Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Tuesday, April 27, 2021

Nom d'Artiste


            “Nap Time!” chirps Miss James, Mrs. Sullivan’s new student teacher, as she claps her hands together in neat little triplets. Clap-clap-clap! “Let’s be quick!”

A human brain made out of art supplies
Right Brain

 

            What? Nap Time? Already? 

 

            I’m not ready for Nap Time. I’m not tired. I’m not even cranky. In fact, I am in a great mood. For one of the relatively few times I can remember in a life of years that can still be counted on one hand, I am content. More than content. I am engaged. Busy. Focused. Joyful, even – caught up in the process of seeing, understanding, doing. I haven’t had this much fun since, well, maybe never. So why is she making me stop?

 

            “C’mon, everyone! Let’s put down those scissors!” (Clap-clap-clap!) Put the construction paper back in the center of the table!” 

 

            She watches as our chaotic, mixed litter of four- and five-year-old humans reacts in every way a post-larval child can to an adult imperative, other than to cry. We know better. More than a week into kindergarten, we are all big boys and girls now. Crying was for babies. Our parents and our teachers said so.

 

            A few begin to tidy up their spaces, looking frequently to the teachers to see if they, the kids, were responding correctly to directions, or perhaps to see if they, themselves, were receiving the proper amount of positive attention for doing so. One starts to scrape together scraps of colored paper with both hands, like a poker player raking in her chips. Another slowly stirs his pile of paper in a tight little circle with a single index finger, his brow deeply furrowed in studied attention to the process. Other fingers around the room probe ears, and noses (mostly their own). An occasional thumb is still vacuumed into somebody’s mouth, for comfort, or simply out of habit. Some kids are diligently licking paste from their fingers, or straight from the jar. One little girl is arranging each of her supplies in a neat row in front of her. One child pauses, stubby safety scissors in hand, mouth open, staring distantly at nothing. 

 

            At a nearby table, the dark-haired boy in the red shirt is pretending the stapler is an alligator, and it is hungry. Clicka, clicka. “I’m gonna eat you - arrrgh!” Clicka, clicka. The girl with the brunette curls leans away in terror, holding her paper out of reach of the boy, and his gator. Clicka, clicka.

 

            “Be careful with that stapler, Jeffrey!” says Miss James. Clicka-clicka-clicka. “Here, let me have that.” Click…  “That’s not how we behave, is it young man?” Jeffrey frowns and slumps, dejected.  “Now go get your sleeping pad out of its slot. The one with your name on it, under the letter J. There you go.”

 

            “Now what are you doing, Douglas?” Miss James said. 

 

            I do not respond. My name isn't Douglas. 

 

            I also ignore her order to stop cutting construction paper, continuing instead to do what we’d just been told to do before that, during Art Period: Making Chinese Lanterns.

 

            It’s easy, once you understood all of the complicated steps. First, you cut a narrow strip from the short end of a piece of construction paper. Concentrate when you work the scissors, to make one long cut, as straight as you can. Save that piece for later.  Next, you take the rest of the sheet and make one nice, long fold right down the middle. You have to make the edges match all the way down, or it doesn't work. Your crease will be crooked. Mash that crease down hard with your thumb, so it makes a nice, straight line. Now, you take your scissors again, and make short, straight cuts right into the folded edge, about halfway up into the paper. Keep them about an inch apart, all the way.

 

            Now comes the tricky part. You have to open up the folded paper with all the cuts in it, just not quite all the way. You don't want to make it flat again. Instead, you want to roll it up into a big tube, just past where the corners match, which is kind of hard because the cuts in the paper make it want to bend every which way. Then you can pinch the corners together with your fingers, and use the stapler to…

 

            “Douglas! It’s time for you to stop. You need to put the paper down. Now.” 

 

            I still don't comply. Douglas still isn’t my name. 

 

            Miss James was having none of it. Her grown up hands reach down and snatch my lantern and stapler away from me. “Hey!” I said. “I was using that! I’m making a lantern!” My paper unfurls as she placed it on the pile of scraps in the center of the big round table.

 

            “Art Period is over now, Douglas. Or do you like to be called Doug?”

 

            “I don't like to be called either one. My name is Donald.”

 

            “Oh, no. It says right here on my list that you are Doug. Douglas Stewart.”  Miss James gives me that grown-up ‘you-can’t-fool-me-young-man’ sort of look. “You must be a little trickster, Douglas.”

 

            “My name’s not Douglas,” I say, with emphasis.

 

            “Whatever you say, little trickster. Now go get your mat. It’s Nap Time.”

