I met with Mary Beth Reed to discuss the tower of computer video structure I had in the case, and the interactive fish piece.
The videos were sketches for the video pieces i had hoped to show in conjunction with the interactive fish piece. These videos are abstract footage of natural riverside scenes. I was hoping to have her talk about suggestions for the visual treatment for the fish piece.
I ended up just going over all my work, and introducing her to my trajectory.
Her feedback was interesting coming from a cinema perspective... the narrative, the arc of the work was missing... considering the reading, how a viewer/participant moved into the work, was moved through the work, and came out the other end experiencing something- was an element that I could examine much more.
Showing posts with label studio visit. Show all posts
Showing posts with label studio visit. Show all posts
Sunday, December 11, 2011
Saturday, December 10, 2011
Studio Visit - Stephen Vitiello
I showed Stephen the interactive fish piece, he suggested that I introduce one more variable into the piece, "space age beauty is nice, but an element that cuts against it" would help create contrast, give meaning.
He also suggested that I introduce a way to communicate the way the system works, and also light them more similar or more intentionally.
He liked that the piece has the feeling of temporary/fleeting/impermanence, but it also gives the feeling of being noncommittal.
The camera position guides the viewer's eye, maybe too much. it's good they give the connection cue, but perhaps too strong of a statement, with too little pay off.
- can I push the presence of the camera?
- conceal/reveal with the computers and wires
- project the tracking video outside?
The piece has a religious- tibetian/buddhist feel about it, and lacks no decisive moment.
By playing off of people's expectations, I can look for a better balance of cute/fish, as long as i flesh out (and scale up) the formal elements.
Most importantly, i need to base decisions on conceptual elements
The piece also is in danger of heading towards a non-social experience. I need to stay true to the piece. If it wants to be a social or non social work, then i must work towards that end.
He also suggested that I introduce a way to communicate the way the system works, and also light them more similar or more intentionally.
He liked that the piece has the feeling of temporary/fleeting/impermanence, but it also gives the feeling of being noncommittal.
The camera position guides the viewer's eye, maybe too much. it's good they give the connection cue, but perhaps too strong of a statement, with too little pay off.
- can I push the presence of the camera?
- conceal/reveal with the computers and wires
- project the tracking video outside?
The piece has a religious- tibetian/buddhist feel about it, and lacks no decisive moment.
By playing off of people's expectations, I can look for a better balance of cute/fish, as long as i flesh out (and scale up) the formal elements.
Most importantly, i need to base decisions on conceptual elements
The piece also is in danger of heading towards a non-social experience. I need to stay true to the piece. If it wants to be a social or non social work, then i must work towards that end.
Studio Visit - John Priestley & Nathan Altice
John Priestly & Nathan Altice are both MATX students that Stephen Vitiello recommended I visit with. They have backgrounds in areas that interest and overlap with mine, yet don't fully align. The studio visit with them both was nice as their areas of focus overlap, but their perspectives and expertise don't.
I showed them the fish tracking
John suggested i look into granular synthesis... they both considered the difference in tones to be a little too harsh, and feel like the tone would be more successful if the steps were smoother.
they think a title would really tie the piece together, as well as tip the viewer off to what it was they were looking at, why it was important, and how they were involved. They were worried that the visual and sonic elements of the piece actually pull apart from each other, instead of reinforce. On top of that, they both suggested changing the sonic elements to introduce elements that would add a bit of tension into the tones. Doesn't have to be dramatic, but it would help the smooth tones to have more meaning.
They both recommended utilizing more analogue elements in the work as well, whether it be analogue effects boxes, like the cracklebox, or some sort of acoustic interface/resonator via a programed arduino board.
johnpriestley.net
Nathan Altice's band - Circuit Lions
I showed them the fish tracking
John suggested i look into granular synthesis... they both considered the difference in tones to be a little too harsh, and feel like the tone would be more successful if the steps were smoother.
they think a title would really tie the piece together, as well as tip the viewer off to what it was they were looking at, why it was important, and how they were involved. They were worried that the visual and sonic elements of the piece actually pull apart from each other, instead of reinforce. On top of that, they both suggested changing the sonic elements to introduce elements that would add a bit of tension into the tones. Doesn't have to be dramatic, but it would help the smooth tones to have more meaning.
They both recommended utilizing more analogue elements in the work as well, whether it be analogue effects boxes, like the cracklebox, or some sort of acoustic interface/resonator via a programed arduino board.
johnpriestley.net
Nathan Altice's band - Circuit Lions
Studio Visit - Melanie Buffington
Melanie is in the Art Ed program. I went to visit her becuase some of the participation models I was interested in, and which resonated with me, were much closer to the art ed model, than the gallery wall/pedastal model. Melanie's expertise was in the art ed program here, and was able to point me in the direction of some community education agencies.
Art 180
local group, volunteers non-profit
teach after school art K-12
art as activisim - at needy schools
FeastRVA (modeled after Brooklyn)
She also told me about the export group Mayan Arts Program that takes summer school art ed students to Peru to teach art ed in the context of the Mayans' lived realities.
Melanie also put me in touch with Maggie at Quirk who runs their community outreach program. Maggie and I haven't had the chance to meet up yet, but have been emailing.
Art 180
local group, volunteers non-profit
teach after school art K-12
art as activisim - at needy schools
FeastRVA (modeled after Brooklyn)
She also told me about the export group Mayan Arts Program that takes summer school art ed students to Peru to teach art ed in the context of the Mayans' lived realities.
Melanie also put me in touch with Maggie at Quirk who runs their community outreach program. Maggie and I haven't had the chance to meet up yet, but have been emailing.
Studio Visit - Hope Ginsberg
She had some ideas regarding the content/process, such as having the experience of visiting the site mirror missing a connection- inconsistent reinforcement, some times have the site partially (or completely) not function.
She also said i need to consider the audience and the message. What's the focus? She suggested I think about the project from the stand point of having to ask for funding for it. That will help me focus/refine what the piece is about, who it's for, and what it does.
She provided a list of links to look up. Lots of community learning/engagement sites.
united nations plaza
Art School (MIT Press)
manifesta6
Trade School
Mildred's Lane
Center for Urban Pedagogy (CUP)
Pablo Helguera
Sundown Schoolhouse
Machine Project
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