Contemporary Art

meetsWeb 3.0

Images on the Web

Our Research

“The Rest of the Story”

What is this image?

File name: tcimagesm.jpg

a photographic image of clouds covered with 'tags' and phrases describing the

content of the picture. It is a graphic illustration used in a power point presentation called “Artspeak” given at

Artel Gallery Pensacola Florida June 17, 2008.

http://www.carmapro.com/tcimagesm.jpg

The cloud image on a web page

Google looks for the name of the image itself (if it knows that

it exists) or words which are found on the page (or are contained within the page

whether they are visible or not) and then displays the result based on how many other

pages link to it.

•Sets•Collections•Groups•Tag Clouds•Tag Clusters

Builds aFolksonomy

A real ‘tag cloud’

Turkey Tag Clusters -the Country, the Food, the Bird

What are those ants doing there???

Cooperating over food in

Turkey of course!

Stock Image Database

•Database technology•Professional taggers•Mechanical assistance

Better Results

Museums with controlled vocabularies

Art educators - academic,

image sharing sites,News agencies, IPTC

Stock image providers

Our Research

What we are aiming for…

categories created manually

Costly: in time and man-hours

Automated webpages; keywords added in IPTC headers

Adobe XMP output

<?xpacket begin="" id="W5M0MpCehiHzreSzNTczkc9d"?><x:xmpmeta xmlns:x="adobe:ns:meta/" x:xmptk="3.1.1-112"> <rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <rdf:Description rdf:about="" xmlns:tiff="http://ns.adobe.com/tiff/1.0/"> <tiff:Orientation>1</tiff:Orientation> <tiff:YCbCrPositioning>2</tiff:YCbCrPositioning> <tiff:XResolution>3000000/10000</tiff:XResolution> <tiff:YResolution>3000000/10000</tiff:YResolution> <tiff:ResolutionUnit>2</tiff:ResolutionUnit> <tiff:Make>NIKON CORPORATION</tiff:Make> <tiff:Model>NIKON D50</tiff:Model> </rdf:Description> <rdf:Description rdf:about="" xmlns:xap="http://ns.adobe.com/xap/1.0/"> <xap:ModifyDate>2008-06-12T00:02:13-04:00</xap:ModifyDate> <xap:CreatorTool>Adobe Photoshop CS2 Windows</xap:CreatorTool> <xap:CreateDate>2008-06-11T22:56:53-04:00</xap:CreateDate> <xap:MetadataDate>2008-06-12T00:02:13-04:00</xap:MetadataDate> </rdf:Description> <rdf:Description rdf:about="" xmlns:exif="http://ns.adobe.com/exif/1.0/"> <exif:ExifVersion>0221</exif:ExifVersion> <exif:FlashpixVersion>0100</exif:FlashpixVersion> <exif:ColorSpace>1</exif:ColorSpace> <exif:ComponentsConfiguration> <rdf:Seq> <rdf:li>1</rdf:li> <rdf:li>2</rdf:li> <rdf:li>3</rdf:li> <rdf:li>0</rdf:li> </rdf:Seq></exif:ComponentsConfiguration>

<exif:FocalLength>550/10</exif:FocalLength> <exif:SensingMethod>2</exif:SensingMethod> <exif:FileSource>3</exif:FileSource> <exif:SceneType>1</exif:SceneType> <exif:CustomRendered>0</exif:CustomRendered> </xapMM:DerivedFrom> </rdf:Description> <rdf:Description rdf:about="" xmlns:dc="http://purl.org/dc/elements/1.1/"> <dc:format>application/vnd.adobe.photoshop</dc:format> <dc:title> <rdf:Alt> <rdf:li xml:lang="x-default">Tag Cloud Image for Artspeak</rdf:li> </rdf:Alt> </dc:title> <dc:creator> <rdf:Seq> <rdf:li>Margaret Warren</rdf:li> </rdf:Seq> </dc:creator> <dc:description> <rdf:Alt> <rdf:li xml:lang="x-default">a photographic image of a cloud covered

