210930 Alison
The meeting with Alison was very productive.
Follow the thread of thinking
Prefigure phenomenology — through the lens of theoretical theory
Understanding conversation
Interesting words and phrases
Translate
Read
Visceral
Compelling
Something “compressed
Beautifully “grotesque”
“Compelling” reading of images
Translate visuals
Example: Varga — talk back to the image unpacking the “methodology” (grandmothers spit directly onto the negatives “creating smudges and marks (etc)” as can be seen in Figure XXX.
Interesting words
Relevant
Perpetuate
Position
Empathy
Keywords
Meeting, Alison, Studio 4, Writing, Exergisis, Document plan
TCCP 210914
14 September 2021
Themes in Contemporary Creative Practice
Class notes
Presentation of works in progress for “Pretty Vacant”. Feedback and comments.
On colour theory - Infected Mondrians: https://www.stedelijk.nl/en/news/stedelijk-museum-acquires-infected-mondrian-2
https://www.guggenheim.org/artwork/4327
Inbetween creative spaces.
Creative spaces that people don’t see.
Builds on the conversation on black and white photography.
Infected Mondrian
“General Idea” added green.
Working with the idea of “infection”.
Created a series of works “infected Mondirans”.
“Openly address’ the AIDS crisis.
Look at Andreia Gursky — People.
Notes on discussion of my work
Video is silent “Brakhage” action
The works in relation to surroundings
I said “not a lot” but there is a great significance to the works in the surroundings (georgette in tree). I want to install them in a part or public space and leave them up for a day. Or perhaps hanging from signage of veues and locations from which they were taken. In my submission for the State Library Fellowship 2022 (closed September 5 2021) I have suggested that a potential final outcome is a street poster exhibition. The comments on my TCCP assignment inspired the street poster exhibit. I subsequently resubmitted my application. In early August I also sent an email to Fiona (Art in Public Spaces) seeking advice on potential outcomes for another project I am working on.
SV David 210913
Meeting was very productive.
We discussed presentation of works and the mural walls. I have had a number of sections printed to scale on paper to test on the walls. It is important to celebrate and work with the installation space. As such, I am keen to have the display walls covered. Each wall is 6x2.4 metres. The required coverage is approximately 6 x 3 meter drops, totalling to 32 linear meters.
Ideas
Phototex: $90 per linear meter — too expensive.
Draped printed muslin: $20 per linear meter — maybe.
Draped printed georgette: $30 per linear meter — too expensive.
Tiled 80gsm printouts: Poor quality.
Wall paper: Expensive. Glues to surface. Not suitable.
Printing on tiled substrate (ie") MDF: Need to build fake wall. Time is an issue. Once the section is complete cost will equal that of the wall paper.
Too time consuming. Difficult to install. Not cost effective.
25% strength
Tests with 25% strength print on paper is very good working with the space but not overpowering the main installation of the disks.
Background/mural serves as representational figuration of memory, thought, distance, separation. All of which are directly related to topic.
100% strength
Tests with 100% strength print on paper was not successful. The wall became central and a primary point of focus, overpowering the main works.
No.
Keywords
Semester 4, Studio 4, Installation, SV, Meeting, Overture
PCP A1 feedback
Professional Creative Practice
Assignment 1
Industry standard proposal draft
Grade: 77% (DI)
Feedback: Martina Copely
Zo’s proposal for NoteWorthy, a 2022 State Library Fellowship - Tate Adams Memorial Residency at Baldessin Press & Studio Fellowship is a well-timed and appropriate industry-based opportunity. The proposal is considered, well written and addresses criteria in the requisite formats.
When you are drafting support letters, write the characteristics into the draft that selectors will be looking for. E.g. Working with a collection. Having already undertaken residencies/created artist books/previous industry experience related to this project. You need each letter to have a different focus and tick all the boxes. Also do not leave specific examples for the referee to research. You should offer these. I am interested to know who you will ask for a reference as this is strategic. Great personal reference from David Anderson. I suggest rewriting the first section as it is very unclear just what the project idea actually is. Cut out unnecessary wordage. Ask a no arts person to read it and make sense of it.
One idea at a time.
For example: “NoteWorthy” depicts creative hubs impacted by Covid-19, using film and cameraless photography to chart the endurance of live music culture in the absence of collective gatherings. The project investigates a series of live music culture events in Melbourne spanning more than 40 years, such as venue closures due to government legislation, the pandemic and the gentrification of cultural hubs to contemplate how live music culture has prevailed.
So you are working into your own archive – bringing it together with information from the Library to create something… I do have a question, how will you document live music performance during lockdown?
New work. See submitted material.
Does this shift to the digital realm? Why is it important to work with film and cameraless modes, then shift to photogravure? It seems to me that you are stepping off from a previous project DAMAGE Report, which is held in the library collection to extend this project to address longevity of the industry.
No. The resource material is to guide.
It is important to differentiate this project aim from the previous project already completed.
This has been addressed. See submitted material.
What is new here? Second main idea – use of collection and studio resources. Consolidate this further as it key selection criteria. EG. Ongoing access to the State Library Victoria archives and resources (including The Damage Report name other archival sections of relevance…. is central to the project. The facilities and resources at Baldessin Press will allow me to reimagine the image-based archive as a photogravure limited edition or unique state artist's book.
Also addressed.
Third main idea about you – image and music.
This is fine but it is mostly a CV summary of highlights and is repeated below, so rewrite.
I want to know why you want to do this project, how this project and research will impact your practice, how you will bring your experience to bear on the collection and make something of relevance. Motivation for applying.
