Tag: ryan seslow

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The Cross College, Campus, Course ZINE Collab Project!

Project Title –  “The Cross College, Campus, Course ZINE Collab Project!”

Participating Courses & Campuses:

Professor Michelle McAuliffe’s :: – ART255, Digital Photography Class – Galluadet University, Washington, DC

Professor Ryan Seslow’s :: – CUNY York College, NYC, CT101, Digital Storytelling Class, CUNY, BMCC, NYC, Foundations of Digital Graphic Design Class, Touro College, Graduate School of Technology, NYC, Foundations & History of Design Class.

(4 different participating courses submitted works in total)

Description –

Welcome! This project is a collaborative open education exploration using design, digital tools, the creative human potential and the Internet. It is our intention to generate, discuss and fuse together disciplines through visual communication.

The “The Cross College, Campus, Course ZINE Collab Project” project synthesizes the disciplines of communication technology, graphic design, and digital storytelling courses across multiple campuses. Each course is given the same information and assignment (below) to complete from the perspective of their class content and personal experiences.

As individual courses, we are interested in knowing how traditional design principles relate and contrast with the medium of visual communication and storytelling (and vice versa). We want to understand and share how the use of integrated software applications and web tools translate when applied and presented in a public space. “Public space” has an interesting context both physically and virtually. We wanted to test both.

What will the results be both digitally and non-digitally-(Analog)?

How will the immediacy of publishing to the Internet and the contrast of using public library spaces to experience the same content effect the overall generating and receiving of the works?

What kind of dialog would this create? (This is the short list of questions, we have many more!)

This project begins today 11/12/2019 by introducing the specifications of the project and publicly inviting other professors, students and courses to join in! Are you interested?

 

PART 1 – Design

Design  SpecificationsLets simulate, You have been selected to contribute 1 page to a collaborative magaZINE that produces a rare publication in both a (DIY) Do it Yourself printed edition and an online digital version.

 

*Your submission to the publication will creatively communicate an illustration that displays how:

“Technology and creativity are powerful tools for fueling communication, inspiration, digital-storytelling and design.”

You have the creative freedom to produce and generate your contribution with full autonomy as to how you experience or define this statement above, however, your final submission should display an integrated composition of imagery (use of layers and opacity) along with descriptive verbiage that has been typeset creatively.

 

*Size Requirements – 8.5″ X 11″ inches vertical, please. (What is the potential of a rectangle?)

Usage of Imagery Participants should NOT randomly use images that are simply just found on the Internet, especially with-out proper attribution to its creator. Please refer to this resource page and work from the numerous repositories of public domain images and creative commons sources. (Yes, you can make your own images and use your own art work!)

Software Skill Showcase – Over the past weeks we have all toggled through learning various techniques and methods working with adobe photoshop and related design tools. All image related composing and manipulations should be generated in photoshop, or another image-making application that allows for a saved out-put as a .jpg or .png file.

Completed Submissions – 

1. I would like to ask all students and participants to publish their completed pages as a blog post describing the process and meaning of your completed page / contribution. You may write the post as a tutorial that maps your process from start to finish. You can then share the link to your individual post when you comment about the project below (in the comments area).

2. Students will save all of their design work and submit one file (.jpeg or .png image file) for both the digital zine publication here on the NET-ART website as well as a printed copy for the print version of the Zine.

( E-mail this file to me – rseslow@york.cuny.edu or rseslow@bmcc.cuny.edu )

 

The Galleries:

 

Professor Michelle McAuliffe’s – ART255, Digital Photography Class, Galluadet University, Washington, DC (below)

 

Professor Ryan Seslow’s – CUNY York College, NYC, CT101, Digital Storytelling Class, (below)

 

Professor Ryan Seslow’s – CUNY, BMCC, NYC, Foundations of Digital Graphic Design Class

 

Professor Ryan Seslow’s – Touro College, Graduate School of Technology, NYC, Foundations & History of Design Class (below)

 

Part 2 – Commenting & Dialog

In the comments section below: all students and participants will respond and react to both the project as a whole (yes, in the comments space directly below) and individually to each other’s submissions. You can click on an individual image in the gallery in this post on the piece that stands out to you and add your comments. (As submissions the come in they will appear starting the 1st week of December 2019).

