Tuesday, April 5, 2016

Art & Belief

"What are the arts, really? Are they subjects, professions, cultural artifacts, or events to attend? Yes, but that is not what they really are. The arts embody a unique learning process that awakens the very core of one's being to life's meaning and beauty. Through the arts we can learn to see, hear, move, and feel with greater sensitivity and understanding. They provide both substance and stimulus for learning the creative process and nurture our capacity to explore the infinite. The arts enable us to communicate important realities that can be shared in no other way. Elder Boyd K. Packer has affirmed that 'because of what [artists] do, we are able to feel and learn very quickly...some spiritual things that we would otherwise learn very slowly."
- K. Newell Dayley, "Centering the Arts in Christ," 2001.

How has art influenced your belief?

Johannes Vermeer, "The Milkmaid," 1658.




How does your belief influence you as an artist OR What does it mean to be a Mormon artist?

Wednesday, March 30, 2016

Fireside Chat


Dana Atchley, "Next Exit"

Here's the assignment description of the Fireside Chat...
Each student will prepare and perform an interactive theatrical performance that addresses some belief that he/she has. The fireside chat will include the student's performance of a (more-or-less) scripted story, accompanied by a visual, audio, audio-visual, or other design element. Students are to rehearse the story and accompanying elements to become comfortable with their performance. Students will meet at an undetermined location [actually the Nelke Theatre] at an undetermined day and time [actually Saturday, April 9 from 6:30 to 10pm] and share these stories. Students will be asked to bring food, friends, and family to enjoy the evening.
To help you get a sense of what we're doing, here's "There is a Such Thing as Truth" by Errol Morris.

And then remember this?



Here is are some additional notes that will be helpful in preparing your 'Chat.' 
  • Most importantly, media is due to Jesse by Tuesday April 5th at midnight.
  • Your media should be thoughtfully selected/created and function to communicate your story and theme. This is not the time to sample crappy stock photos from Google to make a poor power point presentation to accompany your chat. You may use pre-existing images/text/video/audio, but your use of them has to be purposeful and artful.
  • You may use images OR video OR audio OR props OR costumes OR whatever media (or combination of multiple media) you think will best serve your chat. It doesn't matter to me, as long as it exemplifies your effort and creativity.
  • Your performance should be (more or less) scripted and performed BUT NOT wholly pre-recorded. Part of this experience is for you to tell your story in this space at this time. SO, there must be some performed element and some mediated element.
  • Your performance should be no longer than 4 minutes long. Remember how some of those Webspinna Battles got tiresome, and some people had to leave before it ended? Let's stick to 4 minutes or less with each performance. And plan on staying for the duration of the evening.
  • Your artist's statement will require you to reflect on the creation and presentation of your chat, as well as your experience listening to and sharing with other students on the night of the performance.
Here's a link to This I Believe, if you're in need of some inspiration for your piece.

Tuesday, March 29, 2016

Media & Empathy

First, here's this to bridge our conversations from media's relationship with society & community to our current discussions of empathy and belief.



And another thing...



Here is the assignment description for the Exercise in Empathy...
Each student will ask someone close to them to share a story about a difficult trial that he/she has faced. (This someone will need to have an understanding of the assignment and agree to participate). During the telling of the story, students are to practice empathy--llistening intently, asking questions when appropriate, sharing their own thoughts and feelings if invited.Then students will write a journal entry about the thoughts, feelings and impressions that they experienced during and after this exercise and will turn the entry into the instructor rather than post it on their blog. The journal entry must not include the name or relation of the someone or any details of his/her story--students must consider the assignment as a personal practice of empathy not an exploitation of another’s struggles. 
And here's a last intersection of media and empathy.



Monday, March 21, 2016

Media & Community

Here's something to consider...


And another...



And another...


And a last one (perhaps closer to this week's assignment)...



Here are a few thoughts related to your Concerned Citizen project due Tuesday:
  • Remember 1-3 minutes is your time requirement. 
  • Post the video/audio doc on your blog with an accompanying artist's statement that (1) addresses your creative process--how and why did you choose to make this thing in the ways that you did, (2) correlates your piece with concepts from the reading (Goldbard's article) and media from outside of class.
  • A common mistake on this assignment is to overemphasize institutions rather than individuals. Remember that this is not a promotional video for a non-profit or whatever. It is to address an individual's involvement in their community. It should tell a story--one that will probably describe the person's engagement in their community, depict their relationships with others, and give us insight into the personal experiences and motivation behind this engagement.
  • Another common mistake is to tell rather than show. Or maybe that's just a symptom of a potentially larger mistake--forgetting to merge theory with practice. Don't forget what Brad's been teaching you all semester long. While the stakes aren't as high on this week's assignment as your final projects in 185, I expect you to practice those same visual storytelling skills in this little doc.