Addressed.
Say why it is important to shift original documentation making use of the facilities at Baldessin Studio and expertise. What do you want to learn, experiment with? and why?
No word limit, so go for it. Get specific.
Benefits, I imagine also extend to the live music community of creative and audiences. Working with an archive and bringing it into a new context can be an opportunity to highlight aspects of a community endeavour that often go unnoticed such as resilience, collaboration and the ongoing, often unsupported work that allows for continuity.
Addressed in summary.
I may be wrong here but you see what is required, some further thinking.
Are you reworking the collection or simply requiring access to the collection? Public outcomes are important. To be added.
Addressed in the what and how.
I want to know more about the book/box set??? Describe it in detail. How is it different to previous projects of yours by other people? Is there a launch, distributor, connection to live music community?
Rework gallery. Include a short paragraph about the series.
The visual support material functions well but needs to be organized and refined. It is accessible and follows the required format.
The application is professional and responds to key criteria.
The link to CV online does not work, but I have the pdf and it is clear and strong.
PCP class notes 210909
Had a great talk with Martina after class today.
Website
Martina has also advised that we will be discussing this assignment in our next class. I will resubmit it after that. It would be great to talk it out beforehand.
Break down the assignment brief and briefly talk to each point.
Student site: Discuss the choice of template and workarounds to customise the site. Also, include that chosen template was released in 2012 and the template has not changed and required customisation.
Introduction and overview — what it was, what needed to change and why
Design
Aesthetic
Target audience
Community of practice
Editing
Writing style and standardisation (captions and blogs)
Images
Blog posts
URL remapping
SEO
Student site
Choosing a template and constraints
Coding
Talk to student website redesign and image display
Include workarounds such as writing custom CSS to resolve immediate issues
Professional proposal
Write the assignment based on my submissions to SLV Fellowships programs and Forty-Five Downstairs call out.
Include response to Assignment 1 feedback addressing how the feedback would inform my applications for future opportunities.
Keywords
Professional Creative Practice, PCP, Semester 4, Assignments, Feedback, Website, Proposal
210907 SV David
I am the disconnect and disruption.
Talk about the disconnect of space in relation to the works (refer Bennett R and TCCP writing)
Talk to the space
Test fabric and mural
Screens
Page 2 right no
Page 3 right yes
Page 4 right no
Page 7 revisit (show more of space)
Page 7 right yes
Page 8 left yes
Page 8 right no
Page 9 left yes
Page 9 right yes
SV meet 210830
Why is it important — relationship between rhythm energy / neuroscience
It could be that i want explore to further develop my own process and art form
Why is it important to use my processes in twenty first century (old school in new time)
What - reiterate the what (music community and culture)
Why is this community important in my work now (reflect back on the what and telling the reader why
What is the connection between music and project - why is it important to use this community base
street / space scapes exegesis
what works what doesn’t and why
keep it simple
why and i doing the what — interrogate my self on the “what” to talk to the why
why is it important — acknowledge the music scene in lockdown, my position in that space
elaborate on my performance collaboration with the process
installation performance collaboration — expand on that
works have energy and rhythm in response to people viewing the work
the installation can never be seen the same way twice — why
why are these elements important
OBJECTIVES
Before writing objectives interrogate myself and work out what is my motivation and why it is important to me
objectives — WRITE THE OBJECTIVES
Voice note transcripts
Saturday 21 August 2021
Documenting the impact of the pandemic on live music culture through a series of photographs of the facades of live music venues and cultural hubs.
How has politics and social structure impacted live music venues?
How has covid impacted live music culture?
What is the difference between the live between the traditional face-to-face live music experience and digital streaming of live music performance?
What is the difference between covid and past events that have caused the closure of live music venues and impacted on live music culture?
What are the ramifications?
What opportunities present to re-establish solidarity in the absence of collective space within live music culture?
Friday 20 August 2021
We care a lot — Faith No More
Glass onion — The Beatles
Lone rhinoceros — Adrian Belew
Never talking to you again — Hüker Dü
Tuesday 17 August 2021
Pretty Vacant 2
The closure of live music venues and inactive live music cultural hubs the disarray of performance-based communities in relation to the pandemic.
I will not make boring art. This statement is boring.
Barad
Karen Barad (2010) states, “Every being made killable on a mass-scale by twentieth-century technologies …”
I propose that this theory may be extended to twenty-first-century technology, moreover, the internet, and applied to the digitisation of music and pop-culture.
The concept raise more questions than it answers as the digitisation presents unquestionable benefits primarily in the accessibility to recorded music and international fan forums.
In contrast, digitisation of live music culture falls short.
Why?
How?
Solution?
Political legislation and live music culture.
Summary.
Barad (2010) states, “Every being made killable on a mass-scale by twentieth-century technologies, whether victims of Auschwitz, or hibakusha of the atomic bombs dropped on Hiroshima and Nagasaki, or the victims of the Dresden firestorm, or the many other victims (some of whom lived as ghosts even before they died), and not only those deaths related to WWII but also other entangled high-tech massacres of populations made killable, or at least dispensable, whether at Bhopal, Chernobyl, Bikini Atoll, or elsewhere. And not only human ghosts, but all manner of ghostly beings (including the millions sacrificed each year by the killing machines of industrial meat production). Atomic ghosts.”
Barad, Karen. 2010. "Quantum Entanglements And Hauntological Relations Of Inheritance: Dis/Continuities, Spacetime Enfoldings, And Justice-To-Come". Derrida Today 3 (2): 262. doi:10.3366/drt.2010.0206.