30 March 2010
26 March 2010
Project 4 –Video
Make a short – under 5 minute – video piece.
You may create any type of video: ambient (no beginning or end), narrative, nonfiction, poetic, essay, animation, documentary, etc. In this project you may only use original sounds and music. THIS MEANS NO USING SONGS BY BANDS YOU LIKE!
The sound should be some combination of the following: diagetic (recorded in the room where the video is shot,) non-diagetic (recorded in environments different than where you shot the footage), recorded instruments, voice and song, voice-over, noise music, etc. In other words, I want you to record sounds yourself!
An important thematic/conceptual note: please no “drunkumentaries” (see me for definition) or day in the life videos of you and your friends—this is a tired theme, at best…
You may work collaboratively on this assignment (for example one person does the sound and one does the video or both of you work on both components) but both artists need to have a hand in creating the theme. No more than four students to a group, please.
In addition to the above, you must include a 200-250-word statement (12 pt. font double spaced) about the piece. If this were exhibited in a gallery, this would function as wall text. The written component should be a well thought out précis that covers the thoughts that inform you piece. Projects without text will not be accepted.
22 March 2010
Project 3 Crit Schedule
March 31: in class work day
April 5: Thomas, Zoe, Dave, Abby
April 7: Rachel, Jordan, Adrienne, Sarah
April 12: Derek/Tyson/Nick, Quincy, Camille
**As always, projects not ready to go on crit day will receive -25 pts.
21 March 2010
Un Chien Andalou [1929]
Watch Un chien andalou (1929) in Entertainment | View More Free Videos Online at Veoh.com
Produced in France by the Spanish director Luis Buñuel and artist Salvador Dalí.
10 March 2010
04 March 2010
03 March 2010
Project 3: Transforming/Translating/Intervening
Due beginning March 31.
Option A: Installation art engages the viewer’s entire sensory experience in four-dimensional space. It dissolves the line between art and life (see Kaprow). It moves away from viewing art as discreet objects isolated from the environment in which they are encountered.
An installation artist uses almost any material/media to create an experience in a particular environment. Oftentimes, installation is highly site-specific. It is not confined to gallery spaces but can be material intervention in everyday public or private spaces. If you choose to install in a place other than the SA, you will need to make photos [including detail and wide shots] of the installation for your critique.
For this project you will be working individually or collaboratively to make an installation that fundamentally alters the viewers’ experience and perception of a space. To reserve the workspace attached to the classroom, consult with "Derek Andes" derek.m.andes@gmail.com, but please be mindful that others will need to use the space as well.
Option B: Performance art involves the artist and is created in real time...maybe. What makes performance art so intermedial in nature is that it is slippery and truly defies most boundaries and definitions that are imposed on it. On one end of the spectrum you can argue that a performance begins and ends in the place and time that the artist says it does. But if you are in a room waiting for a performance to start, isn't that really a part of the experience, hence part of the performance too? And approaching the place of the performance: part of the experience. Getting ready to go to the place of the performance: part of the experience. So on the other end of the spectrum, you could argue that we all are all involved in a lifelong performance, that every social act is in essence a performance, that there is no boundary between performance and life.
For this option you will create a performance art piece. Think of the performance as a way to direct and alter the experience of your audience in real-time. There is no limitation on how you choose to do this. Documentation of the performance should be included in your final portfolio.
Option C: Stage and document an intervention. Consider the way we viewed the work of Improv Everywhere—in a concise short video that captures the concept and documents the project. Please see me with questions.
In addition to the above, each artist must include a 200-250-word statement (12 pt. font, double spaced) about the piece. If this were exhibited in a gallery, this would function as wall text. The written component should be a well thought out précis that covers the thoughts that inform you piece. Projects without text will not be accepted.
01 March 2010
Precis - Nick and Tyson
They say we learn from our history. This begs the question: Can we learn from our future?
In the year 2040, members of a United States exploratory space mission find something unexpected as they approach a black hole. Inexplicably, their research drone receives transmissions that defy logic--they appear to be from the future.
What does this mean, if it is true? What would you, the listener, think if you were a member of the crew, or Capt. Jack Saunders himself?
As you receive this unintended message from the future, who do you believe? Is the world really a paradise of peace and prosperity, as the World President paints it? Or is it a distopian world filled with what will soon be billions of disillusioned souls? What do you make of the final transmission received?
The goal of this dramatic sound piece is to act as a catalyst for the listener to imagine the many dichotomies we face in life every day. It is to force us to question the obvious, the accepted, and the mundane. "What if?" is a question too often dismissed as pipe-dreaming. But things do change. The most permanent creations of humanity disappear in the blink of God's eye.
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