Slow Echo Invites

TRANSMEDIA EXHIBITION: FINAL PRESENTATION FORMAT & DELIVERABLES

Dear all, we are merging both studios for our final.
The info below look dense but Its just very specific.
(please see post below for class setup diagram)

IT IS VERY IMPORTANT YOU GET TO CLASS (A9) AT 1PM, as we will need 1 hr to set up the exhibition:
Jamie, Christina: can you be there at 12:30pm? I'll be there, we could get started

what we need:
— tables with white butcher paper: Tables should be covered with white butcher paper for a very clean presentation. Butcher paper drapes to the ground on shorter lateral sides of table.
— 2 projectors
— 2 projection screens
— 2 laptops
— speakers
— poster clips etc

J & C: You know the format, please coordinate the setup & reserve equipment (I can help with this too, i'll place a call tomorrow)

Some of your from the monday studio have presentations that day, (_dominique_ree_ anybody else?)
To make this work: let's arrange when you'll have a break in your other course so you can drop by for 10-15 minutes to present your work, we'll accommodate for your time.
I can notify instructors as well, please let me know who they are,


------------------------------------------------------
FINAL EXHIBITION PARAMETERS
------------------------------------------------------

Below is a diagram of how I want the class to be set up for your final presentation
—The format is an open / public exhibition of the work you have created this term in Transmedia (both studios combined)
—i will invite colleagues and I invite you to spread the word to your peers as well. We will have promo posters at school.

Transmedia Exhibition
A9 / annex
Tuesday april 20th
2:15-7pm
open critique led by Carolina Trigo


------------------------------------------------------
WORK
------------------------------------------------------
BRING ALL YOUR WORK IN FINAL AND ACTUAL FORMAT. ALL MEDIA INCLUDED.

— Slideshow / visual narrative: VERY IMPORTANT. select your best 10 installation images (model photographs). Create a pdf that can be viewed as slideshow in preview (not acrobat pdf)
We will compile a folder with all of these images on one laptop and project as a loop during the exhibition.
—Models
—Catalog
—Media work: Video, Sound, Performance, documentation in actual format, these will be screened. If sound, they will be played.
—Poster/s: (do not mount!, we will pin these to the wall with clips or magnets)
—Invite
—Website
— Process book: This is not meant to be designed, just french-fold all your 11 x 17 printouts / sketches / work from the term and perfect-bind.
Add a simple structure to it, meaning, dividers that state: stage 1. stage 2 etc. You can name these however you see fit. Needs cover, spine, back cover.


------------------------------------------------------
WEBSITE REQUIREMENTS
------------------------------------------------------
—web needs to be functioning.
— images: show everything as a final, executed, physical object.

specifically:
—Logo (ideally placed to one side, elegant, visible on all pages)
—Artist Statement
—Installation: models, visual narrative of the whole installation (objective, subjective shots) This is what you did in your book, just translate that into an online platform via images for cohesive sequential storytelling.
—Catalog: shoot your final (PHYSICAL) book and include it as an image narrative. select the best spreads that tell the story in sequence.
—Poster: Shoot your poster
—Invite: shoot your printed invite.
—Process book: Shoot your final book. Same as catalog (this one is optional)

------------------------------------------------------
SCREEN-BASED MEDIA (2 Projectors)
------------------------------------------------------

—PROJECTOR 1: Slideshow loop
Select the best images of your installation / 10 images minimum. We will compile these into one folder and present as a slideshow loop throughout the evening (as mentioned above)

—PROJECTOR 2: Presentation-specific
You will screen all you media work: video, sound, performance, final installation pics and documentation as you present your work.
Include a black slate at the beginning of your projects stating: your name & project name (or logo, small)

------------------------------------------------------
PRESENTATION LABELS
------------------------------------------------------

Please place next to your work:
— All labels should be 8" x 8". Mounted on white foamcore. BW prints will do, unless you are inclined to use colour.
—8 x 8 label #1: Project Logo. Centered on the square.
—8 x 8 label #2: Your name(s)
—8 x 8 label #3: Artist statement.
(note: #2 & #3 can be combined. Just make sure they look beautiful typographically)

I think this is it, If I forgot something I'll post.