Thursday, March 17, 2016

Additional Stuff

First, links to

Anna Anthropy's Queers in Love at the End of the World

Lydia Neon's Player 2

and Anna Anthropy's Twine Tutorial 
(This will provide you with some basic game-design skills, but feel free to explore more games and game tutorials to incorporate more sophisticated game elements/experiences)

When you complete your game, please host it online using Philome.la  *You have to have a twitter account to host with Philome.la, so if you're not a Twitterer, or are opposed to Twitteration, save the game as an html file and somehow share it with us online (Google Doc, Dropbox, etc.).

And as always, accompany your game with an artist statement addressing the prompts in the assignment description.

NEXT...


Concerned Citizen (60 pts.)
Students will work in pairs to produce a 1-3 minute audio or video documentary profiling someone that is working to improve his/her community. The subject may be an artist, activist, social servant, community organizer, or an otherwise ‘concerned citizen.’ Artist statements should include a discussion of the dynamic between the agency exercised by the individual and the social, political, economic and cultural context in which he/she is working. 

So, find a partner and start brainstorming who you might choose to profile for next week's assignment.


Tuesday, March 15, 2016

Game for Change

To begin, here is a TED Talk from Nigerian novelist Chimamanda Adichie talking about the consequences of the uniformity and unity of media in 'The Danger of a Single Story.' This is your assigned viewing for the week, so be sure to reference it in your artist's statement next week.

  

 As a reminder, here is the assignment description for the Game for Change.
Each student will create a video game using Twine that raises awareness about a particular social issue that he/she feels has been inadequately addressed in public discourse (and mainstream media). Students' artist statements must refer to at least 3 research sources that address this issue (including news stories, scholarly works, documentaries, etc.), and situate their game (the perspectives it represents and the experience it provides) in relation to these sources. Students should consider the aesthetic presentation of their ideas, the information provided, the political perspective represented, and the way in which the game encourages engagement (in the game and the issue itself).
I understand that creating a video game might seem a daunting task for some of you, but we've had some great success in recent semesters with the assignment and I'm confident that this semester will do the same. Remember to:

  1. Select a social issue that interests you 
  2. Conduct some research to learn more about the issue and understand how it is typically represented in media
  3. Create a concept for an interactive text-based game that raises awareness about the issue.  

And for Thursday, please complete the following:
  • View the TED talk by Chimamanda Adiche above and play the rest of Depression Quest. Be prepared to discuss both in class on Thursday.
  • Especially if you don't feel playing Depression Quest would help you, visit Twinery.org . Do some tutorials, play some games. This should give you an idea of the types of games you might potentially create for the assignment. It's also pretty fun. 
  • Select a social issue you would like to explore in this assignment. It could be air pollution, gender inequality, animal rights, freedom of religion, gun control--whatever you're interested in. Even better, whatever you're passionate (or potentially passionate) about. 
  • Then, start your research. Remember that in your artist's statement, you need to reference at least 3 research sources. So, get started. Read a thing or two before Thursday.

It's time to explode...

...your brains off. Ready? Here we go.

Tuesday, March 8, 2016

Politics & Aesthetics

This week we're discussing the relationship between society and culture, politics and aesthetics. The idea is that there is a dialectical relationship between a civilization's social, economic, and political structures and its art, expression, and thought.  To help illustrate this point, let's look at a few historical examples...

Cultural theorist Raymond Williams defines structure of feeling as being:
...as firm and definite as 'structure' suggests, yet it operates in the most delicate and least tangible parts of our activity. In one sense, this structure of feeling is the culture of a period: it is the particular living result of all the elements in the general organization. And it is in this respect that the arts of a period, taking these to include characteristic approaches and tones in argument, are of major importance. (1965)
German Expressionism



What are some of the salient aesthetic characteristics between these films? What correlation can you find between the stories being told, the way in which they are told, and the historical context of post WWI Germany?

Soviet Montage


Films, like Sergei Eisenstein's Battleship Potemkin, were clearly inspired by the Bolshevik Revolution. But not just in regards to their subject matter. What correlation can you find between the aesthetics employed in this sequence and the politics of early Communist Russia?

Tuesday, March 1, 2016

Glitch Art!


