carolinapino

09900887990-=09

2006-12-07T22:48:00.000-08:00

i felt in love once with someone who wrote flower words and bullets,
and i had to pay very, very, very high....

but it dissapeared.....
and i had to bring my ashes to NY

shouting / screeming, complaining/crying

2006-12-07T22:40:00.000-08:00

cinco, seis
a funny noise
repetition 200 times
and she stamped her head on the wall
with a blue cloud head on top
and he asked
"r u ok?"
and cinco seis
funny, funny
repetition 400 times
and thanks for bringing my character back
i guess i missed that most of all
of our friendship
writting
and reading u
head still in the wall
somewhere eating cheese
my precious dragon
hope my crazyness doesnt scare u
i am a better person now
and i get lost too
and ego and stuff
cinco seis
funny me
now repeating 600 times
thanks and remember
i lov crying and drama
shouting / screeming, complaining
cursing / crying
and i wish i can
step on a roof with my cape
and
shouting / screeming, complaining
cursing / crying
out loud
about the world, war and love
overall
love
i'm simple too
and many people

superman returns

2006-07-20T09:37:00.000-07:00

asi voy creyendo que se pude, que el proyecto se concreta, que la vida se arma, que puedo vivir en ese dibujo, que pude durar...y de pronto me demuestras que sigue siendo fragil y agarras las cartas y destrozas de manotazo todo. y sigo sintiendome como una boleta vieja en tus manos, en tu cabeza, en mi cabeza, en mi proyecto que me ayudas a definir, con tu actitud, con tu torpeza, tu falta de conciencia, tu falta de humildad. tu maquillaje de humilde. es buen papel el sentir que pertenecemos, es tan contenedor! y cuando caigo (porque contigo es como una gimnasia), me vuelvo a mi lugar, que es como adonde superman hablaba con su padre, pero aca nadie me habla, y no tengo que poner un cristal para que algo se active. aca nada pasa, y esa es la mejor evidencia que me vuelvo adulto, indiferente, manejado, templado. y hablo correcto, y no grito, y no espero, ni pido. solo vivo. y gozo con mi corazon chiquitito, porque el mio es de hielo, y me cuesta sacaro de ahi. no sabes como!
hasta quien sabe cuando, entonces. cuando quieras manosearlo de nuevo. y mandarme con criptonita al fondo del mar.

>>>www.carolinapino.net

2006-06-03T16:08:00.000-07:00

www.carolinapino.net

toys design workshop-jacket nicholson

2006-03-09T14:31:00.001-08:00

i had created a musical jacket to raimundo. he didn't noticed it yet, but it was a good excersise for me and my p-comp skills.
i think people liked it...even though they didn't say anything...
i think it might be a good project to pursue.

first approach

jacket nicholson

p-comp///////oso project

2006-03-09T14:31:00.000-08:00

we haven't name it yet, but i had the greatest time working with my friend rocio (picts coming soon!)
we present it on class and i think people liked that it was physical, rest-station and sex doll at the same time.......

oso project

2006-01-24T22:29:00.000-08:00

PHYSICALCOMPUTING:::::::::::::::::::

////////////////////////////////////////////////////////////////////////////////////////////////
//////ICM - ITP - FALL2005////////////trying hard///////////////very hard//////////////////////almost every hmwk

second approach, first even worse!::::::::::::::::::

boring but i'm getting to catch a bit (am i?)::::::::::::l

series work for me!::::::::::::::::::

wanting to add some sense....what is this?::::::::::::::

series work for me!::::::::::::::::::

with flash i can do this better, animation....:::::::::::::::::

move the mouse::::::::::::::::

web final proj::::::::::::::::

say ok and move the mouse-final::::::::::::::::

flaaaaaaaaaaaashhhhhhh???????

2005-12-13T16:39:00.001-08:00

link final project

flash animation......hard!!!!

////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
//////////////winter show itp - 2005////////////////////////////////////////////////////////////////////////////////

////////////////////

link 2 final project

///////////////

//////////////////////////////////////////////////////////////////////////////////////////////////////////////////

BABYBIKE PROJECT

2005-11-26T22:54:00.000-08:00

BABYBIKE PROJECT-designing for accessibility & assistive technology

COMLab - TECHNOLOGY DEVICE ISSUE assignment

2005-11-19T07:26:00.000-08:00

As I had already mentioned some months ago, when the course started, I had an issue with my electric kettle, which didn't have any separate base, so you had to unplugg it from the whole object-kettle, and spend almost a minute or some seconds in doing this, something extremely important in the morning, for example.
Besides this, the thing that bothered me most was that sometimes I had to have direct contact with water (I never thaught about this before...) and I was not preapred to do so, unless I take a shower.