Good luck on this final stretch. you've accomplished so much & I am very much looking forward to your work

all my best,
carolina

A9 CLASS SETUP FOR EXHIBITION

CLICK ON IMAGE TO ENLARGE

PHOTOS in REBEL XSi

Hi, for those of you who took photos with the Canon Rebel XSi:

Wednesday: I am at school tonight in the computer labs until 7am (Thursday morning)
Thursday: in the labs, 2pm - 2am

Please give me a call before you come (I might be going out for lunch or dinner):
714 726 5002

week 13: last crit

Dear all,

First off, congratulations on the work you presented today! huge improvement from last week
You're all on the right track and its looking good
push yourselves this last week, almost there, your work is worth it.

for next week bring ALL for review (except models, unless you want to look at that but probably not)
remember, its our last crit so manage accordingly so all your questions are addressed.

POSTER:
based on today's crit bring
—BW print in actual scale (can be tiled) bring options ( 2 at least) this entails: small variations on design as in: type scale, inks, materials, vinyls, silkscreens etc. Need to nail it.

INVITE:
same as poster. actual scale
—make sure you have the correct content as per last week's post

BOOK:
—full catalogue, actual text & images.
— imagery: the installation is the feature. include images from photoshoot today. remember to guide the viewer through the piece and its key aspects: what it does, how it does it. its behaviour. here is where you guides visually to the space (exterior and interior) but most importantly present your concept in all its complexity through a visual narrative.
— all materials intended for body matter (coloured sheet, newsprint, semi gloss, matte etc) / covers (plastics, fabric etc) / bookbinding method (and sample, so you test it out before).
— print or application technique for covers, spine, back cover (as in: printed fabric, or, fabric with type embroidered in, or vinly lettering on plastic etc)

INSTALLATION MEDIA PIECES:
— bring all for final review. this includes video & sound in actual format.

VISUAL NARRATIVE: 10 images slideshow
—bring a pdf slideshow of the best imagery for your piece (this is the one you'll place in your book). It should illustrate the concept, space and its behaviour (responsiveness) / in addition: bring all your images,
so we have a selection to chose from if some changes are needed)
—these will be projected on our final presentation as a collective loop. so I'd like to test that out.

WEBSITE:
—working site. should be able to view through browser.


christina, thank you for your work today and the bookbinding demo.

questions welcome
thank you
carolina


VINYLS:
if you need vinyl lettering you can contact printex design, they are great
ask for DAVIT, make sure you get specs on minimum x-height for cutting
http://www.printexdesign.com/home

DUE WEEK 12: & subsequently till end of term /// PHOTOSHOOT NEXT WEEK, BRING YOUR FINAL MODELS

dear all,

please see below for what's due next week and subsequently, till final presentation (recap of what was discussed in class).
Looks dense, but its just very specific and marks everything you need for completion.


BOOKS:
— FULL CATALOGUE
---- printed, trimmed to scale. remember: the aim of the catalogue is to showcase your work (the media installation piece and all its ramifications)
/ this implies:
-------- all actual text & image content. No more dummy text

TEXT: For text: refer back to all the content you gathered throughput the term and use that. (research, quotes, self-generated thoughts etc that are relevant to and inform your project)
IMAGERY: To make this easier for yourself do the following: gather all your imagery so far. Recall the midterm presentation, which's purpose was to present a sequential walk-through of the piece as a whole.
The installation pics are the main focus. Same as with text: all imagery should support your argument— that is, the work you did—and provide its context (particularly with process & research / referential imagery)

