A project will always proceed though many versions and iterations.
Last week was a very powerful week with a lot of very impressive experiments being installed and some great ideas being discussed.
For week nine we will continue with this process of experimentation and collaborative discussion.
Those who installed work in week 8 understand the value they received from throwing something – anything – up. For those that shied away from doing so we expect that you’ll step up and grab some of this potential value – get something installed no matter how small or drafty.
This week we will see the first iteration of your projects. Use the first hour to set up your work in the DCM Gallery/ Blackboxes. We will then spend some time discussing project development and ideas based in part on the proposal developed in week 6. We will introduce the 6 Hats framework of creative critique and auditing and look at some project management techniques.
The subsequent workshop hours will be consultation and development time – you are to work on integrating the feedback and advice you received from your classmates in the first hour and re-work your install to present in the subsequent week.
‘Drawing for Arrow of Time (Unfinished Life)’ – Tatsuo Miyajima
In week two we discussed the difference and relationship between art and craft. I argued that craft can be used as both a tool for suspending agency – for giving over to process – and that experimental practice can animate and extend the disciplinary and cultural limits that define a particular craft. We might also acknowledge that while art seems to require craft, craft doesn’t seem seem to require art.
Another way of positioning this fact of craft not needing art might be to suggest that an interesting media arts practice extends beyond craft, uses it mercilessly, but always in the service of moving things forward and differently – craft often serves art but rarely does the inverse apply.
Today we will hinge off this difference and relationship to explore what makes an interesting media arts practice and project.
In the first few weeks of the course we’ve explored the way art, craft, theory and research intersect as the basis of a well grounded and supported creative practice. We then started to think about how we can describe our own individual practices.
James Turrell, Ronin, 1968 Fluorescent light, dimensions variable
In week five we will start by spending an hour going over and testing these statements of practice in the classroom. If you are having trouble with your statement it might be worth using the categories above to think through what you do. Ask;
What questions do you explore/ask as a function of your practice and how? (Art/Media)
What key influences, mentors, or peers inform your practice? (what questions does their work ask/explore?) (Context)
What set of ideas/theories do you work with, are your interested in working with, or which inform your practice? (Theory/Philosophy)
What aspects of craft do these experiments require, or which you have developed while engaged in this practice? (Your skills)
Jo Law, June 2014, Lithograph
Think about the story you are telling and how well it is supported by the works you have selected to include in your portfolio. What directions do you need to take this term in order to realise the image presented in your statement? What directions are presented by your existing portfolio? What is it that I am really interested in? What do you want to get better at? What type of work do you wish was there in your portfolio? Shape your description accordingly.
Once you have developed a statement in full, test it, by exchanging it with at least two of your classmates, recording, and incorporating their feedback?
When reading someone else’s statement assess the image that is presented? Is that image professional? warm? arrogant? meek? coherent?
Cardiff & Miller, Stormroom 2009
As we discussed in class in week 2 and 3 we will spend the rest of the workshop doing material research.
This is a chance to begin a dialogue as a group of practitioners. For that to work we have to be disciplined enough to make the DMC work as shared creative space – bring all you will need to make the most of the time together. Think about your work as a contribution to the group as much as to your own project. Don’t leave early because you’re not organised…. be organised, be disciplined, work within the time and space together. Care for each other and each others work.
Given all we’ve discussed over the previous weeks and the statement you’ve been working on and choose a work by one artist or maker whose work usefully explores an aspect of the theme ‘futures’ and whose practice informs or resonates with your own. Think back to the previous exercise. Choose a work that best serves to illustrate your interests.
Emulate, iterate, or adopt one aspect or strategy of this work.
If your mentor is a filmmaker – research an aspect of their aesthetic or style by attempting to emulate an instance of their work. If they are a composer – compose in the style of…… etc, etc.
The element that you choose might offer a technical challenge, a chance to practice or research a particular craft or technique, a chance to explore an aesthetic, idea or function. Be specific about which of these aspects you are focussing on – that is be specific about why you have chosen a particular aspect to work with and what your aims are in engaging (in) this work.
This work need not end up in your final work – its just a place to start and engagement with the materials and ideas you are interested in.
Be ready to document your work, to discuss it with your peers, and with Jo an I. Think about what the next step is? Another experiment, an iteration, engagement with another work?