 

            Bewildered, I am suddenly sentenced to a half hour of enforced idleness, robbed not just of my lantern and cheerful, productive activity, but of my identity, too. What kind of punishment is that? All I want to do is keep working.

 

            Maybe that is how kindergarten works. If you break the rules, they can just change your name. That seems a little extreme, especially when Jeffrey got to keep being Jeffrey. But wait – now that I think about it, they had changed me into someone else even before I had done anything wrong! What is going on here? 

 

            Maybe Miss James hasn't learned about names yet. She looks like a grown-up, and sort of acts like one, but she is just learning how to be a teacher, after all. Maybe there are other things she doesn't know. Miss James is new this week, taking Miss Leslie’s place, who was our teacher-learning-to-be-a-teacher last week. Miss Leslie knew my name. 

 

            Maybe Miss James isn't very smart. Or maybe she is just really mean. She looks like a nice lady, but I already know that doesn’t always mean a person is nice on the inside. I think about that as I unfold my sleeping mat, and lay my head down on the cold plastic cover. If I want to get my name back, I will have to be very careful, and try real hard to behave myself. Or maybe not. Sometimes with mean people it doesn't matter how you behave. They’ll just be mean anyway.

 

            I almost never go to sleep at Nap Time. Most of the other children can, but I usually stay wide awake, trying to be still, trying to keep my eyes closed, peeking out now and then to see if anyone else is looking around, too. If they are, we’ll giggle, and one or the other teacher will tell us to shush, and we’ll go back to pretending to be asleep again. Sometimes a bunch of us will start to giggle, which will make even more kids giggle, and that will make all of us giggle even louder. When that happens, it does not make the teachers giggle. Not at all. It makes them really mad. Maybe that was it. Maybe someone else had giggled at Miss James today, and made her mad. Maybe that’s why she wanted to change my name.

 

            Today it looks like the other children are all getting quiet right away, and after a few minutes nobody else is peeking back at me. If I wait long enough, maybe everyone will be asleep. Maybe the teachers will get sleepy, too. Hmmm… I wait another minute or two, and when I look, they are both at their tables, reading and writing, and not paying any attention at all to any of the sleepers. I wonder if either one of them will even notice if I creep back up in my chair, quiet as a mouse, and start working on my lantern again… 

 

            It will be risky, but even if they do notice that I’m not sleeping anymore, and not peeking or giggling at anybody, they’ll be able to tell right away that I don't really need a nap. That what I really need to be doing is finishing my Chinese lantern. If I stay quiet and busy, I might not get into any trouble at all.

 

            Besides, if they aren’t happy about it, it’s Douglas who will get into trouble, not me. That seems like a reasonable risk to take. 

 

            Another minute or two goes by and I sit up, very slowly, then slip over into my seat at the worktable. Now if I can find my piece of construction paper, all I have to do is roll it up, staple the corners on the top and bottom, then run a line of paste down the edge to seal the seam. That will make the lantern. Then, with that long skinny piece I had to cut off at the beginning, I can bend it over and staple the ends to the top of the tube for a handle, and my Chinese lantern will be done! Yep, there’s my paper, right there, just within reach. Now I’ll just get the stapler, slide the corners of the paper in like the teacher showed me, and Clicka

 

“Douglas! What are you doing?”

 

I don’t respond. 

 

My name isn't Douglas.

 

 

 



 

Monday, April 1, 2019

Auditory Visualization

Art/Science Collaboration 
Turns Sound into Color

Auditory Visualization

FOR IMMEDIATE RELEASE
April 1, 2017
Birmingham, Alabama

Research artists at Birmingham’s DS Art Studio today announced that they have developed a new computer application that transfers color variations into auditory signals capable of selectively stimulating sensitive regions in the optical cortex of the human brain. The breakthrough technology not only promises unparalleled relief for the visually impaired, but could redefine the future of personal entertainment.

“Turning color into auditory vibrations and back again is old-school technology, used widely in everything from video games to rock concerts to astrophysics,” reports Dr. Don Stewart of DS Art. "The real trick is turning sound into meaningful impulses that correspond to shape, form and color inside the mind.”

The genesis of the new technology arose when Stewart and his wife, color artist Sue Ellen Brown, began exploring data merges between commercial illustration programs and the standard Garage Band app on their desktop computers.

“At first we just started transducing digital files of black and white drawings into static fields of sound waves. Once we cleared that hurdle, the rest was just cleaning up the math,” Stewart said.

The big breakthrough came when researchers at Southern Auditronics, headquartered in Wedowee, AL, managed to piggyback the DS Art audio information stream onto a background carrier frequency – a subsonic wave that stimulates the cortex in the posterior regions of the brain, the area where the perception of vision actually takes place.