Embrace the Glitch

Here's a cool thing...



On making weaknesses into strengths...




Now, check this out.



Or perhaps even more appropriate for our assignment this week...

Thursday, February 25, 2016

Webspinna Battle

Here's an excerpt from my chapter on "Performing" from Arts Education and Literacies that may help explain the Webspinna Battle a little more.

Mr. Amerika’s [1] twelfth grade media arts class has been exploring different intersections of media and art—interactive installations, performance art which incorporates projections, crowd-sourced-web-based collaborative projects. Really wacky stuff. But these kids ain’t seen nothin’ yet. In the last few days, the class has discussed the ways in which artists remix media—appropriating images, audio, video, etc. and recontextualizing them in their work. Today, as the students enter the classroom, the lights are dimmed. Electronic music hums in the background. The chairs are stacked in the corner. And two glowing computer monitors are positioned on opposite sides of a high table at the head of the class.
Suddenly, Mr. Amerika enters the classroom wearing a red sequined blazer, dark sunglasses, his hair styled into a neon orange mohawk. The students are amused but not entirely surprised, given their teacher’s frequent, odd antics. But they break out in laughter and applause when they see their principal, Miss Bliss, enter the room wearing a full-tilt Ice Queen costume, complete with white faux fur, icicle earrings and a crystal scepter. Without saying a word, the two walk to the computers and face each other. A recitation of Robert Frost’s poem “Fire and Ice” plays, and then suddenly Mr. Amerika clicks and the classroom erupts in series of sonic explosions. Sounds of engines revving and Metallica guitar riffs fill the room. Then Miss Bliss interrupts the barrage of sound with the intro to Vanilla Ice’s ‘Ice Ice Baby,’ followed by sounds of waves crashing and avalanches thundering. The performance continues for a few minutes, each performer furiously clicking and cueing their songs and sounds—machine gun fire juxtaposed with the roar of a waterfall, Nelly’s “Hot in Herre” followed by “Mr. Snowmeiser,” sounds of hot and cold, fire and water, until finally Miss Bliss ends the sonic skirmish with a final, fatal blow—“Let it Go” sung by the ice princess herself. Mr. Amerika bows, as if to say, ‘I’m not worthy,’ and the students erupt into loud applause.
After the lights go up and the principal returns to her administrating, Mr. Amerika explains what just happened. The Webspinna Battle, the class’ next assignment, will require pairs of students to develop personae that embody some concept—Fire vs. Ice, Light vs. Dark, Nintendo vs. Sega, etc. Then the pair will mine the Internet for songs and sounds related to this concept. They will collect these links, creatively mix their collection of audio, and rehearse their remix-battle before they, in full costume, perform a live battle by navigating, cueing and clicking sounds from their arsenal. Mr. Amerika clarifies, “It’s like Street Fighter 2, but with streaming sounds and songs as fireballs. Hadouken!”
“So, can we edit the songs and sounds together and then just play the remix on the day of the performance?” asks one student.
“Absolutely not!,” Mr. Amerika retorts, seeming almost offended at the suggestion. “As artists and media-makers, we’re like recluses, in our studios or our editing bays. We’re creative, but in a private, self-conscious way. Stage actors and dancers, musicians and stand-up comics—even TV weatherpersons!—exhibit their skill and creativity in front of other people, through live, enacted performances. They experience their art…bodily, corporeally! That’s something I want you precious little hermits to experience. Adrenaline!”
After some additional instructions, the students pair up and spend the next week planning their performance. Mr. Amerika works with each pair, helping them craft characters, search the web for clips, and rehearse their epic audio battle. And as per usual, Mr. Amerika is constantly peppering the students with questions about their artistic motivations and spurring them forward with off-the-wall advice.
“Angels vs. Devils? Hmm.” considers Mr. Amerika as he meets with a pair of students. “Pretty heavy stuff. You’ve got to ask yourselves what a couple of young punks can contribute to this age-old battle. Five-minutes of Mormon Tabernacle Choir versus Megadeath is going to get old. So, what do you have to bring to the table?”
The students hesitate.
“You, Beelzebub,” Mr. Amerika addresses one of the pair. “Who is doing your bidding in the world these days? Reeking havoc and raising mayhem at every turn?”
“Um…Justin Bieber?” the boy responds, with a wry smile.