Many thanks to those who donated to the Art Auction. The exhibition is at the TAEM Gallery in building 25 on main campus. It was launched for Open Day on Saturday and silent auction already began. Live Auction takes place on Thursday 24 August 2017 at 12.30pm. Remember to tell all your friends and family. UOW has the news story here: http://media.uow.edu.au/news/UOW236724
We will first meet at the foyer of the Museum of Contemporary Art at 10.30 and travel to the UTS Gallery.
This excursion presents an excellent opportunity for us to visit exhibitions of contemporary arts together and discuss the ideas these works present, their execution and presentation as well as raise questions about the role and relevance of art and media.
For MEDA302 in particular, the value of physically encounter contemporary art and media works exhibited in an art space is particularly relevant when developing your Media Arts Project. Your focus will be in terms of the ideas and concepts explored the works as well as how these are executed as physical, material works. You will also be asked to pay close attention to the curatorial rationale of how works are installed and exhibited.
A note that This is a Voice has just opened at the Powerhouse Museum. Student general entry fee is $8. You are welcome to visit this exhibition after our excursion at UTS. The Powerhouse Museum is a short walk from UTS.
In week 3 we have invited the School’s current artist-in-residence Warren Leung to talk to us about his practice. Warren is an international Hong Kong-based artist. His reflective practice combines historical exploration with conceptual inquiry within a contemporary urban landscape. Ranging from photography and video to text, performance and installation, he is concerned with the undetermined relationship between conception, perception and understanding, especially in relation to site and history within cultural/political frameworks.
His site-specific project was featured in the first Hong Kong pavilion at the Venice Biennale in 2001. His works have been exhibited in major international museums and institutions including Tate Modern in London, NRW Forum in Dusseldorf, Museu da Imagem e do Som in São Paulo and biennales in Shanghai, Busan and Manchester.
Warren was a co-founder of Para/Site Art Space. He has been engaged in collaborative projects, including seminal works with Sara Wong such as City Cookie and Museum of the Lost. Warren was visiting artist at the Institut Kunst of Hochschule Luzern and Ecole Cantonale d’Art du Valais in Switzerland; Monash University, Melbourne and Australian National University. He has also participated in artist-in-residence programmes in New York, Banff, Vienna and Sapporo. He teaches in the School of Creative Media, City University of Hong Kong.
Jitish Kallat, Covering Letter, 2012, fog screen projection dimensions variable
This week we explore the relation between theory and practice creating a work. How do we engage in theory and practice in a mutually informative process? What parts do critical reflection and iteration play in the theory and practice of making? We aim to establish creative processes that benefit from a fluid dynamics between these facets.
In week 2’s workshop, we focus on developing a professional profile for creative practitioners. We will look at different styles of profiles and portfolios, and assess how effective they are in conveying a sense of what the makers. We will workshop the methods and strategies of presenting yourselves and your works.
Given this approach can your provide a definition of what theory is?
Given this definition why ‘do theory’?
How is theory different from research? How might they compliment each other – does one require the other?
Are theory and practice fundamentally different practices? Why? How? In what ways are they similar? In what ways are they different?
Is theory useful to art practice? how? How might use of theory (a critically engagement and /or invention of concepts) – propel a project?
Many artists resist theory. Can theory dangerous/counterproductive to art practice? how?
Can you name an example when theory has moved your practice forward? Which theories? Why?
Some theories about theory.. Carter and the privileging of rational thought/global vs. poeisis/local.Deleuze and Guattari on the Major vs the Minor Modes.
Go back to Eagleton’s Introduction and use it as a template for discussing the ideas around the seed of futures or the idea of the future. Use the text or media examples that you have been asked to bring as a vehicle for expanding on the idea of futurity/the future/futures that they reflect.
If there is such a thing as future theory, then it would seem obvious that there is something called future which it is the theory of. We can begin, then, by raising the question: what is future?
(Note there is no such thing as future theory…. we are making it up…. thats what theorist’s do – but they ensure its applicable – that is useful ….. the questions at least for me is how well does my theory animate my thinking about and relation to the thing.)
As we saw last week and as Paul Carter suggest its always a good strategy to think this through locally (interesting, applicable, generative to us now rather than concerned with a truth), promiscuously and specifically… that is to work out how you can multiply the answers to this question as much as possible…. how many versions of what is future? Can you come up with? How many theories can you generate by asking this question? Which ones generate the most interesting questions?
There are many ways of further interrogating the concept with which you are working.
Ask for instance how the particular futures which you have found work? Or rather ask what work do they do, or functions of they serve within our culture and society, what work do they do, or function do they serve for the individual?
Doing Theory Again.
Lets start thinking through your possible project. Don’t start with the question ‘What is my project?’.