with 'tags' describing what&#xA;is in the picture. </rdf:li> </rdf:Alt> </dc:description> <dc:subject> <rdf:Bag> <rdf:li>graphic</rdf:li> <rdf:li>illustration</rdf:li> <rdf:li>cloud</rdf:li> <rdf:li>text</rdf:li> <rdf:li>semantic web</rdf:li> </rdf:Bag> </dc:subject> <dc:rights> <rdf:Alt> <rdf:li xml:lang="x-default">(c) 2008 Margaret Warren</rdf:li> </rdf:Alt> </dc:rights>

Current Image annotation products - better data for images, but still keywords…

…the process is time consuming and user knowledge of software is required.

Image header data is lost in uploads to photo sharing sites.

• <back to old format>• Last concept map

<owl:Class rdf:about="http://localhost/default#convergentLineGroup"><rdfs:subClassOf rdf:resource="http://localhost/default#PictorialElements"/> </owl:Class> <owl:Class rdf:about="http://localhost/default#ScenicElements"/> <owl:Class rdf:about="http://localhost/default#a"> <default:timeRelatedCategory> <rdf:Description rdf:about="http://localhost/default#afterRain"> <default:accountFor> <rdf:Description rdf:about="http://localhost/default#wet_surface"> <default:CycIsa rdf:resource="http://localhost/Cyc#SurfaceOnTangibleObject"/> <default:CycIsa rdf:resource="http://localhost/Cyc#LiquidTangibleThing"/> <default:scenicElementIn rdf:resource="http://localhost/http#//purl.oclc.org/NET/CAMP/images/06/confluence"/> <default:educe> <rdf:Description rdf:about="http://localhost/default#saturated_deep_blue_purple_magenta_colors"> <default:pictorialElementIn rdf:resource="http://localhost/http#//purl.oclc.org/NET/CAMP/images/06/confluence"/> </rdf:Description> </default:educe> <default:educe> <rdf:Description rdf:about="http://localhost/default#gradations_of_color"> <default:pictorialElementIn rdf:resource="http://localhost/http#//purl.oclc.org/NET/CAMP/images/06/confluence"/> <default:suggests rdf:resource="http://localhost/default#confluence"/> </rdf:Description> </default:educe> </rdf:Description> </default:accountFor> </rdf:Description> </default:timeRelatedCategory> <default:duringPartOfDay> <rdf:Description rdf:about="http://localhost/default#lateAfternoon"> <default:accountFor> <rdf:Description rdf:about="http://localhost/default#low_angle_of_light"> <default:educe> <rdf:Description rdf:about="http://localhost/default#a_yellow_gold_quality"> <default:pictorialElementIn rdf:resource="http://localhost/http#//purl.oclc.org/NET/CAMP/images/06/confluence"/> </rdf:Description> </default:educe> <default:scenicElementIn rdf:resource="http://localhost/http#//purl.oclc.org/NET/CAMP/images/06/confluence"/> </rdf:Description> </default:accountFor> </rdf:Description> </default:duringPartOfDay> </owl:Class>

Other methods we are exploring – •Multiple sources of data

•Statistical analysis of images

•Enriching existing tags with more detail

•Capturing more knowledge when users are tagging

•On-line games for discovering content

We apologize for the bulleted text…boring, academic power point slide…

No we can’t do it all –

Might be successful at some things…

the tags: ant, turkey, food, cooperation - would require

someone to LOOK at the image to

interpret.