BOOK MATERIALS:
— Bring in materials (sheets, fabrics, plastics etc) for your cover, spine and back cover / and of course, for the main body of the book.
—covers & spine: test your materials and their 'printability'. You can do other processes as well: emboss, deboss (faking it so to speak with layering and laser cuts), foil stamps, silkscreening, vinyl etc.
Think of how you can apply graphics to these surfaces
— visit HIROMI's in Sta.Monica / they have a wide range of materials for you to browse through. Ask questions re: printable materials (fabrics, unusual stocks etc)
http://www.hiromipaper.com/hpi_about_us.htm

STRUCTURE, INKS & BINDING:
— Inquire about binding, make sure you have your vendors, prep set up time for files & time allocated for production.
—structure is directly in line with the flow, tone and sequence of how you portray your narrative. Rremember, this catalog is primarily about your work, so that should be the main feature.
—INKS: Bring stock samples (the actual sheet/s you will be using with test prints in actual colour: eg. monotone, full colour etc) Bring material samples for covers & spine (eg, fabrics, plastics and any other(
+++++++++++++++++++++++++++++++++++++++++++++++++++++

MODELS & MEDIA INSTALLATION: PHOTOSHOOT WEEK 12
— Bring in your final models, we will shoot these in class. I will bring lights but I do not have a camera, so if any of you have one please bring it in. (high res pls). Bring in a card reader and an external drive so you can leave class with your images in hand.

—PHOTOSHOOT: You will art direct your shoot, so, make sure you prep for this; meaning: test angles & lighting.
----- The images are a walk-through of the installation in ALL ITS CONDITIONS (daylight, nightime, interior, exterior etc)
----- I want you to document the piece objectively & subjectively. Objective shots: long shot, medium shot, close up (macro). The piece itself as an object. Subjective: also long,. medium & close up, but here you focus on the experience of being there and the behaviour of the piece itself. For example: Light shifts, shadows, displacements in form, different points of view to scale (as if you were inside the space, moving through it, living it. Don't forget your scale figures (little people). Simple analogy: if we were speaking of the ocean as the piece, the objective shots would observe the ocean as is (from far away, closer, details). The subjective shots would show us what its like to swim within it.

—MEDIA COMPONENTS OF INSTALLATION: Video, Sound, Performance, documentation in actual format. If sound, they will be played.

+++++++++++++++++++++++++++++++++++++++++++++++++++++

POSTER & INVITE:
— remember you can pair these up structurally (using folds as a revealer of content) or do then separately. Minimum poster size: 24" x 36"

POSTER:
— Bring comps in actual scale (can be tiled BW sheets) IIt is important we see it at full scale.

poster content: the posters should have:
—your logo (exhibition name)
_ location: make up a location (site-specific) or chose an existing venue (eg, moca, moma or something smaller)
_ exhibition dates: usually exhibits are open from 2-3 months
— url
— can include a brief text about the exhibit (your artist statement or a variation thereof)

same applies for the invite

+++++++++++++++++++++++++++++++++++++++++++++++++++++

WEBSITE REQUIREMENTS:
—web needs to be functioning.
—remember, indexhibit is a suggestion, if you have a website already or prefer cargo collective or dreamweaver that's fine,
use your criteria to execute what works best for you.

REQUIRED LINKS / CONTENT: 'PHYSICAL' IMAGES OF ALL YOU WORK (the idea here is that you show everything as a final, executed, physical object)
—Logo (ideally placed to one side, elegant, visible on all pages)
—Artist Statement
—Space: aka, images of your exhibition space or site-specific interventions (models / performance etc) Presented as a narrative sequence / visual storytelling. This is what you did in your book, just translate that into an online platform via images. They should be arranged in a way that presents your work in a cohesive and sequential manner.
—Catalog: shoot your final (PHYSICAL) book and include it as an image narrative. select the best spreads that tell the story in sequence.
—Poster: Shoot your poster. For this one you can also add a JPEG of your final layout
—Invite: shoot your printed invite. Can also include JPEG
—Process book: Shoot your final book. Same as catalog

+++++++++++++++++++++++++++++++++++++++++++++++++++++

PROCESS BOOK

doesn't need to be designed. just french fold your 11x 17 sheets and bring it in. You will need to create section dividers but that's it.