“It’s armchair science, really,” said Stewart, who trained as a physician before becoming an artist. “Everyone is familiar with the phenomenon of being hit on the head and seeing stars. Low-level vibration stimulates the brain cells in the optical region, and the frontal cortex interprets the signal as floating, flashing lights."

By isolating this specialized group of subsonic frequencies, the audio researchers were able to produce the same phenomenon. "After that it was just a question of fine-tuning the input waveforms to produce more complex images," Stewart said.

Experimental subjects report cloudy impressions during the first few trials, but these usually clear up into crisp visualization after a few sessions. “Like most things, it gets better with practice.” Brown observed. 

Smart Phone Applications

“Imagine our surprise,” Brown said,  "When we learned that the technology required to produce these energy transfers (transforming light to sound, and adding the carrier wave) already exists in most late-generation smart phones. All we had to do was write the software, and bottle it up in an app.”

With this new technology, users can now simply pop in their ear buds, close their eyes, and point their smart-phone cameras at anything they wish to see. The app turns the incoming light waves into digital sound patterns, then attaches the patterns to a low-frequency carrier that hums its way to the back of the head, where things really start to light up – at least to the perception of the viewer.

“Seeing With Your Ears”

Successful trials of image-to-sound transfer suggest a number of incredibly promising lines of scientific research, and commercial development. 

The potential benefits are tremendous – not only will this breakthrough hold out the possibility of renewed visual experience for people with impaired sight; the researchers believe it may develop into an entirely new entertainment platform.

“Just think – you might never have to go to the movies or watch TV again. Visual media may simply be reduced to streams of digital sound. Virtual Reality headgear may be reduced to a set of headphones.” said Stewart.

The potential for interacting with other species may also be on the horizon. Scientists have long known that alligators communicate using subsonic vibrations, carried over long distances through the water. Could they in fact be sending visual images to each other?

We may soon find out.


CONTACT:

Donald B. Stewart
Sue Ellen Brown
DS Art Studio Gallery
2805 Crescent Ave
Homewood, AL 35209 USA
1-205-802-4700
www.DSArt.com


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Wednesday, March 8, 2017

Bleeding Heart Capitalist


I’m an Artist. 

My income relies on my ability to


acquire raw materials, add value, and sell my products at a profit. That makes me a Capitalist. My choice of professions tells most people that I am a hopeless, bleeding-heart Liberal. My modest success in the field, however, aside from being an extremely rare phenomenon, means that I know something about business - a condition that implies that I must be a Conservative. 

Oh, and I used to be a Doctor, so I have at least a basic understanding of the healthcare industry.

There. Now that we have the labels in place, let me say a bit more about what I do: I make art. Not food, not clothing, not shelter. My products are not essential. I know my place in the system. That said, most of the goods and services exchanged in our national marketplace are not essential, either. We don't have to have big, shiny cars, or soft drinks, or cell phones or hair gel to survive. We do have to have all of these things and more, though, to maintain a thriving economy.

I also know something of my potential in this economy. Each year I sell thousands of pictures to happy customers all across the country. My customers are all knowledgeable, relatively healthy people with a certain amount of disposable income. They have to be. If they weren’t all of these things, they wouldn’t understand my drawings, much less appreciate them. Nor would they have the means to purchase my artwork. To keep my business going, therefore (and to keep myself supplied with food, and clothing, and shelter), I need a growing pool of potential customers who fit these three criteria. And because I’m Selfish, I want to do everything I can to make more people smart, and healthy, and rich.

I keep trying to imagine how much more successful I could be, (and how much better every American business could be) if everyone in the United States had a quality education, were gainfully employed, and had reliable access to healthcare. Throughout my lifetime, I’ve noticed that one political party has worked toward these goals, while the other has consistently supported legislation that serves, on a very practical level (regardless of its stated intent), to make people sicker, and stupider, and poorer.

And that’s just bad for business.

It seems pretty simple to me: Sick people can’t go to work, and they can’t succeed in school. That means they can’t make money, and they don't get smarter. They certainly can’t buy designer shoes, or Big Macs, or my artwork. They also can't keep up with their mortgages, or contribute to retirement plans. In fact, health issues are the number one reason people lose their homes, and among the top reasons workers lose their jobs. Job loss leads then to even more health issues, higher drop-out rates, and more difficulty becoming re-employed. It also contributes to higher crime rates, drug abuse, and ever greater demands on inadequate social safety nets. 

