18 February 2014

The Narrative Armature

Clayton Massey


What is the value of "sequential art" ?

How do different styles of comics translate to different genres? Does more sophisticated art directly translate to a more mature audience?

Is there room for photorealism in comics? Sin City blended the mediums (film and graphic novel) on screen.  Can this be introduced to print?


What techniques can we use to better connect a storyboard of sequential architectural spaces like seen in Le Corbusier's jardin suspendu of the Warner project in Geneva? What graphic additions could be made, visual cues implemented?

What kind of effects (positive or negative) could be derived from using different perspectives, ratios, colors or graphic styles in images arranged in the same storyboard?

What kind of advantages and disadvantages does a virtual walk through of a building have compared to a storyboard of key moments in the same building?

The Narrative Armature

Rob Gordon, Buck Knitt

Davids- Storyboards

A story has a beginning, middle, and end; does an architecture project/ building?

How are storyboards different from cartoons?

Baldessari uses the viewer as a protagonist in his story. Who are the characters in an architecture project and who would play what role?

Do you think putting the early sketch next to a finished work is effective? Why might people argue for/ against it?

How would using storyboards help your current studio project?

McCloud- The Vocabulary of Comics

Cartoons and comics require the viewer to invest themselves into the subject matter. What other scenarios do we face that require us to insert our own consciousness in such a manner?

What is the power in using cartoons to convey adult subject matter?

McCloud offers a three pointed triangle called “the realm of the art object” bound by Art, Nature, and Ideas. Are there any other factors that might contribute?

As portrayed in the painting of a pipe, we often take things for granted, or make assumptions. In what ways do we do this in our education?

Does productive abstraction produce simplification?

If amplification comes through the simplicity, is Less More?

12 February 2014


Krauss mentions continuity and its counter discontinuity rather often.  What relationship does index have with these terms?

How might we retain this sense of what Krauss refers to as, "temporal distance", as we strive to create indexical works?

Krauss mentions some indexical works sharing relationships along a physical axis and seems to disregard other potential relationships if any.  What other axes might indexical work relate with and in what way?

11 February 2014


Kraus: Part 1

Duchamp created a second identity, Rrose Selavy which has been translated to “that’s life” or “to make a toast to life.”  How can dual meanings of words, names, images, and objects begin to tell a more involved story?

If “the accumulation of dust is a kind of physical index for the passage of time,” then what isn’t considered an index?  Do all of our human actions create indexes?

What is Man Ray’s relationship with Duchamp? Why is Duchamp interested in what Man Ray does?

“The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its objects.”  What is the difference between an icon and an index?

Kraus: Part 2

In Deborah Hay’s presentation, she decided to talk to her audience instead of dance.  What are her reasons and actions for doing this?

What is the difference between coded and uncoded in relation to the text?

Notes on the index

I. on page 202 index 1, "the project of depicting the self took on those qualities of enigmatic refusal and mask with which we are familiar."
      -what do you think that he believes the familiar to consist of?
      -why does it seem that we all wear masks?

II. throughout the reading narcissism is used often to describe the works of art. Why do you think that is?

III. after reading notes on the index how has it changed how you think about art? and how pivotal do you think the index is today?

IV. How does the way that Krauss view on visuals compare to those of Tufte? Do you think that both convey there message well?

V. does the form of abstract painting allow for more expression and interpretation than photographs? Which do you think gives better examples to index?

VI. (218)"The directive which the caption given to those looking at pictures in illustrated magazines soon become even more explicit...", What do you make of this statement?

04 February 2014

CORNER.  James Corner describes mapping as a cunning technique used to expose new possibilities and to reveal that which had previously remained unseen.  How might we begin to perfect such a technique?  How can we speed up advancement of this technique?  How might we reorganize information that is already available to us in order to shed light on the unknown?

CORNER.  What are the four techniques Corner gives for more creative and intuitive mapping?

CORNER.  A pre-requisite to mapping requires some exploration of data.  Through this process the artifact becomes an exploration in itself.  This process is seemingly infinite; might it ever become an easily reduced process through practice?

TUFTE.  Tufte says, "for confirming alignments will pleasingly lock right into place if the desired answer is already known.".  What is Tufte getting at?

TUFTE.  "Mapping" tells us why an image matters.  What are a few examples Tufte describes as mapping?  Is one more important than most?  Are they all equally as informative?  Does it matter?  Why?