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==Renee & Simon & Timo 28 November == | |||
===Inge=== | |||
Need time to reflect. | |||
To many roles, although I like managing | |||
What is a learning environment? | |||
I am a Motor, starts up something and others take over. | |||
*facility conceptualize space. | |||
* Place this problem in a time before this networks were provided. The 60's 70's facilitating. | |||
*I-I am afraid to limit myself | |||
*S- You want to bring together all your projects.Take a step backwards. | |||
*I- A space beyond a medium | |||
*S- What is the vision of the world. What is that what is important to you? | |||
*R- Go back and visit your first wiki entries. It is all in there. Your challenge is : How doe you talk about the fussiness and not be an escapist. | |||
As long as you can track it in your work that is okay. The point is,that it is not the point. | |||
*S- Sympathizing? | |||
*I- Chicago piece the closest to this method. | |||
*S- You want to protect something what you do | |||
*I- the strength is the layered way of working, I find it hard to som this up in one paragraph | |||
*R-Use the writing as a medium, do not confuse it with an analytical writing. | |||
*S- Read around artist writings. Look how they managed integrate writing in there work. (Gerard Richter) look at strategies they use. See the writing as an theatrical thing. | |||
*R- ambiguity | |||
*S- Practice based research. You don't have to reflect that directly on your work. Explore the water you are swimming in. Talk about others, to mark what you think is important. | |||
Drama hasn't changed much since it started. How we as human beings engage with performance ( Book: Hamlet on a holiday) | |||
- Fundamental obsessions. | |||
What would you have done if the medium your working with wasn't invented? | |||
*I- a flâneur, but not in a shopping center. | |||
*R- the roots are in that first wiki | |||
*S- not making since is a choice. | |||
*I- It seems that anything I say doesn't hit the matter | |||
*R- That should be youre header | |||
===Me=== | |||
*Stripped down | |||
Patter neil ( petter Neil) ?? | |||
Shoots the space in timelapse and go's back. | |||
Decide a point of view. | |||
- Your form should say about Memory, what you highlight on it. | |||
- Dreams are not a part of this , is hard to ground. | |||
- Recollections seem more dreamlike. Canny, idyllic domestic space | |||
*T- use the screen as an agent? How do you show the different versions. | |||
*Cola- Film: Monster incorporated. Makes me think about the Doors who bring the monsters in the different Doors. | |||
*S- Tone, mixture of violent en nursery. David Lynce he writes about a scale shoft. The scale of the view of a child. | |||
*Blue Velvet | |||
*Mulholland drive [http://www.mulholland-drive.net/home.htm lost on mulholland drive] | |||
Soap oprah, looked like stuffed toys | |||
Mixing genres, sentimental &Cruel | |||
Scematic. | |||
*Doll house is more interesting. The doll is strange, the dressing. My dressin up is not | |||
Become Narrow | |||
* You do not have to be literall, in the same space. Paralell world | |||
* Make audiofiles of the memories. Do it in Dutch, works better. | |||
*Book: Reality Hunger. It is a cut up, about the fake memoir. The fenomenom off the fake memory. | |||
Why do we feel so cheated, if we realise a biography isn't real. | |||
* Think about fake ans real | |||
* Think about the audience, they will ask Why the screen? | |||
=== Quinten=== | |||
==Renee & Simon 7 November == | |||
===Inge=== | |||
Upstage.org | |||
Online networked performance | |||
How much of what you see is part of the platform? | |||
"Lack of fysicality, but still want to build a relationship with people. It is interesting to overcome the Limitations." | |||
Excersize to see where I want to go this year. Test realationships, interaction. | |||
What happens if you have a lot of people in it? | |||
How do you stage it? | |||
It is good to be able to see tehe result. | |||
Linix versus Mac | |||
OPen source | |||
It is funny that they use flash. | |||
It is not a good site, it is clumsy, but that also makes it fun to play with the limitations. | |||
What are the dynamics of the performance? | |||
What are you giving tot the viewer. What are the ingredients. | |||
Roombased-script | |||
'''Books:''' | |||
*Peter Brooks, 'The empty space' | |||
*............, 'Improf' | |||
*Janet H Murray, 'Hamlet on the holodeck' | |||
*............... 'Alice in wonderland' | |||
===Cola=== | |||
Meaning of names of food are interesting stories. | |||
Are you more interested in the story or the food? | |||
Food is important, but not the theme | |||
Svankmeijer his food animations is about politics. | |||
Structure of stories. | |||
Mix different stories. | |||
Culture through food---experiment. What is the bean, tactile quality of the ink. | |||
History gestures | |||
What are the possible gestures. | |||
Doesn't have to go outwards, can go inwards in an intimate place. | |||
To much information about food, just start working to keep the content open. | |||
* Search for stories of beans | |||
Continuity and value | |||
Play with titles to help you filter food. | |||
For instance 5 stories about love and war | |||
You don't have to bring the story to the bean, you can get the story out of the bean. | |||
