Tutorials / Good Practice

TUTORIALS

30.09.09
Met with Andy today and discussed whether I understand the outcomes and a run-through of my proposal. I mentioned recent ideas re influences and fresh approaches and was advised to go ahead with my plan to storyboard my sequence but then to attack it in terms of self-questioning and new ways with location, scale, media etc.

Points to note

• why am I doing it… have a strong reason
• development… show that in the progression from starting point to final show
• grasp… make sure I understand requirements and if not: ask
• look at the writings of Roland Barthes e.g. Camera Lucida and Mythologies

• think about location and scale
• use typography outside of the page
• check art of Jenny Holzer
• stay focused

• strive for something new
• check out Processing
• think of flow via different media
• see if something is pulling additional concepts together

22.10.09
(Part of seminar, but relevant to my question.) Read Roland Barthes’ Camera Lucida. I have this book so I need to look at it quickly before hand-in. (I am still finishing LNM and typing quotes.) This is helpful re questions of style or lack of it. Look at and question digital art (I did some field research in the USA in the summer, and from LNM numerous searches on videos.) Define the style between the parameters.

22.10.09
(Feedback from draft question pre-proposal hand-in.)

Dear Claire,

Thanks for your text. This is beginning to come together. My initial

thoughts are that you have more then one question, and, though they

are related, are essentially asking different things. I would suggest

that you focus the question around the relationship between

‘Description’ and ‘Narrative’ – what do these mean and what aspects if

these can you compare fairly. Then you need to introduce the medium –

animation and explore how differing techniques of animation could

exploit the properties of of your question. Your context will

obviously look at the differing kinds of animation and your methods

will explore approaches to hybrid animation.

This is good  – you have already developed a lot

Andy

I answered your question and my advice would be – keep it focussed –

be careful not to [pull in to many things –  do what you need to do to

answer the question with depth and knowledge.

Well done

Andy

11.11.09
Feedback following presentation of our proposal to peers:

• Rupert – will there be a soundtrack?
• Esmerelda – saying soundtrack goes ahead of video and to think about that influence. Which is the strongest part?
• Rupert – will I pursue the ethic of threatened species much or not?
• Rupert – displacement
• Rupert – which lochs?
• Ethel: be careful in case it becomes a holiday brochure (I have taken this with a pinch of salt because I did explain it will not be scenic but would incorporate close-ups of water ripples with stop-motion sequences as a hybrid montage.)
• Feedback from Leon Barker: keep looking at high-end Flash tutorials e.g. the ones which have mathematical coded formulae.

13.01.10
PT1 catch up: 1 on 1 talk with AS for 40 mins. General progress update with positive affirmation re detail on my blog, e.g. bibliography, software notes. He suggested I try open source stop motion software, and he suggested I try the code from my software notes and feed back to my blog posts on my progress. This will make for more reflection in my posts.

28.01.10
I had an informal chat with Andy outside the V&A and he gave me the following pointers:

• add images to blog, e.g. Synesthesia exhibits, and comment on their connection to the theme (this reminds me of the catch-up where he advised me to try software experiments and report progress, since it adds more depth to the blog)
• look at a holistic approach (I need to ask more about this)
• consider RDIF techniques since my interests are both digital techniques and tactile materials (looked online at this, and added the link to Delicious)
• my peers can be diverse and can include theorists
• put thesis to one side for now and try experiments instead… we will be briefed on the thesis in a few months

09.03.10
PT1 tutorial: I discussed my recent blog additions and structure. Andy was positive about my recent contact with Lev Manovich, and he suggested subscribing to the Open Frameworks newsletter (which I have since done). Also he mentioned the Manovich paper: Soft Cinema, which I plan to read.

We talked about being efficient with our time, and the requirements for the MPR. These include showing how I wish visuals to function but also focusing the presentation on grey areas so I can get maximum feedback.

Andy told us a bit about the differences between Pure Data and Processing, and other system aspects e.g. optimising.

The advice was to focus on Processing for now, especially since it is a good starting point to learn Open Frameworks later. However Andy mentioned that Pure Data is more powerful at handling video, so I will likely be needing to use that too. Processing is best for vector-based work. We mentioned the Face Detection facility with Processing and I said it was useful as an option for my interaction. I have several ideas for interaction now, which is a nice problem to have, but these need deciding and will benefit from feedback. Andy said it was a really good observation that I commented on the fact that interaction has an interesting effect on the various forms of traditional editing, and editing pertains to my original question.

