Mia/Captain's Log: Difference between revisions
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*EYE project - translation image-sound | *EYE project - translation image-sound | ||
*Audacity (save image as raw file and then open it as sound, also the other way around is possible ...) | *Audacity (save image as raw file and then open it as sound, also the other way around is possible ...) | ||
=='''5. 2. 2019 - Barend's tutorial'''== |
Revision as of 14:21, 5 February 2019
29. 10. 2018 - Javi's tutorial
- sound (Arduino) - Editions Volumiques: Le livre qui voulait être un jeu vidéo
- John Baldessari - humorous, playful approach
- Tacita Dean
- links to References
- (downloading yt video/channel/playlist)
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
5. 12. 2018 Steve's tutorial (below Steve's notes)
[What kind of writer do you want to be?]
- I like analysing art work and exhibitions. I think notes are important in this process. Analysis might take different forms: it may be very personal. To me analyses is a way of organising thoughts. I try to write something about every exhibition I see, which I store on my wiki. It is often the case that I need to go back and remind myself. I have found the synopsis exercise useful. I would like to finish the text I am working on by the xmas break.
[About your own work:]
- For image analysis I just typed out people’s work and I did the interview and the descriptions. It was also good to work together with Cem on the same text today
- [Steve suggests: Try to take the different sessions where you discuss your work and make one text out of it. By which I mean: Use the texts as notes and make a new text which describes your work and identifies underlying motivations in your work]
- The relation between, drawing, painting, and printmaking – the last makes a link or crossover with photography.
- Cameraless photography. One section is a photogram, which seems closer than other things to printmaking, camigram which only uses chemicals and photo-paper and does not use light.
- [shows photographs]
- The relation between drawing and photo.
- The next stage, to go to the studio and make a photo of a figure and play with that. I want to do tests with the depth of field. The studio gives me a more controlled environment. The human figure provides more of a challenge. I don’t often work with figures. If you have a portrait it triggers a feeling or narrative. It might also be more obvious the difference between a photo and a drawing of a person. I imagine a female subject.
10. 12. 2018 - David's tutorial
(Mia asks for feedback on the (photo)book without first explaining it)
- David's keywords:
- SURFACE
- texture-structure
- abstract-figurative
- chance - not chance (graffiti)
- mark making
- left behind
- implied image
- ink drawings of landscape (>>but soon we realise that is not it<<)
- specific choices of paper
- feeling of the paper
- photographed or printed?
- MARK MAKING in all forms
- the discussion:
- it still seems as a precious object/book, >>I would not feel comfortable make interventions in it<<
- the means of presentation could achieve that the intervention is inevitable
- shallow box with charcoal dust where the book is placed (viewers touch the pages with dusty fingers - mark making, chance or conscious marks)
- the presentation would help the object generate its own content
- you could extend the performative aspect (make 3 books, document the process, compare their development into 3 different end results...)
- you are dealing with very fundamental formalist questions - a lot of potential derives from them
- questions like: why we make images? How (deliberately, by chance)? What does it mean to leave a mark?
- Photocopy is basically dust on paper - echoes the idea of marks left by leafing through the book with dusty fingers
- INDEXICALITY
11. 12. 2018 Ine's tutorial
- the book is like three books in one (makes a bit of confusion)
- three categories of pictures: archeological (documenting specific - urban - place and time), abstract (like fragments of drawings), tests (like cleaning a brush or test on the negative)
- interested more in the process and not yet in end result (being a photographer-anthropologist/archeologist)
- Lothar Baumgarten
- very gentle approach, delicate
- the project could go in many ways
- the book seems precious
- another type of binding? (spiral, wooden newspaper holder - might go with archeologist pictures, >>I do not see that screws can be taken apart to change the pages<<)
- whichever path you choose, be radical in it
- FOCAL CAMERA reference: William Kentridge
12. 12. 2018 Group Crit
on the photobook:
- textures, marks
- touching, walls
- still too vague
- project could lead in few directions, decide for one and bring it to the maximum
- seems precious
- format, binding (to resemble more the notebook)
- means of presentation, possible audience (how many copies, is it on sale, if yes, what is the price - expensive vs. notebook price)
- no title? maybe title could be a label for the price (or barcode)
- papers also folded
- what if you made marks yourself too
- is it about chance/intentional marks/drawings
- user might need some guidance, what do you want from him?
- if you had all pictures first and then half of the book empty
- Czar Kristoff: New Refuge (2018)
8. 1. 2019 Barend's tutorial on EYE
- how will we perceive the difference between broadcast and memories? And does it matter?
- story can have many metaphorical meanings (a critique on contemporary media: "they suck us in rather than show, they let people in the darkness instead of revealing the knowledge")
- workflow suggestion: make a storyboard timeline, rough composition of the film (with stills) and give it to the sound designer to roughly design sound
- thus you get a sense of duration, rhythm and flow that helps you animate
- collaboration - back and forth (ping-pong)
- collaboration mutually sparks ideas and feed creativity ...
9. 1. 2019 - Steve's tutorial
- develop the essay with 2 other parts (R. Krauss-Duchamp and J. de Mul)
- include your position/comment on the arguments
- add the references (Harvard method)
- watch Videodrome (1983)
14. 1. 2019 - Javi's tutorial
- EYE project - translation image-sound
- Audacity (save image as raw file and then open it as sound, also the other way around is possible ...)