“HA!” Mr. Amerika laughs aloud. “Excellent! You’re on to something. You don’t have to abandon those medieval motifs of halos and pitchforks, but just reimagine them within the context of American pop culture. The Biebs is a perfect place to start!” Mr. Amerika turns to the other student, “And you Miss Celestia?”
The girl responds confidently, “Well, I think if JB is the devil, than Taylor Swift is definitely an angel.” Mr. Amerika smiles with approval. Taylor Swift continues, “And so maybe it’s a battle between pop culture we hate and pop culture we love.”
Bieber chimes in, “I play ‘Blurred Lines’ and you play Pharrel’s ‘Happy.’”
Swift responds, “You play Chris Brown, and I come back with Beyonce’s ‘Single Ladies.’”
“Brilliant!,” Mr. Amerika jumps in. “And remember to consider not only your choices of songs and sounds but also your comportment. How does JB act? Miss Swift?”
Taylor responds, “I think he should be jittery and desperate, frantically clicking away, while I just calmly, confidently destroy him with pure awesomeness.” Mr. Amerika applauds the pair’s smart ideas and continues to help the class develop their performances.
The day of the battle arrives, and the students come to school in full costume—Waking vs. Sleeping, Young vs. Old, Zombies vs. Aliens, Harry Potter vs. Star Wars. It’s better than Halloween. The students have carefully selected their audio clips, exploring soundboards and online games, preparing live collages of movie quotes, sound effects, famous speeches, and pop songs.  
As the first pair of students takes their places at the computer monitors, Mr. Amerika addresses the class. “Welcome gladiators! You have prepared well for this moment. But remember to ride the flow of the experience. If it makes sense to improvise, to rip into a face-melting solo, to pull a wicked killer combo, follow that impulse. Ready…Fight!”
It’s a riot. Pair by pair, students perform their battles, prompting applause, laughter and dancing among the crowd. But perhaps even more fun, is that between battles, the students take turns, impromptu, taking the open mic to freestyle rap, do impressions, cover popular songs, and tell funny stories. One kid even performed some tricks with his skateboard on the scuffed linoleum floor. Needless to say, by the end of the class, a crowd of other students and teachers has congregated in the back of the class and in the adjacent hallway to get a peek at the performance.
The following day, Mr. Amerika discusses the Webspinna Battle with the class. He starts by simply inviting their unfiltered responses, which include the word ‘awesome’ quite a bit. Eventually, some more substantial reflections are made.
One student offers, “I really liked coming up with an idea for the battle. Characters, costumes, sounds. Finding things that fit together to make an interesting, tight performance. Ours was Waking vs. Sleeping, which makes sense because that’s a battle I fight every morning.”
The students laugh. Mr. Amerika responds, “Costume design, sound design, scoring, acting and choreography, even. These are all elements we’re familiar with in movies, and they’re all here. But in a jumble. But you did a great job at making this mess a unified mess—aesthetically, thematically. Talk to us about your creative process, you two.”
Waking and Sleeping discuss how their initial idea was to take something from everyday life and make it artful. “Who doesn’t debate pushing that snooze button? It’s something we all relate to, but it’s not something we usually think of as material for an art project.” They continue, discussing how they designed their characters—Sleeping came in rumpled pajamas, with messy hair. “I didn’t even brush my teeth or take a shower that morning. You know…for the sake of authenticity.” Waking, on the other hand, wore a bright yellow warm-up suit, and admitted to drinking no less than three energy drinks that morning.
The discussion continues. Later, a student adds, “I thought the coolest part was all the cool talents that people ended up sharing in between the battles. That was…”
“—Awesome?!” interjects Mr. Amerika. “Yes it was. What do you think class? We’ve made a lot of cool art together in class, but no one has ever spontaneously done impressions in here. Why?”
A student responds, “Probably because you’re getting us to feel comfortable around each other. We dress up and do this battle, and we’re free to let loose a little. But that creativity and that energy doesn’t end when the assignment ends. It just keeps going.”
Mr. Amerika holds his hands to his face. “I think I may weep. Thank you…Thank you all.” The bell rings, and the students continue to their next (and inevitably far more boring) classes.