The Academic Commons is a public platform and space for CUNY and beyond, the C.A.C commons community will also be invited to participate in commenting and creating dialog here. Feel free to invite others!

Please consider addressing the following questions in your comments:

*What common threads or similarities do you see between the submitted works?

*What differences do you see?

*How does seeing all of the works organized into one “space” enhance or disrupt your interpretation of the project and its outcome?

*How will apply this experience into your life? Where will this knowledge transcend for you?

*How do you think the general public will appreciate the project viewing it as a tangible object (the printed ZINES) rather than an online experience? Do you prefer one over the other? Please explain and describe your answers.  The printed zine will be donated to the NYPL’s Zine collection at their 5th Avenue & 42nd Street location – DeWitt Wallace Periodical Room at the Stephen A. Schwarzman Building 

as well also being available at the Libraries of each participating campus as of mid-spring of 2020. 

 

*Due dates –

All ART work Submissions must be received no later than Thursday December 5th, 2019.

All comments, reaction and discussion submissions must be completed below by Thursday December 12th, 2019.

Check out the previous examples from the last cross campus zine collab here! 

The same specifications were used, lets see how things have evolved in the last 2 years!

Have Questions? Reach out!

 

Why Should I Make a Portfolio?

Why Should I Make a Portfolio?

Wait, what exactly is a portfolio? There seems to be a context…or is there?

Let’s define it, and perhaps there is metaphoric value and context in each one of these “traditional definition” examples below..

According to Merriam-Webster’s Dictionary:

Definition of “portfolio”:

1a hinged cover or flexible case for carrying loose papers, pictures, or pamphlets

2: from the use of such a case to carry documents of statethe office and functions of a minister of state or member of a cabinet

3the securities held by an investorthe commercial paper held by a financial house (such as a bank)

4a set of pictures (such as drawings or photographs) usually bound in book form or loose in a folder

5a selection of a student’s work (such as papers and tests) compiled over a period of time and used for assessing performance or progress

Hold up, whoa! I can already feel your inner physiological triggers sending a bright red waving flag to your ego saying: “but making a portfolio is sooooo much work!”.

Guess what?

LET, AND ALLOW FOR THIS HAPPEN!

It is perfectly normal and alright to let your “old-portfolio-definition-self” bleed out. Exercise that energy. Let’s release it. Ill wait….Take a breath, and let’s remind ourselves that things need to be replaced and upgraded. Nothing is static. We learn, we grow, we expand and we can’t allow past experiences to drive the bus on new opportunities and new ways of seeing, experiencing and re-defining things. 

The word “portfolio” is not a bad word. If anything, like anything else, it’s a default term that officially requires your interaction, research, resonance and re-defining within context to who you are and who you are becoming in the process! With that said, let’s think about what the next step is in creating your new portfolio.

Let us understand the “why” part. Why do I need a portfolio? What is the purpose?

Here is a short list (feel free to add more to your updated definition)

  1. To showcase a body of your work. This is obvious, but curating and organizing things with intention becomes very specific. It activates a higher level of awareness and attention to the process / project. You will learn how to get selective, and this takes practice.

2. To show off your strengths, creativity, skills, effectiveness, efficiency, enthusiasm and passion! Of course, this energy translates directly through the work included in the portfolio. This will be what you believe is your best work at the time, but there is context. Keep reading.. (PS – it’s OK to have more than one portfolio to help showcase various bodies of works and projects.) For example, I’m an applied artist, a digital artist, animation-maker, graphic-designer and a professor of art and design. Some of the works in my portfolio can overlap in theory but I keep a lot of the works separate to subject, but enjoy showcasing them together on my website. That’s right, my website is my portfolio. In fact, I have created a few, the links are below to help.

3. Display your process and evolution. Duration is your friend! Nothing shows off progress better than time. A metric of growth shows itself through time. When I look back at the design work I was doing 10 years ago in comparison to today I see an incredible difference in skill, technique, taste and where my thinking and focus was at the time. I also find a lot of ideas that can be pushed and expanded upon with more with my “awareness-of-growth eyes.” I write a lot about my work and share my process. I believe that this helps me reflect and explain myself better.