DUE WEEK 12: & subsequently till end of term

dear all,

please see below for what's due next week and subsequently, till final presentation (recap of what was discussed in class).
Looks dense, but its just very specific and marks everything you need for completion.


BOOKS:
— FULL CATALOGUE
---- printed, trimmed to scale. remember: the aim of the catalogue is to showcase your work (the media installation piece and all its ramifications)
/ this implies:
-------- all actual text & image content. No more dummy text

TEXT: For text: refer back to all the content you gathered throughput the term and use that. (research, quotes, self-generated thoughts etc that are relevant to and inform your project)
IMAGERY: To make this easier for yourself do the following: gather all your imagery so far. Recall the midterm presentation, which's purpose was to present a sequential walk-through of the piece as a whole.
The installation pics are the main focus. Same as with text: all imagery should support your argument— that is, the work you did—and provide its context (particularly with process & research / referential imagery)

BOOK MATERIALS:
— Bring in materials (sheets, fabrics, plastics etc) for your cover, spine and back cover / and of course, for the main body of the book.
—covers & spine: test your materials and their 'printability'. You can do other processes as well: emboss, deboss (faking it so to speak with layering and laser cuts), foil stamps, silkscreening, vinyl etc.
Think of how you can apply graphics to these surfaces
— visit HIROMI's in Sta.Monica / they have a wide range of materials for you to browse through. Ask questions re: printable materials (fabrics, unusual stocks etc)
http://www.hiromipaper.com/hpi_about_us.htm

STRUCTURE, INKS & BINDING:
— Inquire about binding, make sure you have your vendors, prep set up time for files & time allocated for production.
—structure is directly in line with the flow, tone and sequence of how you portray your narrative. Rremember, this catalog is primarily about your work, so that should be the main feature.
—INKS: Bring stock samples (the actual sheet/s you will be using with test prints in actual colour: eg. monotone, full colour etc) Bring material samples for covers & spine (eg, fabrics, plastics and any other(
+++++++++++++++++++++++++++++++++++++++++++++++++++++

MODELS & MEDIA INSTALLATION: PHOTOSHOOT WEEK 12
— Bring in your final models, we will shoot these in class. I will bring lights but I do not have a camera, so if any of you have one please bring it in. (high res pls). Bring in a card reader and an external drive so you can leave class with your images in hand.

—PHOTOSHOOT: You will art direct your shoot, so, make sure you prep for this; meaning: test angles & lighting.
----- The images are a walk-through of the installation in ALL ITS CONDITIONS (daylight, nightime, interior, exterior etc)
----- I want you to document the piece objectively & subjectively. Objective shots: long shot, medium shot, close up (macro). The piece itself as an object. Subjective: also long,. medium & close up, but here you focus on the experience of being there and the behaviour of the piece itself. For example: Light shifts, shadows, displacements in form, different points of view to scale (as if you were inside the space, moving through it, living it. Don't forget your scale figures (little people). Simple analogy: if we were speaking of the ocean as the piece, the objective shots would observe the ocean as is (from far away, closer, details). The subjective shots would show us what its like to swim within it.

—MEDIA COMPONENTS OF INSTALLATION: Video, Sound, Performance, documentation in actual format. If sound, they will be played.