[1] While my own media arts students perform a Webspinna Battle, I owe the idea for this activity largely to Mark Amerika who’s Remix Culture course at the University of Colorado, Boulder has held Webspinna performances for years. For more information on these performances, check out “Net Sounds,” a special issue of The Centre International D’Art Contemporain de Montreal’s Electronic Magazine edited by Amerika.

Remixing: A Primer

To help you figure out how you might remix/recontextualize/re-envision/mash-up etc. the text that you've chosen for this assignment, here are a number of different processes or approaches you might try out.

Adding - take something, and add something else to it


 

Cutting - take something, and then cut some things out of it...



...and then maybe, reassemble those things into something new...



.

Manipulating - take something and change its form, but not its content...

...for example, slow it down...


...or...(actually, I don't even know how to describe this...)


Covering - take something and re-make it...

...maybe in a different medium...

 

...or a different style...

 

...or maybe in a different genre...



...which leads us to...

Mashing - take something and combine it with another thing

"There Goes the Neighborhood" by Coran Stone



Revising - take something and change its content...

...for example, swapping the genders of the main characters...

 
Expanding - take something and add more to its content...

"Snowy" from Fallen Princesses by Dina Goldstein



De-centering - look at something from another perspective from within that something

Star Wars: Tag and Bink are Dead from Dark Horse Comics



Iron Man fan fiction by obsession_inc - read it here



Recontextualizing - take something and put in a new place, time, circumstance

"BERNABE MENDEZ from the State of Guerrero works as a professional window cleaner in New York   He sends 500 dollars a month" from Superheroes by Dulce Pinzon



Transforming - take something and make it something entirely new (yet still kind of the same)



Also, this is a cool, related resource from Jonathan McIntosh (the guy behind Buffy vs. Edward, etc.)

A history of subversive remix videos before YouTube: Thirty political video mashups made between World War II and 2005 - by Jonathan McIntosh

Textual Genealogy

Opening titles from King's Row (1942). Score by Erich Korngold (and starring Ronald Reagan!).


And then there's this, from 500 Days of Summer (2009).

Tuesday, February 23, 2016

Textual Poaching

Here's the description for the Textual Poaching assignment:
Each student will choose an existing, mediated representation of the culture, race, ethnicity, gender, nationality, religion, etc. with which he/she identifies. The representation may be in any medium—film, photograph, visual art, poetry, literature, advertisement, news article, song, music video, etc.—but it should be older than the student. Students will remix the representation so that their new creation demonstrates their negotiation of this aspect of their identity and how it has been historically represented in media. Artist statements should include a discussion of the correlations and contradictions between his/her ‘self ’ (perspectives, practices, etc.) and this historical representation of this aspect of his/her identity. 
We've discussed how the complicated process of making meaning of media texts, and the dialectical relationship between media and self. Let's look at a few examples that may help us out further.

L.H.O.O.Q. by Marcel Duchamp


Duchamp's taken Da Vinci's Mona Lisa, drawn a mustache on it and included the caption "L.H.O.O.Q." (which in the French pronunciation resembles a mild sexual innuendo). Now, why would Duchamp do this?

The Grey Album by Danger Mouse



Danger Mouse has taken the Beatles' White Album and Jay-Z's Black Album and created a series of sample-based songs called the Grey Album. Why would Danger Mouse (Brian Burton) do this?

Cinderella+++ by Eileen Maxson


Maxson has re-cut scenes from animated Disney classics with dialogue from contemporary film and television shows. Why would she do this?

Rebirth of a Nation by DJ Spooky 

Watch a clip from it here.

DJ Spooky has created an audio-visual remix of D.W. Griffith's (in)famous film Birth of a Nation (1915). Why would he do this?  

So, to clarify, I am going to evaluate your assignment according to the following criteria:
  • Did you identify one aspect of your identity to explore in this assignment? Did you select one historical media representation of this aspect of your identity? Did you alter/manipulate this representation in a way that demonstrates your negotiation of how you are being represented in media? 
  • Did you consider (as mentioned in the assignment description) the contradictions between your understanding of 'self' and historical media representations of your 'self.'
  • Did your creative project reflect thoughtfulness (in regards to form and content) and originality? Did your artist's statement meet the requirements as described in the syllabus, including articulating a clear, unified, critical reflection on your engagement with this assignment?

Tuesday, February 9, 2016

Unintelligible Art & Medium Specificity

"The usual difficulty with the observer of modern art is that he does not inquire patiently and sincerely concerning the 'meaning' of a work of art which strikes him as grotesque, distorted or eccentric (in another word, unintelligible), but, by a sort of symbolic thought-process, recognizes its unrecognizability and thus thwarts any possible further intelligent interest or ultimate enjoyment. It is as if, in a crowd, seeking someone we knew and, looking into each strange face, we should recognize its unrecognizability and pass it by as irrelevant to our quest. This would be a perfectly natural procedure under the circumstances; but in art we are not looking for something we already know; we are looking for a new experience whose value and quality are unknown to us. In such a case to permit unrecognizability to be a barrier is to condemn ourselves to a life of monotony, without the thrills of discovery, insight and 'conversion.'" 
- Edward. F. Rothschild, "The Meaning of Unintelligibility in Modern Art," 1934.

