About a year or two ago I came across an LCD-based graphic tool or a new media version of a traditional medium; a handheld “digital” chalkboard. Although it is marketed as a Boogie Board by Ebulent Technologies, I took the liberty and privately baptized it as my “Poormen’s iPad,” or PiP for short.
In fact, I have hacked its functionality away from its advertised functionality of being a tool for language-learning for the student of Chinese or similar languages.
It has been my best friend [*1] for quick graphic conceptualizations and it has been making my iPad jealous. Its simplicity in technological functionality, its robustness; its singularity (which most often would be a feature that makes me squeamish) is its attractiveness.
I use it as a steppingstone to start a series entitled PiPart (Poorman’s iPad Art) based on PiP sketches scanned and further rough-tuned them within software environments.
Rough-tuning is a conceptual brush I devised as opposed to fine-tuning whereby the goal is not to polish a concept to the degree of over-production or hyper-perfection (or, rather, the misconstrued perception thereof) but rather promote the degenerate features of perfectly being an imperfect shadow on Plato’s absolutist cave wall whilst being proud of its imperfections; simply because these can exist.
Here is one such idiosyncratic example:
Poorman's iPad Art—PiPart-001
…note, poormen and poorman are intentionally so…
Or, yet another one:
…or:
Poorman's iPad Art-004
[*1]
I suggest to read “best friend” with a tonality of a Barbie™-dolled candy voice.
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About jan—animasuri
anima suri (a.k.a animasuri, animasuri, animasuri, animasuri’10, animasuri’11)
animasuri is an ongoing project using technologies as media, text as sound and sometimes visuals as odors. animasuri is trans-media. It is possibly mixed with irony, possibly with salad or coconuts; depending on the gaseous nature of transatlantic chatter.
animasuri is a rational, calculated forecast of the surreal. It comments and reflects on the perceptions of daily experiences while losing all grips with it. It is highbrow on a low hanging belly.
animasuri provides surrealist BrainNnocularZ containing contextual media from teaspoons to nailtrimmings.
Some of animasuri’s forms drink bear, or cuddle beer. Some pick noses, or snooze with pixies. Others tap on keys or rather let them tap on others. Therefor, animasuri is clearly straightshooting vegan.
animasuri is cerebrally monkey-styled.
animasuri browses through the intertwined visual corridors connecting sound art, visual aberrations, appropriationist art, sound poetry and the spoken or written word. As source material visual bits, conceptual queues or soundbites are derived from pre-existing sonic or other materials, artificial creations and digital errors, environmental record-keeping, bio-confabulation and appropriation of context.
animasuri is ex- in the premature sense of the word.
Etymologically, animasuri is a French-like sourir pickpocketing an Anglican feminist Latin soul. animasuri is not French nor English nor American and surely not Spanish or Brazilian; it is homi in a Bhabha-esque swirl. It is balance found in the chaos of established stereotypes while acknowledging male nipples are trans-national and universally misunderstood.
As a reflection of an extrinsically-labeled happily married white Caucasian Judeo-Christian heterosexual Buddha-lover, animasuri finds harmonious solace in Judith Butler’s “Gender Trouble” without any sexual troubling implications.
Politically left-free, animasuri is capitalistically comfy bathing in loyal conservative strands amidst its progressive left libertarian conceptualizations with a-communist socialist twists.
animasuri contradicts therefor is not.