+++++++++++++++++++++++++++++++++++++++++++++++++++++

POSTER & INVITE:
— remember you can pair these up structurally (using folds as a revealer of content) or do then separately. Minimum poster size: 24" x 36"

POSTER:
— Bring comps in actual scale (can be tiled BW sheets) IIt is important we see it at full scale.

poster content: the posters should have:
—your logo (exhibition name)
_ location: make up a location (site-specific) or chose an existing venue (eg, moca, moma or something smaller)
_ exhibition dates: usually exhibits are open from 2-3 months
— url
— can include a brief text about the exhibit (your artist statement or a variation thereof)

same applies for the invite

+++++++++++++++++++++++++++++++++++++++++++++++++++++

WEBSITE REQUIREMENTS:
—web needs to be functioning.
—remember, indexhibit is a suggestion, if you have a website already or prefer cargo collective or dreamweaver that's fine,
use your criteria to execute what works best for you.

REQUIRED LINKS / CONTENT: 'PHYSICAL' IMAGES OF ALL YOU WORK (the idea here is that you show everything as a final, executed, physical object)
—Logo (ideally placed to one side, elegant, visible on all pages)
—Artist Statement
—Space: aka, images of your exhibition space or site-specific interventions (models / performance etc) Presented as a narrative sequence / visual storytelling. This is what you did in your book, just translate that into an online platform via images. They should be arranged in a way that presents your work in a cohesive and sequential manner.
—Catalog: shoot your final (PHYSICAL) book and include it as an image narrative. select the best spreads that tell the story in sequence.
—Poster: Shoot your poster. For this one you can also add a JPEG of your final layout
—Invite: shoot your printed invite. Can also include JPEG
—Process book: Shoot your final book. Same as catalog

+++++++++++++++++++++++++++++++++++++++++++++++++++++

PROCESS BOOK

doesn't need to be designed. just french fold your 11x 17 sheets and bring it in. You will need to create section dividers but that's it.

Next week :11 notes & due

Dear all,

I was a bit underwhelmed by the work you presented yesterday, as mentioned in class. Most of you are working in teams & the quality and amount of work showcased did not stand up to what I expect at this point in the course. I met with my tuesday studio today and saw a different picture: well thought out books, structures and lots of content; which only indicates that this is certainly possible. Not only possible but necessary.

This is not intended to demoralize you, on the contrary, it is a necessary push. I expect excellence. Remember: the work we did on grids in the past weeks was not a study, but rather a preparation for the book, and an inherent part of it. So don;t start from zero, build up from what you already have.

due next class:
— 20 spreads minimum (incluidng all book structures & typologies, i.e. all chapters and content. If not all completed chapters then at least 3 spreads each)
—logos: 5 variations minimum

upcoming:
— poster & invite ideas (digital sketches)
— get familiar with indexhibit.org (for your website) / think of your domain name / think of a host (i recommend dreamhost.com, you can purchase your domain name & hosting service from them, they are linked with indexhibit)

make it shine, you were ahead of tuesday's work in the midterm, don't fall behind.

nb: you are welcome to look at the tuesday books through your peers, that's an indication of the level of work I am after.

thank you
carolina

Hi carolina

I have a question. I thinking about dividing my book into two parts. One part would be from "Nanna, the artist" only containing stuff about the exhibition ( like, it was a real exhibition ) nice paper, tight grid and so on, and if you flip the book, the second part of the book would be from " Nanna, the frustrated ACCD student" going through my actual process from week to week (including my thought process), this part of the book would be on would shitty paper, untight grid. The reason for doing so, is that i see my process in this class as dual. The first couple of weeks, i had no idea what i was doing, till I started to get a hang of it (sort of) and created an actual narrative for my exhibition. I want my book to reflect my overall process in this class, but i'm not sure, if it's okay to have a "personal voice" in the book?

Thank you / Nanna

ohhhh also, I thinking about calling my exhibition "Nexus", yes/no?