And here's this week's assignment description:
Each student will choose an artistic medium (film, photography, drawing, painting, dance, performance, graphic design, poetry, literary narrative, etc.) and produce a work which explores the specific elements unique to that medium--like Brakhage or Daren’s films, Pollock’s paintings, Warhol’s prints, Cage’s music, etc. Artist statements should include a discussion of how their particular work functions as a celebration, commentary or critique of their chosen medium.

And here are some things to help jumpstart our conversation...

Jackson Pollock, "Number 6"

What might Pollock be up to? According to this experiment, how might he define 'painting'?

Andy Warhol, "Eight Elvises"

What might Warhol be up to? According to this experiment, how might he define 'printing'?

Now, regarding medium specificity in music--John Cage's "4'33."


What might Cage be up to? According to this experiment, how might he define 'music'?


Some helpful things to keep in mind as you make and write--I will evaluate your work with the following in mind:
  • Did you choose a medium, identify a fundamental element of that medium, and produce a creative work that both conceptually and artistically engages with that element of the medium?
  • Did you provide an artist's statement that explains (1) your decision to explore a certain element of the medium and (2) how your piece creatively engages in that exploration? 
  • Did you consider (as mentioned in the assignment description) how your project functions to celebrate, comment on or critique the chosen medium.
  • Did your creative project reflect thoughtfulness (in regards to form and content) and originality? Did your artist's statement meet the requirements as described in the syllabus, including articulating a clear, unified, critical reflection on your engagement with this assignment?

Wednesday, January 27, 2016

A few more processes...



  

More Thoughts on Process

I thought I'd send you a few suggestions when developing your process piece, to make sure we're on the same page, and to help jump-start your creative process.

First, check out this excerpt from Broderick Fox's book on Documentary Media (and by the way, he's borrowing heavily from Bill Nichols' writings on documentary film).



When creating this piece, consider the following...
  • Selection - Films aren't made by just flipping the camera on and pointing it in the general direction of some action, are they? No, even with documentary, the filmmakers carefully select subjects (events, characters, actions, environments, etc.) and shots (establishing shots, close-ups, even specific interview questions, etc.). The same should go for your audio docs. Don't just switch on the recorder and call it good. Carefully consider what you're documenting, why you're documenting it, and then decide how best to document it.
  • Composition/Juxtaposition - For example, just as shots are composed and then juxtaposed with other shots, consider how you're composing a piece of audio. Consider what's 'in the frame' and what meaning it communicates. Then consider how these meanings can be multiplied by juxtaposing certain sounds with others. Remember the Kuleshov experiments? Consider the potential power of dialectical montage of sound.
  • Narration/Observation - Some documentaries are strictly observational, containing no acknowledgement of the filmmaking process. Others rely heavily on narration to guide the viewer through their navigation of the images and information being represented. In most documentary, there are elements of both approaches. Consider your subject--would one or the other approach (or a combination of both) more effectively communicate what you want regarding your process?
  • Stylization/Manipulation - Just because we're documenting something, doesn't mean it isn't creative. Documentary is commonly defined as the 'creative treatment of actuality,' so consider how the aesthetic style might contribute to your piece. Does your subject (or your particular perspective on this subject) lend itself to a specific stylistic approach? For example, would your piece be improved by an overt manipulation of your audio footage?
  • Probably most importantly, think outside the box. If I hear another 'getting ready for the day' process, I might barf. We saw more than 30 different processes in the in/out of class viewings this week. Make this a fun, interesting adventure in audio documentary making. And that means selecting an interesting subject and creatively representing it.

Monday, January 25, 2016

Process Piece

Today, we talked about process vs. product, mediation vs. immediacy.


