblio.org/wm/paint/auth/eyck/arnolfini/

http://gardenofpraise.com/art29.htm

http://www.guardian.co.uk/culture/2000/oct/21/art

Pholosphy in art : An introduction to aesthetics Gordon Graham p41.

http://www.ibiblio.org/wm/paint/auth/eyck/arnolfini/

http://www.oneonta.edu/faculty/farberas/arth/arth214_folder/van_eyck/arnolfini.html

http://www.guardian.co.uk/books/audio/2009/feb/25/philip-pullman-folies-bergere

http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=109

http://www.studyarthistory.com/jan-van-eyck-arnolfini-and-his-bride-284.php

http://quote.robertgenn.com/auth_search.php?authid=1517

9 VIDEOS

VIDEO – PAL 1280 x 720, 25fps de – interlaced

AUDIO – AAC 64 KBPS 44.1 KHZ STEREO

BITRATE – CBR 14.57 MBPS

After taking the video on my 14mp compact waterproof camera. I imported it to adobe premier pro and edited the video.

I saved as a premier pro file and then exported the file to compress the video. Format – H264multiplex – MP4 at a standard setting

Video – pal

height 1280 width 720

25 frames per second

field order – progressive

pixel aspect square this keeps the pixels the same size as the height and width.

Profile – main

level – 3.1

bitrate – CBR

14 MB per second

audio – AAC

OUT – stereo

frequency – 44.1

high 128 bitrate

I then saved this setting to a custom as youtube2 so that all my custom settings would be to the same setting suitable for youtube.

I queued the files in media encoder and started to compress the videos.

I then uploaded to my youtube – “tadpoledancer” account and saved the link on my blog – “zemra76” I used the same custom setting to compress all my 9 word videos.

DIAPHANOUS:  

http://www.youtube.com/watch?v=u7qqg1ACVy0

LOOP

http://www.youtube.com/watch?feature=endscreen&v=xooJGTlWH3M&NR=1

SEQUENTIAL:

http://www.youtube.com/watch?v=mjA6exkvS3o&feature=related

AMBIGUITY:

http://www.youtube.com/watch?v=BXE9QK0jGIo&NR=1&feature=endscreen

EPHEMERAL:

http://www.youtube.com/watch?feature=endscreen&v=D4V-v3syOME&NR=1

SERENDIPITY:

http://www.youtube.com/watch?feature=endscreen&v=kxKDHMITSUQ&NR=1

UTOPIAN IMPOSSIBILITY EVALUATION

UTOPIA IMPOSSIBLITY – EVALUATION

My project is going to be to explore the notion of a utopian society and the ideals of communism.

Communist ideals wish for a utopian society Communism is an ideology that aims to establish a classless, moneyless state. Common ownership by means of production.  A system in which the state plans and controls the economy often one party holds power. They clam to make progress towards a higher social order in which the goods are shared equally by the people.  The Marxist – Leninist of this ideal are to advocate the overthrow of capitalism. Free the lower class from poverty and give the poor a fighting chance. In order to free the lower class the government would have to control all the means of production so that no one could outdo anyone else by making more money. Sadly this is hard to achieve when humans are involved and proves to be difficult still to this day.

Unfortunately the practise of communism has not gone to plan and with the nations suffering at the hand of dictators. Anyone with there own views denied a voice and killed or tortured for their beliefs. Not being allowed to disagree with the state this undermining the idea of a utopian world.

AIMS

  • Ø Show what sounds we think are part of a utopian ideal.
  • Ø Is communism the way forward for a utopian world?
  • Ø Is Marxism the way forward to achieve a perfect world?
  • Ø Is communism merely a way for a dictator to have domination?
  • Ø Can humans live in a utopian world? Can we exist together happily without someone dominating us?
  • Ø Does humanity always need a hierarchy?

The finished piece has fulfilled the brief although I would argue that it has a sound of dystopia rather than utopia. I wanted create a track that when listened to would make the listener feel the contradictions that are associated with the idea of utopia the fact that communism itself tries to accomplish a state of fairness and ideals that everyman is equal yet the practice often is achieved through dictatorship and violence. The iron fist often rules and the reality of a perfect society itself is a ridiculous notion. Humans are not perfect anything living is not perfect we are all flawed in one way or another and trying to achieve this impossible task is going against the grain of nature.

I wanted to have a lulling introduction leading into a speech of Stalin with the undercurrent of propaganda music. Underneath that it had gunfire to a steady beat. With birds tweeting and singing in the background. Rain falling alongside the birdsong with the guns banging in the distance and the gentle waves helping to establish the beat along with the guns the drums of the piece the heartbeat of the piece. Fading of to the hazy sounds of a chaotic yet gentle lull fading into the distance.

I started by recording sounds of the waves then exporting these to adobe audition I didn’t really change much with the sound of the waves I wanted to hear the breeze with the sea.

I then recorded a combination of guns firing in repetitive beat layered the sound of rain falling I did this in mix craft 5 using the virtual keyboard.

I layered more sound of rain falling with bird songs having these fading in and out of each other. This I did again on mix craft 5 on the virtual keyboard.

I made two more sounds on the virtual keyboard horns and whitenoise layered these together and changed the pitch and the reverb this crated a gentle and lulling sound that I used for the introduction to the piece.

I again used the virtual keyboard to make another two ambiguous sound like a wave distorted and fading off this I used for the ending of the piece I like to think the finished is a myriad of sounds to create my sound of utopia or dystopia.  All of the sounds I created on mix craft 5 I imported to adobe audition to add and echo and change the quality of the sounds I had. I found a nice piece of Chinese propaganda music and a Stalin speech that I used YouTube converter to remove the audio I then I imported these into adobe audition added a filter and changed the speed and layered these in-between the intro and the outro of the piece to achieve the finished piece.