Lets try and begin by theorising our specific interests.
We might be able to use Eagleton’s ploy to start somewhere more interesting. Lets invent theories of praxis and technics that we can then explore and use to animate our engagement with stuff/materials at a local level.
If there is such a thing as discourse theory, then it would seem obvious that there is something called discourse which it is the theory of. We can begin, then, by raising the question: what is discourse?
Derrida’s Writing and Difference.
If there is such a thing as cinema theory, then it would seem obvious that there is something called cinema which it is the theory of. We can begin, then, by raising the question: what is cinema?
Note that the question is not just what is cinema (or whatever)…. but rather to invent a theory of projection by asking the question regarding cinema as a concept (not just a technology or medium). Deleuze says that the purpose of philosophy is no to reflect on things but to invent concepts.
Then multiply the answers deliberately and generatively using the most powerful generator of ideas possible. What are all the ways we can answer the question what is projection (for example) …. other people’s minds.
If the answer doesn’t produce anything very interesting then perhaps you don’t want to produce work with that concept.. that doesn’t mean you abandon the medium or concept but perhaps ask how can I reframe this concept.
Here is a great example of a conceptual reframing of technics:
If there is such a thing as a theory of technics, then it would seem obvious that there is something called technics which it is the theory of. We can begin, then, by raising the question: what is technics?
Who are you?/ What are you?
Everything we do this semester should be useful to you beyond university. For the first assignment you need to establish a website of your own that is made for displaying your profile, presenting a list of work/ a showreel, and perhaps also maintaining or managing a social media front.
How we present ourselves professionally is key in how we can are perceived by prospective employers, funding bodies, clients or customers . They will not know everything about us, our work, practice or past experience, so it is key to present a package…. or rather a story…
This is a hard thing to do – and many of your don’t want to commit to any one thing just yet. In fact …thats life – if I lock myself in then I’m potentially excluding possibility … the challenge is to tell a story about who you are now (rather than who you’d like to be) that gives funders, employers, peers, mentors, customers or fans a sense of how the next part of your story might include them and how they might serve the development of that story.
This means thinking about who your respective employers,funders, partners, collaborators are where you might fit into their organisation or lives- what you might offer them and what they might offer you. Generally they don’t want someone fully formed – but someone willing to learn and adapt, someone with a passion for something…. and most of all someone fun to hang out with (this often overlooked).
In formulating this story its important that it describes those qualities that characterise you as a professional and practitioner (and that the employers is looking for). Resist the apparently customary things like ‘I am a good communicator who enjoys working with other people’ – everybody – says that and things like it and employers just read right over it….
You fit that quality into a narrative and provide and example/evidence to back that narrative account up. This evidence-based approach is sometimes described as STAR where you describe a:
S – situation
T – task/target
A – action
R – result or resolution
‘The Island’ project was produced of a challenge to work in a group of 6 artists to generate ideas, plan and execute a major media-art installation in a way that was genuinely inclusive and collaborative. To this end we determined a strategy of open and disciplined play capable of bring diverse ideas to the table via an engagement with materials and with those within the space.’
From Gillian Wearing’s series Signs that say what you want them to say and not Signs that say what someone else wants you to say 1992-3, when the artist asked pedestrians she met on the street to write down what they would like to say. This photograph titled ‘I am Desperate’ is perhaps the most well-known one of the series as the man’s appearance gave no indication of how he felt.
Drafting a story, a statement, a portfolio.
Read the assessment outline carefully and jot down what you need to include in the profile statement.
Find and compare biographies of 2 creative practitioners (look at least one of those listed below and find one other) . Look at the style of writing and the structure the biographies take. Look at how the work is presented and where. Assess the logic of the design – does it support a coherent narrative about the persons practice?
Does the platform adequately support the content and its claims?What perspective is used?
What elements are included?
How is the interaction design – does it support a narrative unfolding? Does it follow a STAR structure or something like it?
What tone does it take?
Which statements are effective?
Which fail and why do they fail?
Draft your story by using by listing 5 skills or qualities you need to include in your statement that relate to your field – think about how you can demonstrate them using the STAR systems. Sketch these narrative out as a means of clarifying your story. You can include software skills generically (e.g. 3d visualisation), there is no need to be specific here (e.g. Maya) – this may be listed in your list of works.
Draft your own short statement that will provide the introduction and frame for your portfolio given the evidence and examples you’ve developed above.
Exchange your draft with a fellow student and go through your writings together. Improve them before sitting down with Mat or Joe to edit.