I really thaught this was an issue, and finally, decided to change it, by a separate-base one.
Now, my problem is another one; this kettle has a kind of stick to set the kettle on the base, so you also take your time to adjust it on the base...I guess I baught it cause it matches with my kitchen. Its cap, its a problem too, since I have to remove it manually (instead of just open it with a "neumatic" button), and still, I have direct contact with water sometimes.

So, is this a matter of taking more time filling the electric kettle with water or having contact with water before taking a shower?

Anyway, I still have issues with this device, that steals me time daily.

KILLING THE MINOTAUR.

2005-10-24T19:39:00.000-07:00

Very spatial, LABYRINTHS comes to open definitely, the space and the architecture of some imaginary space that can be easily built by the images the author describes, even though he became completely blind at the age of 55, this images are set as a labyrinth in a mathematical way in which time and space are two elements related one to each other.
The imaginary space that a mirror can describe, the angle it gives, in whatever position you place it, is going to give its own view, as a determine scene, that never corresponds with "reality".
The idea of inability (from Theseus)to get inside a labyrinth, or the necessity of having a string of Ariadna (myth of "Ariadna and the Minotaur") as the only way to get to this animal, and sacrifice it, (Minotaur, biggest falic symbol depredator of virgins, that hides inside the labyrinth).
The same inability to get inside the reality a mirror shows, the same inability that Borges had when he got blind, ironically being a writer.

Killing the Minotaur is ending with our own inabilities.

"Llego a mi centro, / a mi algebra y mi clave / a mi espejo. / Pronto sabre quien soy". J.L. Borges.

2005-10-15T21:45:00.000-07:00

see txt varios + fotos en este LINK

SOUND PROJECT

2005-10-14T10:31:00.000-07:00

CONCEPT----------hear it at link the plan
file

"When I was a kid, I remember that some words, if not all of them, had
meanings to me that were quite different from what they actually meant.
For example, "viernes" (Friday in Spanish) meant a rainbow spreading
through a cloud, rendered in some very pop colors. Or the word "flower"
for me was an expanse of red fabric. These associations really helped
me to understand, later on, what the real meaning of these words were".

A word, after all, is just the representation of a concept, often times
an abstract one. This idea of free association, matching an image to a
word, caught our attention. Could it be applied with sound as well?
Might this lead to a better understanding of a complex concept?
Could be interesting….

We would like to create a sound essay that examines the relationship
between a concepts representation as words, and its representation as a
sound. We propose presenting some of our fellow students a series
words, and asking them to create the sound (and expressing it audibly)
that would represent these concepts.

PROCESS

We will re-compose the responses, interweaving them with additional
sound effects and samples with the Audacity Software.
1 track or channel for each word or concept.

SOURCES

-Sound captured during interviews with 5 different ITP students

Words and concepts to be used:

-Number 9, Color BLUE , Word INTERACTION, Word MUSIC.

EQUIPMENT

-Marantz professional Recorder pmd660

-Microphone - Dynamic SM57

-Audacity Software, Garage Band (used, finally).

*We had a great experience working together, Terence Arjo is very interested in language and, he doesn't know yet, I guess, but sound is more important to him than he believes, sine he taught me all the time some words, correct my pronunciation and told me some stries about language when he was a kid.
carolina pino.

see pict of robert smithson's boat island, raimundo and carola.

2005-10-10T21:33:00.000-07:00

This is a link to W3C.

INNER IMPULSE (“Building a Character”, C. Stanislavski.)

2005-10-10T21:04:00.000-07:00

Trying to catch the spirit of a single movement happens to be the result of the observation and disintegration of a subject in motion.

Plasticity of movement or the spirit of one motion; in sculpture, when modeling human figure, in photography making of one gesture a single still frame (when taking pictures of nature, portraits or human figure) or painting (as in Bacon’s studies), we must consider the idea of trying to catch the spirit of the subject; this is to enclose hundreds of movements and freezing them finally in one product.

The subject (in my own work, the human figure) gets its own external plasticity, as stated in Stanislavski's text, in its inner sense of the movement of energy. This energy must be consider the one that makes possible the motion and also makes real (to be seen) the external of something that is really an internal energy (force).

To synthesize plasticity, to show in one single piece lots of frames, to make external this inner energy, is that making art comes to recover or really make sense.
The power of synthesis is the achievement that the artist’s hands (got previously by the eyes) have to center their capacity, even when is not necessarily the human figure, or the motion the final goal.

Since also an abstraction of an idea or a main concept can be the “motion”, or the spirit of something/////

Trying to catch the plasticity of motion in one frame, (is it possible that this could be the same as synthesis?) or building the physical form of a character, when the inner becomes external, not only by observing motion, but experiencing it.