4. Stand out and show your style and authenticity – There is only one “you” that you can be. Yes, we certainly learn and are greatly inspired and influenced by others, but at the end of the day we must learn how to be our authentic selves. We must learn how to translate that through our mediums of choice. How will you do this? The short answer is through consistent experimentation and practice. Over time you will create your inner curator, and that part of yourself will begin putting pieces together in groups and compartments. The process will build and flow. This aspect is a journey and it too is anything from static. I take great interest in making changes, learning new things and applying them to the foundations that I continue to build.

 

OK, all easier said than done… or is it you ask?

I hope that this post will inspire you to begin! Be patient with yourself. The goal is not to create a portfolio in one hour, and there is no such thing as “perfection”. or the perfect portfolio. Let’s produce a result and discuss that result. Be generous with yourself in the process. 

I admit it. I love to experiment, test, tweak, deconstruct, remix and repeat processes. I treat the creation process of such a task, creating a new portfolio, the same way that I approach making art. Suspend your judgement! Allow yourself to “make something that may really suck” as a first iteration. This is crucial to developing a contrast of your own. Again, you need to produce a result in order to make an assessment about the result. Until you do this, your contrast is someone else’s stuff / thing that has inspired or affected you.

I would like for you to consider both of these portfolio building and displaying options below. Im a huge fan of both the Academic Commons and the OpenLab platforms. (If you are reading this and are not a part of CUNY somehow, then you can easily follow along individually as both the commons and the OpenLab are powered by WordPress.) Using your own self-hosted WordPress based website and account via ReclaimHosting.com – I have created a sample and template / example using both the Academic Commons, OpenLab and my own self-hosted projects that go into the process. I consider all of these links below to be portfolios. Perhaps you have a preference over one or the other? I hope that these links below will help you get started.

 

Lets check out a few examples:

  1. A portfolio website “How-to” example using the CUNY Academic Commons: https://profryanseslow.commons.gc.cuny.edu/

2. A portfolio website “How-to” example using the OpenLab: https://openlab.bmcc.cuny.edu/portfolio-ryan-seslow/

3. My personal website- this is my own domain and my own self-hosted website (WordPress) – https://ryanseslow.com

4. This is also my own domain and a self-hosted website to showcase a body of work (WordPress) – https://Situationalfiction.com

5. Of course, the NET-ART website here on the commons also functions as a portfolio and online platform for various galleries, blog posts, online exhibitions and selected works. Take a tour.

6. Looking for more examples? Contact me, lets chat!

 

Feel free to leave your questions and feedback in the comments section below! Lets add to this post together!

Or contact me at – rseslow@bmcc.cuny.edu

 

LaGuardia CC Linguistic Landscape Students Rock the Digital!

 

GIF the Portrait, A Collaborative Contribution, ELL101, Spring 2019

About the Project:

Faculty Instructor: Inés Vañó García
Teaching Artist: Ryan Seslow
ELL 101, Introduction to Language
LaGuardia Community College

ELL 101, Introduction to Language students from LaGuardia Community College submitted a wonderful array of works in the Linguistic Landscapes project, which is also a cog in the Pressing Public Issue project

For the purpose of this project, we stressed how our languages and language practices influence the way we interact with people and how language(s) relates to our role in society. Considering the symbolic construction of the public sphere in NYC, we explored and examined the linguistic landscape of Jackson Heights, in Queens. This approximation aimed to explore the linguistic diversity of the area in context: from a visual/written perspective (public road signs, advertising billboards, street names, place names, commercial shop signs, among other public signs) as well as from a speaking/aural one (interviews, music, background conversations). As a community, we were critical researchers and creators of a digital storytelling that investigated the multilingual and multi-literate sociolinguistic ecology of Queens.

Following this digital storytelling methodology, students discovered and learned about the linguistic diversity in Jackson Heights and how languages shape this public sphere. This project allowed students to investigate different forms and shapes of literacy and to analyze the multilingual and multi-literate sociolinguistic ecology of the neighborhood. Based on our readings, discussions and inquiry, we found an analysis of language ideologies that precipitates the understanding of  the power relations between individuals, groups and communities.

“This final project had the potential to have a temporary physical exhibition at the James Gallery as well as a permanent online presence.”

We are proud to share our outcomes here on the Net Art Website!

