Response to Therese McPherson's Reading

Here is my article and questions.

http://www.artinamericamagazine.com/reviews/adrian-piper/

What stereotype do you identify with?

none, I try not to identify or align myself with any stereotypes

Or

What stereotype do you most relate to?

none

During what activity do you feel most masculine?

taking a piss standing up

During what activity do you feel most feminine?

plucking facial hair with tweezers

May I take a video of you performing these actions?

maybe

How do you feel about Adrian piper being on a suspicious travelers list?

Everyone and their grandmother is on the suspicious travelers list.  Its more of a nascence now for regular flyers rather than a sign of a potential threat. 

Would you makes the same decision that Adrian piper did if you were put on the list?

no

Time-lapse in the studio 2-20-11

Five year plan

A. 4-5 years- Work as a stop motion lead animator for a flat-level stop motion company such as LAIKA or Shadow Machine while producing my own short animations and video installations on the side to exhibit at galleries and festivals.
establish a relationship with coworkers and bosses at internships
develop a demo reel that consists of professional work from working at internships and jobs
through established connections and job searches, apply for positions that fit my goal and skill level
B. 2-3 years - Secure a job as an animator at a small stop motion studio while acquiring a studio space and professional equipment to produce my own stop motion animations.
intern at studio to acquire connections and demonstrate proficiency in the animation process.
When position opens, apply for animation position at company
rent a studio space to produce stop motion work
C. 1 year - intern/work as an animator at a small studio
utilize connections to secure a job or internship
D. 6 month - move to LA, Portland, or Seattle and find a stop motion internship while working retail on the side
utilize friends and classmates to settle in a chosen location and intern at a small stop motion company

alternative plan:
develop a ponzi scheme and make money

Response to Shane Murphy's reading

1) Do you agree that this is all conceptual art is?
no this is an example of how to do work in the style of "conceptual art".

2) How does the fact that there is a eHow on making conceptual art affect your ideas of art?
indifference, my ideas are not affected by ignorant generalities

3) Is there a difference between this and the old Bob Ross painting shows?
yes, Bob Ross never attempted to call his work anything more than representational. The only similarity is that both attempted to teach art to an outsider.

4) Can High Art survive in the modern world?
Yes and no, there will always be an establishment for high art to exist in. But the barriers to create art and influence others through your work are coming down.

And for my own work.

1) My work is firmly entrenched in conceptual art norms, what forms of postmodern art has the internet made irrelevant, or are there any?
I don't think the internet has any affect on the irrelevancy of postmoddern art.

2) I feel my work attempts to make the intangible not just tangible but accessible, is there a point where accessibility tips to eHow?
What part of you is supposedly intangible. By the fact that you are making tangible work about supposedly intangible aspects of yourself makes this argument moot. You are making tangible and accessible work work about tangible and accessible aspects of yourself at some level.

3) My concept of self dissection and betterment strives to be deep, dangerous, and relevant. Is there more to "good" conceptual art than the strength of the concept?
Good can mean so many things. Is the idea engaging? Is the piece visually stimulating? Does it stimulate other ideas, conversations, and debate? I feel like this question is part of the ehow page on conceptual art. Here's a better question. How do you dissimilate between "good" and "bad" conceptual art?

4) Do you feel there is a difference between my work and something someone would make after reading this eHow?
I feel like there is a difference in the work, but not in your outlook on the art world in general. I felt this article was an attempt to make a much broader statement anybody reading the article could create artwork on the same level as a student or graduate of fine arts. That I disagree with. Then again, you could just be playing devils advocate.

Response to Kim's reading

1. What does de Zengotita mean by "optional"?  What is a good example (your own, of course, not his) of "real"?  What is an example of "mediated".

Optional refers to choice and the ability to choose between two or more options.   Touch to me is a crutial example of the real.  With touch, you can determine minute intricacies that otherwise may not be perceived by sight alone. To be able to hold and feel is to perceive real.  An example of a mediated experience could be a chat room.  There are elements that are natural such as communication and emotion but they are experienced through another layer or plane of perception such as a video display or text.

2.  OK, fellow mediated person, what is your constructed identity and lifestyle?

I've constructed the identity for myself of the comfortable artist who happens to have an interesting style without really trying.  

3.  de Zengotita writes, "Some people refuse to accept the fact that reality is becoming indistinguishable from representation in a qualitatively new way."  Are you aware of this?  yes I am aware that others are unable to accept that.  Do you think about it?  no What do you think about it?  

I don't think there is a hierarchy on reality.  Representational experiences are just a new reality we are learning to accept and both it and reality exist as real as the other.  Or is this a pretty new idea for you? no  If so, how do you feel about it?  We've grown up with representational experiences as reality since we learned how to type and chat on a computer screen.  Those outside of the digital divide may qualify it as a different or lesser experience than say talking to a friend on the phone, but for many, it is one and the same.

4.  de Zengotita writes," The problem with trying to comprehend the process of mediation is that you can't get outside it."  Can you imagine a way to get outside it?  If that was your assignment, to get outside of the mediated world/environment, what would you do?

I believe all reality to be a mediated experience through our brain.  To become removed would be to remove yourself from your reality. Psychedelics are the first idea that came to mind as a means to do this, but even that is a mediated experience.  I think I would  fail at this assignment.

Questions about my work in relationship to the reading: You can see my work on my website at kimrusso.net

1.  I think my work has the "whatever" quality to it that de Zengotita describes.  Do you agree?

Yes

2.  I also think my work plays with the range between the real and fabricated/mediated that de Zengotita describes, and I present that range on a level playing field.  Do you agree, or not--and why?

I agree, because you take the objects out of their normal surroundings and create a new mediated experience.  

3. What else can I/should I do to more successfully describe, in my work, the mediated/optional environment we live in in America?

I don't think I can suggest anything else for you to add to your work

4.  What is the similarity or difference between the "tone" of de Zengotita's writing/analysis and the "tone" of my drawings?

HIs tone seems to come from the point of view of a curmudgeon who wants nothing to do with new digital experience and feels nostalgic for a simpler time. Your work on the other hand seems less critical and more open to discussion