'''Film:''' | |||
*Spirited Away | |||
*the yellow rolls roys | |||
*De Jurk | |||
*Bread | |||
'''Book''' | |||
E. Annie Proulx, 'Accordion crimes' | |||
=== Me === | |||
Carrot is too obvious | |||
A told memory is a monitored memory | |||
Pull it apart as a story. | |||
Crying about the guy was more surprising than the carrot. | |||
Controll the associations, the wrong thing can make it noisy | |||
Is it ment to be funny? | |||
Manon de Boer and meating Sylvia Crysto several times. The story changes everytime. | |||
You do not see the persons. | |||
[http://manondeboer.blogspot.com/] | |||
*Memory through different people. | |||
Transforming memories | |||
Proces Memory into stories, revisit the story to create fiction. | |||
Book: | |||
*Oranges are not the only fruit by Jeanette Winterson. | |||
This is a fictional memoire. She rewrote the story when she was older. It is good to read both, to compair them. Memories change as you grow older. | |||
*Why be happy if you could be normal? | |||
[http://www.jeanettewinterson.com jeanette Winterson] | |||
What is ficion and what is memory? | |||
*textile analyses | |||
Reading your own memory. | |||
*Layer drawing, mother father and me | |||
TEST THIS! | |||
Interview people, how perspectives change | |||
What is going on now with me? How is my perspective changed? How am I seeing thing different than when I was that little girl? | |||
Making off william kentridge. | |||
He starts his work with some elements, not with a full story. | |||
He let his ahnd do the thinking, let the drawing tell waht to do next. | |||
Subject | |||
Content | |||
Stories are one thing ( maybe many) | |||
Conent , what do you want to say about memory? What is the underlaying content? | |||
Family stories, can you have your own family story? What happens to the memory if it is told a lot? | |||
Is it nececarely to believe in one story, to have a story? | |||
Thinking is creating | |||
Freud--false memory | |||
Unwanted erasier of repeated told memories. | |||
paint elements in white, getting rid of lines, reveal, hide | |||
Materially get it rilling | |||
Each Point of view another protogonist. | |||
==Renee 24 oktober == | |||
'''Cola''' | |||
Experiment, where to go, which food to take | |||
FoodFilm japan Tam Popo | |||
Not eating but food. | |||
Pete greenaway the cook, the wife and the lover. | |||
symbolic of food | |||
chinese food history, everything is connected with food. Food is the sky | |||
'''Me''' | |||
Last project was very open for interpetations. | |||
look inside city archives | |||
heavily directed documentairy | |||
first write a concept and script | |||
There are gabs in archives, you can do something with that. | |||
Book Wilson about fiction and memory | |||
Book Consciousness Explained, Dennett, memory and history, processing memory. Paralell. | |||
'''Inge''' | |||
Process collecting and proposing | |||
Stumbling through live | |||
===Lieven=== | |||
===Quinten=== | |||
==Simon 3 oktober == | ==Simon 3 oktober == | ||
Latest revision as of 15:02, 29 November 2011
Renee & Simon & Timo 28 November
Inge
Need time to reflect. To many roles, although I like managing
What is a learning environment?
I am a Motor, starts up something and others take over.
- facility conceptualize space.
- Place this problem in a time before this networks were provided. The 60's 70's facilitating.
- I-I am afraid to limit myself
- S- You want to bring together all your projects.Take a step backwards.
- I- A space beyond a medium
- S- What is the vision of the world. What is that what is important to you?
- R- Go back and visit your first wiki entries. It is all in there. Your challenge is : How doe you talk about the fussiness and not be an escapist.
As long as you can track it in your work that is okay. The point is,that it is not the point.
- S- Sympathizing?
- I- Chicago piece the closest to this method.
- S- You want to protect something what you do
- I- the strength is the layered way of working, I find it hard to som this up in one paragraph
- R-Use the writing as a medium, do not confuse it with an analytical writing.
- S- Read around artist writings. Look how they managed integrate writing in there work. (Gerard Richter) look at strategies they use. See the writing as an theatrical thing.
- R- ambiguity
- S- Practice based research. You don't have to reflect that directly on your work. Explore the water you are swimming in. Talk about others, to mark what you think is important.
Drama hasn't changed much since it started. How we as human beings engage with performance ( Book: Hamlet on a holiday) - Fundamental obsessions. What would you have done if the medium your working with wasn't invented?
- I- a flâneur, but not in a shopping center.
- R- the roots are in that first wiki
- S- not making since is a choice.
- I- It seems that anything I say doesn't hit the matter
- R- That should be youre header
Me
- Stripped down
Patter neil ( petter Neil) ??
Shoots the space in timelapse and go's back.
Decide a point of view. - Your form should say about Memory, what you highlight on it.
- Dreams are not a part of this , is hard to ground.
- Recollections seem more dreamlike. Canny, idyllic domestic space
- T- use the screen as an agent? How do you show the different versions.