Anything of lasting value requires some work, and as artists, we may find value in representing that work. So, here's the assignment description for the Process Piece:
Students will work in pairs to produce a 1-2 minute audio piece documenting some type of process. In this case, a process is an act of human labor with a beginning, middle and an end. Artist statements should should include a discussion of both form and content in their creations, as well as both the process and the product of their own creative efforts. 
And for Thursday, a few things:
  • Come prepared to discuss the screenings that are assigned. There are many and they are pretty diverse, so pick the ones that look the most interesting to you, and consider how they relate to our discussion.
  • Come prepared with some audio footage of your process (or a few different processes). It doesn't matter if it's rough. This is test footage. This is to get you thinking about sonically representing an act of human labor. We'll use this for our workshop.
  • Check out my post "More Thoughts on Processes," and consider how a particular stylistic approach to representing your subject might make your piece more effective/interesting.
  • Come prepared with a 30-second elevator pitch for your Historical Story. Here's that description:
Students will work in pairs to write a 4-6 page film script that takes place around some historical event (which took place before the students were born), and focuses on a character(s) who is either based on someone they know OR of their own creation (BUT is NOT a famous historical figure). Scripts are to utilize standard screenplay formatting. Artist statements should include a discussion of the dynamic between character (attitude, belief, behavior, etc.) and context (cultural practices, political climate, etc.). Students must reference at least 2 legitimate historical sources in their artists’ statement, discussing how the information they gathered in their research informed the creation of their script (including dialogue, scene descriptions, etc.)
  

Thursday, January 21, 2016

Exquisite Corpse

First, another story exercise...


Now a few examples of the 'exquisite corpse':




And here are some examples of collaboratively-made tiny stories...




Tuesday, January 19, 2016

Round Robin

Here's a quote from Albert Einstein on the topic of inspiration...
"When I think and reflect how my discoveries originated and took form, a hundred times you run, as it were, with your head against the wall in order to lay your hands upon and define and fit into a system what, from a merely indefinable premonition, you sense in vain. And then suddenly, perhaps like a stroke of lightning, the salient thought will come to you and the indescribably laborious task of building up and expanding the system can begin. The process is not different by which the artist arrives at his conceptions. Real faith, either to a scientist or a businessman or a minister of religion, involves the problem and struggle of searching." 
In class today, we considered the various sources of inspiration for our stories--objects, places, people, processes, etc. etc. For example, I shared a particularly messed-up story from my genealogical history.



We also looked at a few different series of tiny(ish) stories and discussed the unifying principle underlying these stories. For example, we imagined what our friend Tim Burton might create in response to this assignment.


Now that you've found a source of inspiration for your tiny story, consider HOW you are going to tell/illustrate it? You might consider theme, character, use of punctuation, literary devices, visual motifs...

And then, when it's your turn to continue someone else's series, choose whatever you find interesting/compelling/essential from the previous story and develop that. 

Now, here is the assignment description for the Red Robin from the syllabus:
Each student will collaborate on a series of five ‘tiny stories.’ By ‘tiny story’, I mean a narrative (with something that might resemble a beginning, middle and end) of less than 30 words, accompanied by an illustration (drawn, photographed, computer generated, etc.). By ‘collaborate,’ I mean that each student will complete the series’ 1st tiny story, forward it to a second (pre-determined) student, who will complete the 2nd tiny story in the series, who will then forward that 2nd story (NOT 1 & 2) to a third (pre- determined) student who will continue the process until each student has contributed 5 tiny stories, each to a different series.Then we’ll see what happened.Artist statements should include a discussion of how form and content, narrative and theme, individual story and series correlate and compliment each other. 
To simplify this potentially complicated creative process, let's do this...

First, I'm going to assign you to the following groups of 5, with whom you'll be creating your series(es)(?) of tiny stories...

Group 1
Camden Argyle
Aidan Barringer
Tabby Brower
Barrett Burgin
Trevor Bush

Group 2
Pepe Callejas
Brandon Carraway
Zach Connell
Madison Ellis
Grant Gomm

Group 3
Weber Griffiths
Keith Grover
Hannah Hansen
Adam Hardy
Tom Hartvigsen

Group 4
Addy Hunsaker
Morgan Jones
Nathanael King
Rachel Lawyer
Emily McNey

Group 5
Heather Moser
Jake Nelson
Amy Peterson
Maddy Purves
Juan Rodriguez

Group 6
Catherine Santos
Daniel Schindler
Kyler Sommer
Nathan Tanner
Grace Taylor

Group 7
Jase VanMeeteren
Graham Walker
Jesse Baird
Benjamin Thevenin

Then, once all of the series are completed, you will need to send each of your tiny stories to the student who started the series to which each story corresponds. Please agree as a group when this should be done (probably no later than Monday morning), to allow everyone in your group ample time to reflect on the assignment, write an (amazing) artists' statement (together as a group) and post it (along with their series) on their blog.