FROM 2-D TO 3-D. (A.RODCHENKO-THE ICONOGRAPHY OF SPACE)

2005-10-10T21:00:00.000-07:00

When revealing another vision, or a new vision of something that already exists, sometimes we call it Art.
Some Rodchenko’s minimalist structures were the base to other artists of cubism (see Picasso’s famous photo when drawing with light), minimalism (Sol LeWitt) and Russian constructivism (Malevich)
The first one in using some elements that were only for mathematicians, Rodchenko’s work in sculpture could open new paths or bridges, towards the worlds of 2 dimensions and 3 dimensions. This is idea of substract the main lines of a determine force, gave his work a strenghtful way of conceiving sculptures from 2D, putting together planes to finally build an object in the world of space. Maybe this is why he could narrow the ways in between the image and the object, as we can see on his work as a photographer.
His work with geometrics was later considered as the firsts steps towards kinetic art. Brut Art also gives him some tribute because the early use of cardboard, and raw materials, in despite of traditional aesthetics, Rodchenko’s incredible ability to work with the minimum of materials; and maybe the most important contribution, is made to the engineering world, demonstrating that laws of structural organization of the material are universal, and remain their structure when changing the scale.

Rodchenko is the sketcher of the space, traducing the concept of drawing and structure into it, as if it were a commonly way of explaining the object’s world.

Making objects from planes is maybe the best way of understanding the space.

ORIGAMI: TENSION AND COMPRESSION

2005-10-10T20:58:00.000-07:00

The invention of the Wire Wheel (1975) was a tensional integrity, a perfect system (synergy, or the behavior of the whole is predicted by the behavior of the parts) that could worked because tension and compression were acting together, the same way as in Buckminster’s Geodesic Structures (from studies of beam and column, he could establish new structures).

I had worked with polyhedron origami for a couple of years, making installations. I had solved a lot of problems related with structures, since these type of work don’t use any kind of glue, or other way to put the modules together, but using the same cavities of the folds, and considering the scale I use is big enough to have a person inside its structure, tension and compression in working with geometrics and origami, had made me think, work out and solve hundreds of “compression-tension” problems to remain the truth of this ancient practice (its own grace), and dealing with some big troubles sometimes in art exhibition who is people.
People standing inside, trying to guess the material, talking aside…
The whole structures I had worked on are made of folded paper (thick, big size papers), making modules, for then put them together and making these big geometrical structures.

Tension and Compression had become an issue in my work, because an origami structure will only support itself when all the parts are put together. Here tension plays the most important role; each module has to wedge or match into the next one.
It’s a system; it depends on each part to stand the whole.

2005-10-10T20:54:00.000-07:00

ComLab - photoshop assignment

2005-10-07T11:18:00.000-07:00

PHOTOSHOP ACTIONS

1) Carolina suggested a story along the lines of an attack of the
killer appliance
2) We met and took some pictures in my bathroom of me using a
hairdryer with a sheep mask on
3) We settled on a storyboard involving 5 pictures- one shot showing
my vanity (which we never took),
2 different days of my using the hair dyer and the hair dryer getting
annoyed with me, and 2 shots of the hair dryer deciding to jump into
the bathtub, but finally just strangling me with its cord
4) Since we couldn't meet again right away, Carolina decided to
create the first vanity shot by superimposing my cut-out form over a
picture of my closet. She then used the brush tool with a vertical
line airbrush setting to create a feather stole for me.
5) She also used the filter gallery to change the look of the tiles
in the last two shower shots.
6) Using the shape drawing tools and filters, she added bubbles.
7) With another special airbrush application, she added more bubble
fuzz in the tub.
8) Using the magic wand tool she filled the hairdryer color in the
last two shots with different colors.
9) Using a variety of brushes she hand-drew the evil smirk on the
hair dryer's 'face'.
10) For the last shot, she imported the smirk image from google
images and transformed, and superimposed on the hairdryer.
10) Then we went over all the applications she had used and she
taught me some new skills.
11) I took all the photos home and wanted to fill out the storyline
in the beginning.
12) I thought my head looked too small when super-imposed in the
closet photo, so I used the magnetic lasso to copy and paste an
inflated head from another shot. I then moved this new layer so that
it would be underneath the layer with my whole body. I then erased
the head in that layer so the new one would show through and the
stole would wrap around more naturally.
13) I added the thought bubbles to the two blowdrying shots with a
semitransparent airbrush tool.
14) I used the magnetic lasso to copy and paste the sheep head and
the blowdryer into the thought dialogs.
15) I used the transform tool to change their size.
16) I added a text box and put in the 'greater than' sign.
17) I found a flame thrower image on goolgle images, imported to
photoshop, used the magic eraser to erase everything but the flame. I
then shrunk it and dragged it to the blowdryer.
18) I then used a semitransparent airbrush to create the charring and
smoke on the sheep's face.
19) I used similar techniques to 'beautify' the sheep's face in
another shot.
20) I wanted to create another couple of shots of the hairdryer
brooding in its dark drawer, becomeing enraged with jealousy, and
plotting out a jump into the bathtub, but I didn't have access to a
camera in time
21) I would also have liked to tie up the story by giving some
explanation as to why the hair dryer didn't jump in the bathtub,
which was the original train of thought . . .
. . . but we did not get that far.
This is a link to W3C