But

content: ants, food where: turkey

activity: cooperating

is meaningful

The Rest of the Story

Ideas that might be helpful in describing your art for “The Rest of the Story”:

Use these as a guideline - (you don’t have to answer each line and turn it in)

Who (subject(s))?What (scene)?Why (you titled it, perhaps)?When (significant event)? Where (significant details about the scene or where you were when you created it)?Was the piece created from something that came from a dream? Are you illustrating an experience you had? Describe the experience. List some keywords or phrases and follow your stream of thought…How would you describe the lines, colors, textures, space ?Describe the piece in terms of balance – symmetry/asymmetry, focal points proportions, rhythm, emphasis, harmony, variety, unity.How would you describe the piece for a museum show?How would you describe it for someone who has never seen the work?How would you describe subjects in the piece – their actions, moods, activities? What does the work remind you of? At what point did you know what the piece was finally going to look like?How is this work like something else you’ve seen? Describe regions or parts of the piece…depth, perspective, colors.What is the most important part of the piece?What do you want other people to remember about the piece of art? Why do you want to show it? What was your intent?

How would someone try to FIND your piece of art on the internet?

Abstracted composition -- photo of a piece of distressed plywood that's been a part of the footpath from my parents' house down to the waterfront over the sand dune of sugar-white sand. I paid particular attention to placement of the intersection at what, visually, I estimated to be the intersection of 3/5 of the way horizontally (from left to right) and three-fifths of the way vertically (from bottom to top). The repetitive lines of the woodgrain, especially in the lower right where they become diagonals, and in the curves at the center of the composition, suggest motion. I see muted versions of brick red, mustard yellow and red violet in the wood, as well as the silver-gray we usually think of when we picture weathered wood. 

Oil on wood. 2003. 30" x 48"This work was collaborative, up to a point. The wood, with holes already in it, came from my architect friend Luis, who was disassembling structures in his Harlem apartment as he prepared to move to Barcelona. I later ended up skteching some loose forms in pen and acrylic in collaboration my friend, Enrique Luna-Holder on this piece of wood and the companion (see below). Interestingly enough (to me) Enrique is first and foremost a musician, known as Soundscraper, but our musical collaborations set the tone for visual interaction. The sketches provided a loose framework that I later filled and improvised upon, using black white and gray on this image, and in blue on the companion piece. When I reached an impasse in my pattern on this piece, I decided to fill in the remaining wood portions of the work in red, thinking of the very graphic colors of the compositions of the Constructivists. I was horrified that the curves, suddenly suggesting somewhat gothic abstact shapes, with the bright red coming out between, now seemed to suggest the explosion and collapse of the World Trade Center. I saw it immediately once I had added the red. Living in New York City my whole life, and having been here that day in 2001, I had no intention of making this my subject matter. Over time I've come to some peace with this, and think of the two pieces as 'Fire' and 'Water'. It is still alarming to have a work take on a life of it's own inthis way, and certainly makes me think of the Surrealists' ideas of the unconscious, or automatic processes.

This constructed piece is partly a kind of testament or hymn to my adopted country (the USA). It is a fragment of the US flag, ripped from its usual context and made so as to suggest something that has survived a terrible series of disasters and is flawed and damaged, yet still retains a core of its original vision and is still beautiful. The careful suspension inside a box frame suggests an ancient precious object in a museum. The stars are made from various materials, all different from one another and from the background sheet, which is painted steel. The centre star is burned copper, haloed with interference powder which changes color as one walks past the piece. The background is distressed by hammering, scratching, corroded, power sanded and cut with grinding wheels, then colored blue with with auto spray enamels, acrylic paints, heat treatment, ink, varnish and interference colors. Most of the materials used in the work are pieces of wreckage retrieved after the 2004 Ivan hurricane. More prosaically, the piece is also an exercise in broken visual symmetry, with the regular pattern clashing with the irregular colors and materials of the stars.

I was born on a farm in Georgia. I’m inspired by rural scenes of farmland.

My love of horses is a favorite source for my paintings. Sunlight makes me feel warm and happy so I love shooting

pictures of light.My cat, Rosie, is a wonderful subject. I am really pleased with this painting.