“But there aren't enough jobs!” I hear people say. “We need more jobs!”

Yes, we do. But under the present system, we’re not likely to get very many. People who have no money cannot buy the things that companies make. Fewer sales lead to decreased production, and that means more layoffs, 
not more jobs.

I wonder what would happen if everyone else in the country suddenly became as selfish as I am. I try and imagine a society where people are healthy enough to go to work, have stable homes, have time and money and motivation to finish school. A social structure where fewer people fall through the cracks, and when they do, there is someone there to catch them. Then I imagine how many more homes, and Big Macs, and pieces of art that these healthy, informed, productive people might be able to buy. And how many more people would have to go to work to make that happen.

I imagine how my business might function if I were suddenly selling tens of thousands, or even hundreds of thousands of pictures. Frankly it couldn’t. Not now. Not without more people working for me.

Isn’t it time for us to make being well a part of the definition of being American? I’d be happy to work a little harder and pay a little more in taxes to make that happen.

But maybe I’m just being selfish.




Saturday, April 9, 2016

You Can’t Do That


“Who is putting up all of these teensy little drawings?” 

the Professor wanted to know.

He’d interrupted his erratic pacing mid-stride, in front of twenty or so versions of a person sitting in a chair, all from different angles, of all different sizes, taped to the wall in a haphazard row.

He grabbed the smallest picture from the line, a plain sheet of typing paper with a two-inch-high figure floating dead center. “I see one of these at every critique. Who is responsible for them?”

I raised my hand.

“You? What’s the matter - are you afraid to make a full sized rendering like everyone else?” Murmured chuckles sprinkled about the room.

“No, sir,” I answered. “It’s just hard for me to finish a large drawing in the time allowed, so I make several quick sketches, and put the best one up for discussion.”

“No one else seems to have trouble making big drawings.” he said, pausing to let the obvious conclusion sink in. “What’s your problem?”

“It’s not a problem, really, just a limitation of the medium,” I replied.

“Really? What medium are you using?”

“A ballpoint pen,” I said, holding up my trusty Bic for him to see.

Not a legitimate artist's medium.

“Seriously?” he scolded. “You’re using a ballpoint pen in an art class?”

Of course I was using a ballpoint pen in an art class. Why wouldn't I? I used ballpoints for every other class: Biology, Chemistry, Physics, History of the English Language. I usually carried at least three of them, color-coding each academic subject with a different combination of black, blue and red ink. The visual difference was quite helpful when it came time to study for exams. Why would this class be any different? 

Here in the Basic Drawing studio, it was the logical choice. I was not an art major. I was just a pre-med who wanted to learn how to draw in one semester – and make an ‘A’ doing it. If I wanted to learn the techniques of rendering forms and textures in an efficient manner, I needed to streamline the process, and focus on what I already knew how to do.
Until that day, my sketches 
had consistently elicited 
encouraging comments.

Charcoal, India ink, Conte´crayon… these were media that required an extra learning curve, additional time to master, not to mention an additional cash outlay at the college bookstore. True, they offered the advantage of covering large swaths of real estate at a single stroke, but that ‘advantage’ also meant I would have to buy large tablets of drawing paper – another infringement on my nonexistent art supply budget. I already had reams of typing paper collecting dust on my bookshelf.

“I didn’t know that there were size requirements on the assignments, Sir,” I explained. “And you did say that we could use any medium.”

Besides, even though my drawings were small, I felt I had managed to accomplish all of the goals set out for us in every studio exercise, representing form, texture, shading, etc., using my familiar, preferred technique.

Until that day, my sketches had consistently elicited encouraging comments.

He reached down and plucked the instrument from my hand, holding it up for everyone to see. “This is not a legitimate artist’s medium. You can’t make anything of substance with such a skinny black line. I don't want to see it in my studio again.” To underscore his point, he confiscated the offending contraband, freeing me from the temptation ever to use it again.

To his credit, the Professor was not being unduly critical. This was his class; he had every right to expect things to be done his way. And I could understand and appreciate his preferences: the man was a painter, who preferred to work on large-scale projects. It was not unusual to see him working on a wall-sized canvas, using a three- or four-inch wide paintbrush. Making artwork on such a miniaturized scale, regardless of detail, must have seemed utterly foreign to him.

Like any reputable instructor, I’m sure he wanted his course to be taken seriously, and probably felt that by refusing to embrace a variety of drawing styles and materials, I would be missing the opportunity to wring the full potential from this class.

Lesson learned, I reached into my pocket, and started constructing the day’s new drawing assignment using the skinny black lines of a No. 2 pencil. It felt good to be a legitimate student again.