Visualizing Sequencing

Green Dragon is a LA firm who focuses on book design. On their website, they have a videos of their books being flipped through. Maybe it will help you visualize the flow and sequencing of your catalog. There are 3 examples, of which tell different stories. http://www.greendragonoffice.com/

further notes for next week

hello all,

please see notes below on whats due next week. In addition to that I'd like to remark this: at this point your concept—and your ability to speak of it and about it—should be solid. In line with this, make sure the format, structure and sequence of your book evokes your concept and its intent eloquently. So, when you design the book think of the story unfolding form spread to spread, in movement, in shift(s) of intonation, pace, rhythm, density, colour etc...

think of the book as a sculptural voice, a cinematic object set in written and visual language.

also, keep this in mind:
on week 11 we will review the FINAL models and all of its inherent media components. So don't forget about this as you more forward. We will have a photoshoot then. This being said, make sure you give yourselves the opportunity to work on this PRIOR to week 11 (i.e. bring work to class alongside your book so we can assess)

thank you
carolina

Week 9 Hw

THINGS TO THINK ABOUT
 - binding
- flow
- sequence
- disruption (margins & change in content)
- what tone are setting?
- overall flow
- there my be intent - if you show it back it up


STUFF
- ALL CONTENT - MUST BE REAL CONTENT - not placeholder text
- MAP - look at overall flow
- 15 Spreads
- at least - 2 chapters main parts (assign each chapter a particular connotation
- come in with dummies trimmed and pages glued (b&w)
- dummy is used to see structure and flow
- think about disruptions in structure - ie margin size
- Title Page- (book name & author)
- publishing info (steal from a book)
- table of contents- important because how and what is the pace
- work with main overaching typologies
- bring in chapter dividers
- must have body, copy, chapter heads, folios, caption, pull out quotes

Name

Hi Guys

What do you think of the name " Eavesdrop" for my piece?

/ Nanna

BOOK TYPOLOGIES HANDOUT

Week 8 Homework

Here is the homework that Carolina assigned in Week 8's class.

Little People

All of these models we are making and their scale people are reminding me of this blog: http://little-people.blogspot.com/ and this dead fly art.. for some reason.

Forum Photos

MIdterm Presentation Specifications

As we keep contributing to our blog, please make sure you don't miss the specifications outlined 2 posts below (for you midterm). And along these lines I wanted to add one further detail: for the visual narrative I'd like to see a minimum of 15 images (plus objective pics / process and other)

Looking forward! have a great weekend
c

christina: we'll need a projector and an extension cable / plus laptop, so let's plan on getting there 10 minutes prior to set things up.

Resources

hello,

Here are some resources for interesting supplies

acrylic - solter plastics
wood- rockler
Michael Levine - cloth
other- sci-arc store

looking forward to seeing you on tuesday!

Christina

Jinsuk & Patty

here's the video I was thinking of today
watched it again and it relates to your work, but not exactly...so take a look
I think your direction is great so I would not accommodate to this, this is just a reference

http://www.youtube.com/watch?v=MdTWxvO_o2I

Midterm Presentation & Specifications

Dear all,

Great session today, I was impressed with your achievements this week. You are all on track with your projects and I am delighted to see you push yourselves, the results of which are visible. If you continue this way you will all emerge with excellent work, and I accept no less than that :-* So keep going as we head towards our midterm next week.

Below please find specifications for what's due for your midterm presentation, as discussed today:

PHYSICAL MODEL:
— bring in your models / remember: materials, context (where it is situated), scale (relationship of installation to scale figures, aka: little people), lighting conditions.

OBJECTIVE MODEL SHOTS:
— photograph your model in this manner:
- top view
- side views
- interior views (from afar / mid ground and details (macros)
- exterior views (from afar / mid ground and details (macros)