Information that doesn’t describe the image

A list of useful tags or tag phrases would be better (though not preferable)

brothers boys break dancing island people happy Grand Turk cutting up antics showing off hamming it up

editorial custom edge treatment Photoshop backlit backlighting outdoors natural light

backstreet youth impromptu audition

Some images are much harder to describe…which is the challenge

Torn Poster (title)

Tagged (by the artist):

AbstractOrangeGreen

•"17" and "18" are both 12" x 16" acrylic on canvas panel. I honestly can't think of anything at all interesting to comment about concerning either painting. It seems like a mistake to talk or write about art but I know exactly how I felt when I made them and I know what I see when I look at them and that seems like enough for me.

I am making the title up for this piece because I don't remember the title it had when it was sold. I'm sure it wasn't "Blue Rectangles and Diagonal Strips Interrupted by Horizontals, 2 P.M." which works for me but might seem prosaic to potential buyers. And to me this is far from a prosaic painting. I painted this very ordinary subject because, to me, at that moment, in that light, those sagging blue mattresses were achingly beautiful. They stopped my car and pulled me in. When I started this picture the big questions were about shapes, values, and placement. I wanted to figure out what made the scene interesting to me and paint the elements that would convey the same feeling to others. I left everything else out. To me this painting is like a very short story where everything that is there needs to be there, everything has a place and is in it. I think nothing could be taken away or added to this picture without changing the way it makes me feel when I look at it. At least I hope that is true since that was my intention.

I am a member of a group of artists that meet weekly in Life Drawing sessions. We have been meeting for many years and so have become "a family"in a way. Sometimes members of the group also model for the group from time to time. The model was a very good friend of mine with whom I have drawnfor years. She is always quite active and articulate; a side of her I knew well.

When she poses, however, another element of her nature appears: a quiet inner peace. This piece is from a drawing I did of her during one of our sessions. When I studied the drawing the next day in my studio, I was struck at how strong the sense of inner peace came through in the drawing: this and the quiet beauty seen in the drawing gave me a sense of awe and wonder at how the spirit between artist and model can generate real art. When I was asked to produce a graphic for an invitation to one of theopenings at a local art gallery, I used the head from this figure drawing because of the great sense of inner peace I got from it when I saw it and how it made me feel about the subject and art itself.

A piece illustrating what floats to the surface (and what falls to bottom) during a process...- it’s both personally representational of a psychological process in my life but the symbols (floating leaves in a pond, reflections on the surface, childlike expressionist scribbles, a hand/foot reaching towards a light which might be above or below) can also be interpreted uniquely by all persons. One dictionary definition calls Precipitate: A product resulting from a process, an event, or a course of action. In chemistry, it is a solid or solid phase separated from a solution. The word, from the Latin: Praeceps - to throw headlong into, the adjective also means “Acting with or marked by excessive haste and lack of due deliberation.”  - Margaret Warren

Around 2:00 p.m. on a Wednesday, I looked out toward the water and saw how light green it looked against the horizon, with the sky a deep, dark blue above it. There was a thunderstorm building over Eglin Air Force Base, at the far eastern end of East Bay in Santa Rosa County, Florida. I tried, but couldn't capture the lightning, nor the big mullet jumping, once in a while, near me. I was standing on a neighbor's dock. The wind was kicking up and my hair kept blowing into the picture, but I got this shot and a few others, anyway. "More deaths in Florida by lighting strike than any other state in the US" -- that's what I kept thinking while standing out there on that pier. I took a risk for this shot, guys.  - Mckenzie Oerting

I titled this piece ‘Confluence’ because to me, it appears that many elements of the photograph converge together: flowing, dripping streams of water; sunlight that also appears to flow; the wet concrete and even the parallel lines of the wooden bench steps. It was taken at California State University Amphitheater in San Jose, CA in 1985; after a late afternoon rainstorm when the light was golden and the wooden seats and concrete were wet and saturated and reflecting a subtle gradation of colors in magenta, blue, and a pinkish kind of gold.

Summer DreamA collaborative

painting by

Margaret WarrenAnd

Pat Hayes