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.

Process Piece

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

THE GAP by Ira Glass from Daniel Sax on Vimeo.

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.)
  

Exquisite Corpse

First, another story exercise...

Now a few examples of the 'exquisite corpse':

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

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).

Music Mosaic

Here's the assignment description for the Music Mosaic (20 pts.):

Each student will create a series of 8 - 12 images that visually complement a piece of instrumental music ('Instrumental' means without lyrics Also, no film scores. Sorry folks). Images may be drawn, painted, photographed or created digitally, but must be the creation of the student (not thieved from Google Images) and must be created for the purpose of the assignment (not sampled from mission photos. Snooze!). Artist's statements should include a discussion of how both the form (line, color, composition, etc.) and content (representation, narrative, etc.) of their creations correlate with their chosen piece of music. (Students will also include a link to their chosen piece of music in their blog post).

 Now, let's discuss some potential approaches to this introductory assignment. The dynamic between image and sound can be navigated in a number of ways. We're probably most familiar with the approach that starts with images (or more appropriately, moving images) and then composes music to accompany these images--film scores. Or on the other end of the spectrum, we're familiar with the approach that starts with music and then creates moving images to accompany the music--music videos. I find the approaches in-between most interesting.

For example, the following video started as a fan creation, and then became a collaboration between the composer and visual effects artist. And the composer attributes his relative success largely to the success of the video.

Or, you're probably familiar with the music/design/performance art project that is the Gorillaz. Here, an artist and some musicians have collaborated to simultaneously create these characters that navigate this cool transmedia narrative (oftentimes, in a cool, camouflage dune buggy). Here, neither image nor music has primacy--they're simultaneously produced and thoroughly interdependent.

One is more abstract; the other is more narrative- and character-driven. One attempts to visually represent tone, pitch, rhythm, instrumentation, etc.; the other is interested in using the combination of image and music to build a world. I invite you to do what you think most authentically expresses your reading of the music.

I know that that's kind of vague, and the examples we've used so far are moving (not static) images arranged in time (not space). So I'll attempt to be a little more concrete (as concrete as abstract expressionism can be, I suppose). I recently found a cool Swiss artist named Karina Wisniewska. Here are a few works of hers that I especially like.

Flowering Season, 2011

Field Lights, 2012

She also creates paintings inspired by, and often named for, her favorite pieces of classical music. For  example, here are two works inspired by a composition by Isang Yun.

Colloides Sonores I, 2010

Colloides Sonores II, 2010

And here's another piece inspired by a composition by Debussy.

 Cloches a Travers les Feuilles, 2010

Imagine if Karina was in 112, working on her own Music Mosaic. She might pick a piece from John Cage or Bach (both of whom she especially likes), and create a series of 8-12 images, translating her experience listening to the piece to a visual medium. Remember though, that you will need to justify your particular approach to this assignment in your artist's statement--whatever the medium, form, content, etc. of your mosaic, you'll need to be able to explain their significance.

So, refer to the description of the assignment in the syllabus, our discussions in class, the feedback you got during the workshop. Then get to work. Remember that your completed assignment will include a 300-500 word 'artist's statement' that contextualizes your mosaic within the week's topic--in this case, this delicate process of creative inspiration and execution. And that artist's statement must include:

• A connection (or contrast) between your work and some element of this week's reading (Annie Dillard's "Seeing")
• A connection (or contrast) between your work and some example of art, expression or narrative from outside of class.
• A demonstration of the clear, thoughtful writing and critical-analytical thinking skills you practiced in your Thinking & Writing assignment.