Mia/Captain's Log: Difference between revisions

Revision as of 09:28, 29 November 2018

29. 10. 2018 - Javi's tutorial

29. 10. 2018 - David's tutorial

think about the subject that points out the relationships your camera is discussing (photo - drawing - layering)
how can the subject (what is in the picture you make) emphasize this "conflict" of image and text or photo and drawing
objective vs. subjective/poetic
photography vs. (handwritten) text
basics of semiotics: Charles Sanders Pierce
fundaments of the medium - Wilem Flusser: Towards a Philosophy of Photography

26. 11. 2018 - Javi's tutorial

1. PHOTOBOOK - BRUSHSTROKES (working title):

juxtaposition with paintings would be too straight forward, too flat, a single layer
think about CHANCE and ACCIDENT (as fragments of reality)
reading on the topic: George Brecht - Chance Imagery
artists: Bruce Nauman - Coffee Spilled;
references on traces/fragments dealing with time and past, accidents etc. Pierre Huyghe - Gallery Wall
chance - gesture
the selection (photographs) of found drips, stains, strokes is interesting enough to work with it
important phase of trying out, printing, matching, replacing in physical form to make decisions
interaction with the user: first intention is that user can add drawings, brushstrokes, that the object is between the photobook and a sketchbook - BUT! - how to not make it with instructions, to not make it obvious but natural, spontaneous (just as chance and accidents that are represented in the book!)?
potential answers: to make a binding that can be changed (with screws), paper that is thicker, resembles sketchbook features, TITLE
balance between open and fixed structure
text included in the book? probably not (just as an explanation besides the project)

2. FOCAL CAMERA - DRAWING CAMERA

for presentation is interesting to also see the camera as an object, a methodology
seeing pictures all together is different than observing them separately
from mere experiments try to focus on one aspect of the research and develop it in detail (either abstraction, text as a comment on the image, etc.)
relation between the drawing layer and photograph is important!

27. 11. 2018 Barend's Tutorial

performance with transparent layer with gestures
photography with transparencies
references of artistic practices above also include photographing (or seeing) through transparent materials (glass, plastic, water, steam etc.)
how can this transparency be used to tell something about the subject (could be hiding, veiling, obscuring the truth/someone's true self, emotions etc.?)
importance of gesture
focal camera and photobook project feel related to each other
continuous process of researching is encouraged

@@ Line 38: / Line 38: @@
 *[https://lenanewton.com/ performance with transparent layer with gestures]
 *[https://www.google.com/search?q=saul+leiter&client=firefox-b-ab&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjH7dPUrPXeAhWP6aQKHVeBC8UQ_AUIDigB&biw=1920&bih=1001 photography with transparencies]
+*references of artistic practices above also include photographing (or seeing) ''through'' transparent materials (glass, plastic, water, steam etc.)
+*how can this transparency be used to tell something about the subject (could be hiding, veiling, obscuring the truth/someone's true self, emotions etc.?)
+*importance of gesture
+*focal camera and photobook project feel related to each other
+*continuous process of researching is encouraged