- Cola- Film: Monster incorporated. Makes me think about the Doors who bring the monsters in the different Doors.
- S- Tone, mixture of violent en nursery. David Lynce he writes about a scale shoft. The scale of the view of a child.
- Blue Velvet
- Mulholland drive lost on mulholland drive
Soap oprah, looked like stuffed toys Mixing genres, sentimental &Cruel
Scematic.
- Doll house is more interesting. The doll is strange, the dressing. My dressin up is not
Become Narrow
- You do not have to be literall, in the same space. Paralell world
- Make audiofiles of the memories. Do it in Dutch, works better.
- Book: Reality Hunger. It is a cut up, about the fake memoir. The fenomenom off the fake memory.
Why do we feel so cheated, if we realise a biography isn't real.
- Think about fake ans real
- Think about the audience, they will ask Why the screen?
Quinten
Renee & Simon 7 November
Inge
Upstage.org Online networked performance How much of what you see is part of the platform?
"Lack of fysicality, but still want to build a relationship with people. It is interesting to overcome the Limitations."
Excersize to see where I want to go this year. Test realationships, interaction.
What happens if you have a lot of people in it? How do you stage it? It is good to be able to see tehe result. Linix versus Mac OPen source It is funny that they use flash. It is not a good site, it is clumsy, but that also makes it fun to play with the limitations.
What are the dynamics of the performance? What are you giving tot the viewer. What are the ingredients.
Roombased-script
Books:
- Peter Brooks, 'The empty space'
- ............, 'Improf'
- Janet H Murray, 'Hamlet on the holodeck'
- ............... 'Alice in wonderland'
Cola
Meaning of names of food are interesting stories.
Are you more interested in the story or the food? Food is important, but not the theme Svankmeijer his food animations is about politics.
Structure of stories. Mix different stories.
Culture through food---experiment. What is the bean, tactile quality of the ink.
History gestures
What are the possible gestures.
Doesn't have to go outwards, can go inwards in an intimate place.
To much information about food, just start working to keep the content open.
- Search for stories of beans
Continuity and value
Play with titles to help you filter food. For instance 5 stories about love and war
You don't have to bring the story to the bean, you can get the story out of the bean.
Film:
- Spirited Away
- the yellow rolls roys
- De Jurk
- Bread
Book
E. Annie Proulx, 'Accordion crimes'
Me
Carrot is too obvious
A told memory is a monitored memory
Pull it apart as a story.
Crying about the guy was more surprising than the carrot.
Controll the associations, the wrong thing can make it noisy
Is it ment to be funny?
Manon de Boer and meating Sylvia Crysto several times. The story changes everytime. You do not see the persons. [1]
- Memory through different people.
Transforming memories Proces Memory into stories, revisit the story to create fiction. Book:
- Oranges are not the only fruit by Jeanette Winterson.
This is a fictional memoire. She rewrote the story when she was older. It is good to read both, to compair them. Memories change as you grow older.
- Why be happy if you could be normal?
What is ficion and what is memory?
- textile analyses
Reading your own memory.
- Layer drawing, mother father and me
TEST THIS!
Interview people, how perspectives change
What is going on now with me? How is my perspective changed? How am I seeing thing different than when I was that little girl?
Making off william kentridge. He starts his work with some elements, not with a full story. He let his ahnd do the thinking, let the drawing tell waht to do next.
Subject
Content
Stories are one thing ( maybe many)
Conent , what do you want to say about memory? What is the underlaying content?
Family stories, can you have your own family story? What happens to the memory if it is told a lot?
Is it nececarely to believe in one story, to have a story?
Thinking is creating
Freud--false memory
Unwanted erasier of repeated told memories.
paint elements in white, getting rid of lines, reveal, hide
Materially get it rilling
Each Point of view another protogonist.
Renee 24 oktober
Cola
Experiment, where to go, which food to take FoodFilm japan Tam Popo
Not eating but food.
Pete greenaway the cook, the wife and the lover. symbolic of food chinese food history, everything is connected with food. Food is the sky
Me
Last project was very open for interpetations. look inside city archives
heavily directed documentairy
first write a concept and script
There are gabs in archives, you can do something with that. Book Wilson about fiction and memory
Book Consciousness Explained, Dennett, memory and history, processing memory. Paralell.
Inge
Process collecting and proposing Stumbling through live
Lieven
Quinten
Simon 3 oktober
With Daan and Sebastian.
Sebastian.
Think about the scale of youre work.
New eye museum Dock Eytken
Bluemangroup
SoundandSilentce
What happens if you remove something (DJ)
Daan
Book > A catch in the ride
Underwrite and overwrite
Extreem images, hightened version> extreem version, objectivy things.
He haven´t fucked up enough, you become stuck, make interesting carbage Fairytell thinking.
The Prodigy
Bob Dylan
Me
Personal memories
search a space
Both about you and not about you Themes Not the same subject but the same content
Pete Greenway
adressing the obsession
Fairytell stories READ use the elements of a fairytell for your own story.