In the final workshop, we will review your major project. Please ensure you bring your work-in-progress to consult with your tutor. You can use the time for production and testing (equipment, set-up, and installation).
Spaces and equipment are in the final stages of being allocated. It is very important for all students who are doing installation works to check their allocated space and equipment. This is your last chance to confirm these details. If you were absent from last week, it is unlikely you would have been allocated space or equipment. Please ensure you contact your tutor immediately.
Final space and equipment allocations will be posted here shortly.
[Joana Moll, AZ: The Archive, 2011-4, installed view at ISEA 2016 Cultural R>evolution exhibition]
In this week’s workshop, we will aim to finalise all spatial requirements and allocate everyone a location for showing your works for assessment on Tuesday 14th June.
We will continue with the planning and testing we began in previous weeks: (production work flow, space allocation, equipment need, installation and final presentation). It’s also a chance to discuss with your tutor the progress of your work.
During this week’s workshop, do one or more of the following:
conduct testing relevant to your project (especially, projection works)
In this week’s workshop, you will be discussing your work-in-progress with your tutor and testing aspects of your proposed major project. Take the opportunity to test ideas by gathering footage or materials, using the available equipment to trial different possibilities. Remember that many elements of a work cannot be planned but need to be tested first. Like the hands-on workshops from weeks 7 to 9, your material research (working with the gear) helps your ideas mature and form the work.
[MEDA201 Major Project assessment installation shot in 2014]
In workshop 10, you will present your concept for your major project to class. This will give you an opportunity to present your research and conceptual development. Use this forum to test out your ideas and solicit feedback. In particular, you will want to show the artwork/ practice that you are responding and your research materials. You may also want to bring other support material to show (sketches, diagrams etc) to talk through your ideas. Your presentation should be around 10 to 15 minutes including questions and feedback. Your presentation, while not assessable, will be taken into account in the final assessment of the major project.
Please read the project outline carefully to ensure what is required for the assignment.
[Ant Beard’s single-channel screenwork in 2011 responded to Len Lye’s cameraless films in their use of light animation, and music] Continue reading →
[Anthony McCall, Line Describing a Cone, 1973 (re-staged 2011)]
In weeks 9s workshops, we continue with the practice of re-enactment focusing on performances that work with image and screen. These re-enactment projects require researching on concepts of the works, performative procedures, equipment set-ups, and audience experience. As in week 7’s exercise (re-creating video installations), you do not have to replicate the work exactly. You may want to re-interpret these works in their re-making/ re-staging in reference to the central concept of the work. Is the work interrogating an element of the cinematic experience? How is this achieved?
A list of works to be re-enacted/ re-staged is as below. You will be assigned a group and a work. The necessary equipment is supplied to create the image content (if applicable) and to perform the work. Continue reading →
In week 6’s workshop, we will explore the construction of an image through making remoscopes (sometimes called, Lumiere films). We explore the conceptual, aesthetic, and technical characteristics of the digital video medium. How do aspects in the moving image such as framing, composition, and the tension between movement and stillness contribute to the meaning of the image as pictorial representation. We will also consider the rule-based practice as an approach that engenders enabling constraints in creative works.
[ay Chow and Lev Manovich, Every shot from Dziga Vertov’s film Man with a Movie Camera (1929), 2012.]
This week we continue to focus on the processes of editing and compiling your footage for your Cameraless Film Project. Discussing and applying what we looked at about editing as a cinematic language as well as experimental device to organise screen time and space.
In this workshop, we explore different editing techniques and styles, specifically focusing on the mechanism of montage. We look at a number of examples that illustrate the historical development of editing as well as some contemporary works that play with this conventional language. Continue reading →
In week 2, we continue our exploration of 16mm film medium and experimentation of cameraless film techniques. We look at a range of examples that make use of different film media. We begin the process of transferring film footage to digital video.
Watch and discuss: narrative cameraless film works