Much to the Professor’s delight, I spent the rest of the semester exploring the monotonal worlds of graphite, charcoal, and ink wash, with illustrative side routes into magic marker, and creative photocopying. Once I had distanced myself from the wretched, divisive ballpoint issue, it became clear that my grade point average would be back on track as well.

It was perhaps understandable then that I did not tell my new mentor about the several drawing projects I still had underway in my dorm room, where I struggled on my own to work out the graphic potential of skinny ballpoint lines.

One of these pieces, a whimsical study of a cartoon ant on crumpled beer can, seemed especially pleasing, and worthy, I thought, of submission to the campus literary magazine. The student editorial staff liked it too, and awarded my drawing First Place in the visual arts category – an honor that included publication in the journal, and a cash prize as well.

Twenty-five dollars may not sound like a lot of money today, and it probably wasn’t very much then, either, but to a college student in the early 1980’s it meant a full tank of gas, a six-pack of beer, and at least one dinner date at a decent restaurant.

It also meant that a ballpoint pen was capable of producing artwork that had audience appeal, and real earning potential. I had no idea how important that realization would become in the years following my brief tour through medical training.


Years later, I was fortunate enough to re-make my acquaintance with my former art professor, this time on even friendlier terms, both personally and professionally. My career as a ballpoint artist was rounding out its second decade, and the studio was producing a picture book to mark the anniversary. He was gracious enough to write the introduction for the project.

Of course he took full credit for my artistic career:



Edward Hill, in his ‘Language of Drawing’, stated that the student mirrors his teaching – often through opposition.  When Don Stewart was a student in one of my drawing courses at Birmingham-Southern College many years ago, he was chided for the ‘improper use’ of a ballpoint pen.  Illustrating Mr. Hill’s theory perfectly, Stewart has investigated, tested, and polished the applications of the once-lowly instrument – seeking a new potential rather than settling for the ordinary.  Feathery lines and nubby textures supplement his definitive lights and darks, enticing the viewer further to seek their objects’ whimsical presence.  The visual puns of his devious mind are delivered with a wit and intelligence seldom seen.  As I have half-jokingly related to co-appreciators of his work, I feel personally responsible for his success.

Robert Shelton,
Professor of Art
Birmingham-Southern College
Birmingham, Alabama


I couldn’t agree more.


The Visual Humor of Don Stewart

Friday, April 1, 2016

Bright Future For LED Fireworks


Art Studio Revolutionizes 
Pyrotechnic Industry

FOR IMMEDIATE RELEASE
Birmingham, Alabama
1 April 2016

In a breakthough that industry insiders are calling the ‘most significant advance since gunpowder’, a local art studio has developed new technologies that may literally push the pyrotechnic industry to new heights.

The DS Art Studio announced today its latest artistic collaboration with Volatech Pyrotechnics Corporation and Lux BioSystems to develop an entirely new line of electronic fireworks, incorporating LED light sources and bioluminescence into traditional explosive charges.

Safer than conventional fireworks, these professional grade display pyrotechnics require far less dynamic capacity, since the explosive charge is needed only to deliver the display package into the air, and subsequently disperse the lightweight electronic contents.

“The flying chips then convert the kinetic energy of high-speed movement into brilliant sparkles of light,” says Don Stewart, the artist in charge of the project. “The colors are far brighter, and offer a much wider spectrum of hues over the old chemical combustion fireworks.”

The miniaturized LED displays last longer, too, as the panels can be configured into a wing or propeller shape, much like maple seeds, which allows each of the powerful, tiny light sources to twirl slowly, shimmering all the way to the ground. 

Advanced versions of these high-tech skyrockets may also carry ultra-thin microprocessors, containing rudimentary guidance programs and proximity sensors, allowing each light source to assume discrete positions relative to its neighbors. These so-called ‘Smartworks’ will be capable of forming complex patterns such as the American flag, the Statue of Liberty, or portraits of past or future presidents, completely revolutionizing the Fourth of July experience.

“We are already having informal conversations with a major film producer,” Stewart said. “They want to discuss the possibility of programming our Smartworks to display popular characters in the sky over their worldwide chain of theme parks.”

He was unable to give further details due to client confidentiality.

Maintaining the safety factor all the way to the ground, the airborne lighting components cease to function within seconds of landing, and are made of processed organic materials that are completely degradable and non-toxic.  

CONTACT:

Donald B. Stewart
Chief Visual Humorist
The DS Art Studio Gallery
2805 Crescent Avenue
Birmingham, AL 35209
dsart@bellsouth.net
205-802-4700