View the course website

Making a Portfolio/Project Website on the Commons

Im excited to share this blog post with you today (and beyond as it will be updated and archived). As you all know, I’m a big fan of the CUNY Academic Commons. There are more reasons than I can mention at the moment, but I wanted to take this opportunity to emphasize the idea of how essential and easy it is to create a portfolio on the platform. I know, the word “portfolio” itself has several internal triggers. We almost always associate it with “work” or a “job” and it is time to purge, bypass and rethink this. That part is OUR responsibility. Lets not forget the word “FUN” as a part of this process because it can be the driving force behind actually creating something that you are both proud of and eager to put out into the world- (our community here and beyond).

The URL for my example portfolio on the commons is herehttps://profryanseslow.commons.gc.cuny.edu

The portfolio site is designed as a visual tutorial that gives both suggestions and instructions, it will help you get started. Think of your visit to the site as inspiration on what some of the potentials can be. It is intended to be the fuel that sparks your ideas into action. I’m also here to help, so feel free to reach out. The example website can be applied to a professional faculty portfolio, a collaborative group project, a specific event or accomplishment. This can also easily be the template for your students, and student work, including helping students create their own variations. 

More to come! 

 

The Contemplation of Metaphoric Flight, A Creative Teaching Template

“We need a caption, Phil, I don’t want to disappoint Roz again, help me out here”

Countless memories, the sea air and the seemingly creative blunders of reflective such-ness..what will you contribute to the process?

This is a manipulated image, its a silly one, or perhaps you resonate with it seriously? Either way, we need to adjust the contrast of the art work, please help by listing some of the options we can apply.

This is great fodder for creative inducement, consider the potential of how images speak to us, especially finding value in the subjective. What will you “allow” yourself to share?

Contrasts can be oh so subtle, they can disrupt the default patterns, this is a metaphor! How will you disrupt the pattern to bypass the part of you that clings to the familiar?

OK, patterns can also be very COOL! Patterns are about order, but order is in need of an integration of variety every so often, OK, this is another metaphor, see the pattern? 🙂

A little bit of movement goes a long long way! A little bit of texture goes a long way as well. Seems to me that creative variety is more accessible than we may think..

Ahem, you get the message, right?

“The Contemplation of Metaphoric Flight”, 2019, is a series of digital art illustrations & GIF animations generated from public domain source images via the NYPL digital archives. The illustrations were created by your old friend, Ryan Seslow. The new series of works above were specifically created to be displayed here on the C.A.C as a part of the Net Art website’s ongoing exhibition series. It is intended to serve as a visual example, an accessible template, and the creative potential for displaying, publishing, presenting and archiving such a project. (The whole thing is a metaphor)

Wait! Am I suggesting that an online exhibition, published as a blog post on a unique cross-campus social media network can also be used as a teaching tool? A transparent pedagogical tactic?! Well, yes, yes, I am! Lets dig in.

The original public domain images were cut-out with the pen-tool, composed and applied using adobe photoshop (photoshop is your friend and loves you). Do you need a photoshop pen-tool / cut-out video tutorial? Go Here – The cut-outs were necessary for the first iteration of the static pictures above. (Im referring to the bird portraits and the human clothes used to place their heads onto and into) The cut-outs are handy as they can be saved as both .psd files (the original photoshop documents) and as a transparent .PNG file. The .PNG files have a transparent background, this makes it easy to layer them over and into existing images. Plus they are forever re-usable (variation, variation, variation). But, Ryan, I don’t have access to Photoshop… OK, well, there is a trail versions! Sign up and try it! But after that trail ends, so that you know, photoshop is not required to do any of this. Web applications like Pixlr are free and accessible for all to use in the browser window itself, er, with access to the Internet of course.. OK, you can just download the .PNG files here in ready to use mode (your welcome). 

Click here to access my database, this includes all spiritual GIF making insights and alchemy tactics to engage students!