from robert smithson's islandboat exhibition

2005-09-28T00:02:00.000-07:00

Waiting for the Face-to-face Experience.

Even though physical art is shown at physical spaces, it’s supposed that this kind of works is not necessarily part of a physical experience (from the viewer’s side).
Traditional art work it’s conceived to be shown at galleries or museums, or be at least, experienced by people “face to face”.
This weekend my partner and I were waiting for the “Island Boat” of Robert Smithson at peer 46 of Hudson Park, information we get from the Whitney Museum’s website, in which a QuickTime movie about this project was shown. Movie that was really amazing, since it showed all the way this group in charge followed so as to end the “Island Boat” project. I was very thrilled about finally experiencing this work on my own.
We waited for almost three hours for the boat to come, and all of the sudden, my partner and I had realized that the island was just in front of us, some meters beyond, but there it was at last! Poetical, indeed.
After that, and before registering the work of Smithson, I thought about the essence of the entire thing, and I asked myself: wouldn’t have been enough just watching the QuickTime movie at the Internet?
The face-to-face experience had its own charm in the whole experience: waiting for the boat to come, run to try to get a better view, enjoying the beautiful day…
But, can you have a critical point of view or simply an aesthetic joyful without considering these matters?
What it’s really the good part of this all?
It’s true that this work of Smithson it’s a real amazing project, considering some other people had made it on his behalf, though.
A floating island trough the Hudson River, bordering the island of Manhattan, reminds me Smithson’s words about getting “back in the desert of New York”, while filming to the “Spiral Jetty” some short-cut

About the DIGITAL ARTS text

2005-09-27T08:44:00.000-07:00

Changed space-text.
(Once erased)...

I had move in to NYC a week ago, and I had really have to get used to small spaces, and small spaces where to live is a matter that I haven't really dealt with before. Beyond this, I was trying to get something to storage my clothes, or building a house of nothingness.
I went to the container store (if that is the name) and could realize how many different kinds, sizes and materials of boxes were there. And more than this, how important is to people to get things inside boxes, but what for?
Make them last longer, clean up the space?
If the reason is to clean up the space, well, then what is the real space we have over here? Are we giving more importance to place things, more than place people?
In the other hand, if the reason is to preserve them, I guess we come back to the same idea: is not enough to control useful space (the space were we live in), but also the space we don't use?
So, here we come, trying to get all the space we can, now trying to control virtual as well (virtual art). Hundreds of boxes put together in one single space, containing things that we're probably never going to see again, or remind they even exist.
This same idea, which I take to the museums or collectors that preserve pieces of art inside them, works that haven't be seen for more people than the ones that had seen them inside books.
I can see it's a world of things, and I love this idea. Inanimated things all over, living inside our houses, using our closets, tables, cars, bodies. The things that are becoming to get alive, wake up from their boxes and live their lives.
Interesting mixture for one space that have to deal with animate and uninanimate "things", if we can put ourselves in the same level, since we give better treatment to these "things" than to people.
ThinglyWorld.

An Act of Faith (about Bill Viola's text "Statements").

2005-09-27T08:34:00.000-07:00

The mind of the viewer is where art work come to finalize, since it is a reflexive, abstract and unlimited number of ideas, wich are not allowed to be completed, unless the perception, and most important, information a viewer can achieve.
The idea about watching a video, and being able to see one frame at a time, can be transfer to the space in its whole dimention. This is, an object, can only be appreciate or seen by a viewer by only one of its side, then the viewer must take some steps to embrace another face.
A viewer it’s only able to construct the totality of an object, wich does not exist in any other place but inside his mind. So, the perception of an object (whatever its size is) is really an “experience” in wich we are able to smell, hear, touch and even taste the object in order to comprehend its nature.
This is what I call an act of faith.
Standing in front of a grave, a big mass of stone basically. Big shaped stone, grey and cold, doesn’t mean anything on itself. It is then when the viewer, among its own perception, mixture of senses that can’t be put away from information, gives this grave a sense, trough the act of faith. Believeing on this shape, binging life to deathness.
Standing in front of a piece of art, necessarily, takes ourselves to the biggest act of plundering.