VISUAL & IMMERSIVE STORYTELLING: (SUBJECTIVE SHOTS i.e. INHABITED)
— Generate a series of sequential images that guide us through your whole installation, step by step, from multiple points of view (what happens when i get there, what happens when I am in it, how does it feel to be there, how does media contribute to the material sensation of being there)
— Think of it this way: you are presenting to someone who has no idea what your project is about, you need to guide them through it and make them feel like they are inhabiting and living that space in all its material, structural, psychological, emotional and narrative properties.
— Use photography and photoshop to storyboard this visual storytelling; cinematic in how it unveils a story from beginning, middle and end.
—I need to feel that I am moving through it, that I am in it, that I am seeing it respond to my presence and that IT in turn, responds to me.
— Best way to generate realistic points of view to scale is to do this: photograph you model as if you were the "little people" yourself.
— The camera sees what we cannot see, particularly in a model
— Explore every component: light / projections onto space itself / location(s) / transformation (responsiveness) etc
— Include every component, if you have video studies bring those in

PROJECT NAMES:
— bring ideas for your project name
— if you have this begin typographic studies for your "logo"

ARTIST STATEMENT:
— bring a draft of your artist statement. Here is where you describe the piece objectively: what is it, what it sets out to do, how it does it.

PROCESS PICS:
—Alongside your visual & immersive storytelling bring process pictures (studies that culminated in your final direction, photographs / documentation of your construction etc
— I value process tremendously (plus, it is very fun to watch)

Jinsuk & Patty
you won't have a model based on your project's concept, this is perfectly fine, bring in your videos with variations on sound as discussed today
think of places / locations where it could be projected. What if it is projected onto a building downtown? or a wall in a suburban neighbourhood?
Your site then would be where the projection itself takes place / comp this up in photoshop and include that in your presentation.

We look forward to your beautiful work!
questions welcome

thank you
Carolina & Christina

Raisa Ree Eric

Beijing GreenPix Wall, solar powered led wall that emulates the responds to the climate around it. 

check it out.  Light as a catalyst.

For Dominque and Andrea

I mentioned a few weeks ago an artist who casts the negative space in objects. I remember her name. it is Rachel Whiteread. You should check her out.

DEPTH light projection

For John and Mindy

This is something I ran into and thought it might inspire you:

Neil Dawson's Horizons

For Ree, Raiza, and Eric

We were talking about light and sound as liquid today. I found this clip and I thought it was relevant. The movement  of the creatures emulates an intentional shift in space within liquid. What if light became your vehicle for movement.


http://motionographer.com/media/ilp/ilp_oscar.mov

Next week & Today

Dear all,

Great progress today, very happy to see you immerse yourselves in your project, that's what its about. Let's keep posting on our blog & sharing ideas through the week, this is invaluable as we build our thought & praxis community.

For our next meeting pls make sure you have the parameters I wrote on the board studied:
—What is it?
—What does it do? (its intention / aka: your intention as embodied through your work / piece)
—How does it do it? (includes method, media, materials, responsiveness etc—INTER-ACTION of piece with viewer, how does the viewer "complete" the piece through perception, how does she / he intersect the meaning of the piece by inhabiting it, observing it)

Bring all component of piece to class in actual media, meaning: if you are working with sound, bring sound files, same with projections, video, documentation (photo / video) etc. Bring all components to class in actual media. PLAY INTELLIGENTLY & WITH INTENTION & be OPEN TO THAT WHICH SURPRISES YOU.

— look at the location of your piece: where it takes-place / what place it takes.
— think of names for your piece, next step is a draft of your artist statement (where you use language to describe the what and the how)

Any questions welcome.
Christina and I look forward to our next meeting.

cheers /
cc

NB: participate in our discussions! no comment is good or bad or stupid, assert yourselves in your observation, what you see and how you see it, the beauty lies in sharing how we perceive, and it only helps our understanding of the subject matter at hand. The more points of reference (POV: points-of-view) the more we can approximate a view of the whole.
"perception requires participation"—read the Venice Biennale some years ago

light up my ears!!!

Something that might help everyone with sound/light etc...

LIGHT


SOUND
http://lab.andre-michelle.com/tonematrix

For Dominique's group

Studying the negative space:

Watch this. This American Life

Cameraman This American Life

check out:

Art 21

Yearbook flashbaack!