Listings of works
I would resist the temptation to list all work you’ve ever done. For example – In the past we have had students list their HSC works. This might be OK but only if those work support the coherent narrative we discussed above.
A consistent body of work demonstrating a unique and consistent practice (a discipline) is more important than a list of achievements or school awards. You really do need to think in terms of your target reader – how do you want to present? As a student or as an artist/practitioner?
Select no more than 6 works to include in your profile statement. But foreground around 3 or 4 that support the STAR structure described above – that is that support your narrative.
You should choose your best and most representative works (with the proviso that you need three minimum to make the narrative work)
You can have a brief sentence to describe the content of your work. The format, duration, medium of the work can be abbreviated. Here, you can specify the software or technologies used if this is important to your field. If the work has been exhibited or shown in public, include the details of the event. All information should be consistently formatted.
If you have time-based works or documentation of your works as a video, it is much better for the reader if you embed your media onto the page rather than linking/ directing the reader to another page or tab. Consider the reader’s/user’s experience.
Short on works? Think about how you might amplify this section over the coming weeks.
Particularly weeks 6-10 (but not exclusively) might be good chances to install and photograph works for presenting on a profile.
Planning your Site
Thinking critically about where you want to host this site, under which domain and etc. There maybe costs to this exercise depending on the decisions you make.
Some of you may prefer to establish your own domain and take a custom approach to your portfolio design. You may take this opportunity to develop this site as a creative work in its own right that demonstrates something of your approach to media arts. It doesn’t look great if you are a web designer and you use a recognisable or default wordpress template for your site…
Other may find a social network solution that meets their needs and is more sustainable and presentable in the long term. Either option or somewhere in between is fine as long as it serves the purpose of presenting a public profile and your work publicly.
Start to do some research about what form your site will take – draft up a plan of action- a list of To Do’s based on your decisions. Consult with 2 other students regarding your plans and theirs what decisions have others come to and why? How does their plan differ from yours and why?
I can recommend a self hosted wordpress site as the place for your portfolio for these reasons amongst others;
Total control over hosting and file management.
Having your own digital ‘real estate’ is a very helpful professional resource.
Allows a consistent and self managed identity and email for the long term.
Total design flexibility and control with plenty of prefab themes to get started with.
Reliable, very stable and ‘portable’ system
Chris Anderson’s site used Square Space.
Below are some examples (including what platforms are used in brackets):
Please donate 3 pieces of artworks for the Grad Show auction. Works will be selected for exhibition and sale. Silent bids open 18 August and auction scheduled on 24 August.
We need you to deliver your works to main campus on 15th August (place TBA). We also need you to supply information about your works: Title, Name, Medium and Year by 11th August.
In the past, students who produce screen media often donate high-resolution screen shots – and have sold very well. Abstract images may have more appeal in this context, however, object works are also popular.
Thank you for signing up to a Grad Show organising committee (or two) last week. Those who have not yet signed up please have a look here and let me know how you would like to help.
Fundraising Please begin thinking and planning 2 fundraising events that can take place at Innovation Campus. Last year 3rd year students organised a band night and a sausage sizzle and raised over $800.
It is time to put your heads together to think about a couple of events that will contribute to the cost of the exhibition.
Curatorial It seems fitting that Media Arts students work with a theme for the Grad Show, perhaps Futures proposed by Mat would be fitting. The job for the curatorial theme is to think about how all the final projects will work together to present a coherent show.
This is one of the most important committees. This will provide an excellent opportunity for those of you who are well-versed in marketing strategies and interested in pursuing as a career. We are hoping that you will be able to bring some fresh and exciting strategies to market your Grad Show.
Website This committee will work very closely with the marketing team and the Graphic Design students to create the online catalogue for this exhibition.
Event This committee will be looking after the event of the opening night and the smooth running of the exhibition. Tasks will include drawing up an invite-lists for the opening, securing for a Media Arts prize (if that’s what we want), as well as help organise the opening event.
In this first week of the session, we will gain an overview of MEDA302: what is this subject about? What are our objectives? How will we get there? What should you aim to get out of this subject?
In the workshop class, we will spend some time analysing MEDA301 Media Arts Projects. We want to examine the process of creating a Media Art work and the types of thinking that involves. Specifically, what does this process look like? How are ideas explored and materialised? What parts does material experimentation/thinking play in the process? And importantly, what have we learnt about the collaboration? We will also discuss the Graduate Exhibition that will occur in November 2017. Continue reading →