Sample Artist Statements

Someone requested an example of an artist's statement. So, here are two. The first is a student's statement for their Music Mosaic, before I required students to include a reference to the homework and to media from outside the class. (So, please don't forget to include those two things in your own).

I started playing the cello in high school, after years of begging my mom to let me change instruments. Violin had its moments, but I always envied the kids in my orchestra who got to play cello. When I got my own cello, the first thing I did was play the deepest note. I got chills. The heavier, richer instrument appealed to me in ways that violin never did.

This arrangement of Cello Suite No. 1 has a constant, underlying rhythm. Fast-paced and unbroken, it is always there, even if in the background. I represented that with black lines and lettering in the images. The thin black lines are always present and continuous. They bend freely though, not restricted. The lettering also shows the main theme's uniformity, but it is paired with the flowing countermelody.

I used warm colors to show the warmth and richness of the cello. The reds, oranges, yellows, and browns are all earthy wood tones, which is what the instrument is almost entirely made from. The cello is made of warm materials and thus produces a warm sound. It is also a curved instrument, with no harsh lines. While listening, it is never cold, nor does it have straight edges.

When listening to the light, legato melodies and harmonies in this arrangement, I pictured adding a drop of paint to water. The paint is diffused, lighter in color as it spreads. It swirls out into billowing clouds, and fills its container. It extends out in a unique pattern every time, never to be replicated. The sound of the cello does the same thing. It's deep and rich, but is light and warming at the same time. The sound swells inside me and fills me with warmth.

Mimicking a watercolor technique represents how the melody grows in each phrase of the piece. Though the orderly pace of the piece is present in the sixteenth notes, the longer, bulding notes in the countermelodies aren't contained by the rigidity. I feel that these images represent both the constant pulse of the piece and the flourishing melodies and harmonies.

These artworks represent my feelings toward the instrument and the beautiful piece: warm, inviting, free. It has patterns and evenness, yet allows for growth. The images warm me, and the sound expands to fill my being.
The second is a statement for the Textual Poaching assignment which you'll do later in the semester. Notice how the student makes an effort to thoughtfully incorporate discussions of the reading and media from of the class.

My initial idea for this assignment was to comment on my identity as an American, and I immediately thought of the World War II poster of Rosie the Riveter. My idea for this poster quickly morphed from being about my identity as an American to a statement on my identity as a woman. This poster has come to be a symbol of feminine strength, power, and independence.“Rosie” flexes her arm muscles in preparation for work. She is also the very ideal of feminine beauty: her hair is neatly tied back, her skin is clear, and her features are well balanced and beautiful. When looking at this picture, you get the sense that this woman has her life in order and knows what needs to happen. She is society’s—specifically feminism’s—image of the perfect woman. However, as a woman, I hardly ever feel like this. I never feel like I fit the ideal image of beauty: my skin is blemished, my hair is hardly ever orderly, and I don’t always like my features. I may be fairly independent, but that doesn’t mean that I ever feel strong or powerful. Life is pretty chaotic and I never know where it will take me. Feminist society’s standards are very high for women.I wanted to find a way to visually show how it sometimes feels to be a woman. There are all these expectations that we are supposed to live up to, but I don’t always—usually—feel capable of living up to those standards. To show this, I added dark circles under her eyes, blemishes on her skin, and tears running down her face. I changed the words at the top from “We Can Do This!” to “Can We Do This?” In this week’s reading, we learned that as we place more value on something, the more real that thing becomes. Jenkins uses the example of The Velveteen Rabbit. A stuffed rabbit is so loved by a boy that, despite being old and ragged, he literally becomes a real rabbit. However, in the case of this poster, I believe the opposite is true. The riveters were real people. This poster may not have been a true depiction of a real person, but it represented real people. As time has gone on, though, the symbolism and story of the piece have reached mythic proportions. It has become an iconic image, but the actual story behind the image has been diminished and forgotten. 
As an example in life, Disney characters have been widely “textually poached.” One particular artist on the site Deviant Art has reimagined Disney characters as college students. He envisions them with majors and in modern clothes. This new take on these classic characters makes them more widely relatable to the people who grew up with them. They become people that you want to meet at your school. However, as Disney characters usually are, these are idealized forms of human beings. This assignment allowed me to reevaluate my identity as a woman. If I feel like I don’t measure up, maybe it’s time to tell myself that I don’t need to measure up to someone else’s standards; I only need to measure up to my own.
Hopefully these help! And remember for the group assignments you'll do throughout the semester, group members should collaborate on writing a single artists' statement (and then include a list of their group members' names in the post).