OK, so, there are a few animations above as well. The first animations above were created in adobe after effects. The renders were pushed to my iPhone and into mobile applications like Glitche (yikes, its only for iOS) and iPhone’s “Clips” video sequence maker (there are alternatives for android) The files can be saved as mp4 or .mov files making it easy to apply the videos into other mobile video editing apps. Filters are fun to play with for more customizing and visual effects. The videos can be looped into GIF animations using great apps like ImgPlay (this app is awesome, it re-sizes, edits, and has multiple out-put sources.) Animated GIFs are great extenders of so many forms of communication! Im hooked on making GIFS! I make them all public domain by adding them to Giphy.com so by all means use them at will! Here is my feed.

Of course, the digital art, illustration, collage, GIF animation aspect can be a great creative course project in and of itself! Indeed, both on an individual level but perhaps collaborating is where the extended creativity and learning takes place. This can be achieved through digital storytelling using a blogging platform just like this one. See that, you find yourself “inside the actual example”! The illustrations above clearly required a caption, captions and or a narrative. Is the narrative fictional? Will you write a short story to support the images or maybe a reflection induced by the sequences of images? What references come to mind or coincide? How can you make the description compelling? Will you share hyperlinks to your references and resources? Will you embed animated GIFs or other snippets of relevant content? Can you recompose this blog post and use it as a metaphoric template for your own class project, assignment, syllabus or exhibition? (Hint, you can easily break free of the digital art example, but it might be fun to play with this as an idea.)

I believe that this example / template series will expand, who wants to collaborate on a creative cross campus project?

And seriously, have FUN with this!

 

2019 MBS_RMS_NET-ART_COLLAB

Welcome to the 2019 MBS_RMS_NET-ART_COLLAB.

Lets get you caught up and give you some perspective, it would make sense for you to click on this link below first:

http://projects.michaelbransonsmith.net/ryan-mashup/

Be sure to click anywhere in the browser window and see what happens!

My good buddy and CUNY York College colleague Michael Branson Smith, AKA – MBS, has learned some serious javascript and web design skills that I have been admiring over the last few years. A few years ago we collaborated on projects such as GIF FIGHT & Animating Transit.

And now, well, THIS! –> MBS_RMS_NET-ART_COLLAB  <—

“A long overdue project”, you may say, but alas, here we are. When you arrive at MBS_RMS_NET-ART_COLLAB Feel free to click on the graphics in the collage windows as many a great surprise compositions await you! Enjoy the iterations!

This project begins in html but lets see how it develops! This project is completely generated in the “pass the buck” style.

As of 5/19/19 it is MBS’s turn to add to the html file, publish it on the Internet and then send it back to RMS for more additions!

“Every Conversation I Never Overheard” A Soundless Video Art Commentary

“Every Conversation I Never Overheard” – a second iteration forward.

Ryan Seslow, 2019, Multiple Channel Animated Video.

I feel that physical scale plays a role in the development, impact and sharing of works like this. I always ask myself, can it hold up on Instagram, Youtube or a website? The answer is obviously yes, but asking the question helps me give it further contexts to look into. There is an old outdated version / part of me that can still recall past teachers and mentors instructing that I shouldn’t share this new “work in progress” on the web until after I have shown it in a more traditional public art space. (How limiting) Thankfully, that is not my idea but one that was constantly shared with me (and the others around me) for many years. I never took that advice. I’m happy about that. I’m sure that I missed hearing a lot of the reasons for why or why not, and that’s also a good thing.

“Every Conversation I Never Overheard” puts an emphasis on the overstimulating visuals that I experience in my daily soundless travels through transit in NYC. As my ability to wear and use hearing aids degenerates rapidly I have been spending more and more time not wearing them at all, especially when I am alone and in transit. The less I hear, the more I see, and the more I see the more I hear inside. (re-read that last stanza) I see in narratives that seem to splice themselves together into a continuous sequence of scrolling communication. This is a first attempt at bringing together the visual aspect of the sentiment and experience.

*This art work is a part of the Ongoing Online Exhibition: “Communicating my Deaf & Hard of Hearing Self”

“The Multi-Self Channel Narrative” is Part 1

“The Multi-Self Channel Narrative” is Part 1 of a new multi-channel soundless Video Art narrative. This piece is set as the background for the additional layers as they develop. This piece was started on March 24th 2019 and created from various art historical images that can be found in open access and public domain resources. This video art work is a simulation of the resources and a visual example of the potential! (More to come on this soon, including a “how-to” tutorial)

Video by Ryan Seslow