We talked about remaining open to new ideas in order to optimise efficiency. Also we mentioned tracking our journey from the outset proposal and how it developed to the output.

28.04.10
PT1 post-MPR

• feedback: are there themes; did they get it?; was there miscommunication
• new David Lynch film re meaning / meaningless
• challenge stereotypes e.g. black & white or soft focus is used for memory… what else can be tried? (see Dev)
• does it matter or not if they know it’s a memory?

• is it more an experience?
• people will engage if it’s part of a narrative
• create a fun, interesting experience
• make it enticing

• think how to get good feedback at the show
• put non-equating items together and see if something happens
• holy grail of digital era = old
• look at memory triggers

• not just a train but they take something away… something new or meaningful that they can relate to
• items become iconic of an era
• don’t rely on memory alone
• from the feedback, think what to incorporate or remove… don’t u-turn or restart

12.05.10 MPR Feedback from Andy:
Mid Point Review

Name: Claire Alonge

Tutor: Andrew Stiff Date: 01-05-10

Tutor comments from Midpoint review peer discussion session:

• This was a good Mid point review, well presented and clear.
• Investigation to date has been excellent, and you have not only developed your ideas but set yourself some big challenges, in both technology and the integration of ideas.
• In your text you identify a number of ‘narrative’ elements – the train trips the carriages etc. This is good to plan out but I would also suggest that you could let the research help define the practice as well.
• With all arts based practice, the balance between discovery and preconception is critical. Innovation will come out of this relationship. You need to find space within this project for that discovery, do not always feel you need to define all outcomes and all ideas. Let there be space for the unexpected.
• It would be worth looking at the last section of your presentation, as this bit encapsulates the ‘space’ that the ideas need:
  ‘I realised that the use of real-time software would have an interesting effect on the final edit, via some form of interaction. This could be via:
  
  1. floor sensors which jump to various dates in the autobiographical stills;
  2. proximity sensors which turn motors to rotate the toy bricks and show each side in sequence;
  3. the face-finding facility in real-time code which could transpose the viewer’s face onto still images of old and new buses;
  4. live feed full portraits of the viewer as low opacity over the entire video hybrid projection area. To this end I am learning Processing.
  5. I wondered what it would be like if I projected through a small tank with transparent shapes in water, and if the wall receiving the projection had subtle white relief items adhered. I have the tank, contents and some of the relief items’
• Be sure that you work carefully with the notion of memory – look at texts on the archive and museums for greater understanding of this area. You need to firm up the differences between collective memory, personal memory and ‘experience’ – and how your audience will engage with it.

12.05.10 Tutorial with Andy
Issues discussed/subject:

• Question all new ideas.
• Try to retain room for spontaneity.
• Try to find a new approach re the subject of memory in art
  (look at what other artists have done with memory, e.g. Jane and Louise Wilson).
• Look at what could be the memory trigger.

• Think about how trains are more emotive for people my age than today’s youth.
• Get some train audio (train trundle) and edit visuals to the beat of the train jumping the points / rails.
• Make my practice more tactical, the way my blog has become tactical. Let the practice reflect progress the way my theory has.
• Show development of my own practice on the blog, dump experiments onto the project development page to make it more visual than verbal.

• Links to check: openprocessing.org (done)
• Research: Richard Osborne; Lefebvre Spatial Triad (3 forms of space: planned, familiar, personal).
• We were briefed on the research paper, which I shall document separately.

My comments/Notes

• This was a poignant meeting, and I sincerely value the kind feedback re my learning methods and achievements to date. I look forward to continuing in this way. I wish to reflect on peer and tutor feedback once more in order to focus my practice toward the outcome of the project. In addition, I like the reminder about leaving space for freshness and spontaneity, otherwise the work could look too preconceived.
• I also received feedback on my MPR today. It was very positive, with several specific suggestions:
  1 Let research define practice (this is good because my earlier reading was very helpful in grasping the concepts and history with digital art)
  2 Find space for discovery (e.g. via interaction studies / experiments)
  3 Research ‘memory’ archives, define collective v personal memory and plan audience engagement.

23.06.10 Feedback on Abstract with Andy and Jonathan
Issues discussed / subject:

• Look at Simon’s blog on narration points
• use narrative and interaction
• term ‘new media’ not really new
• traditional film edit types but not study of Hollywood

• keywords: editing / interaction / narrative / moving image
• look at and use role of editor, something yet omitted in new awareness of interaction affective narrative in digital media settings e.g. live cinema
• DIY editing
• conclusions: no editor? heightened role? looks minimised but may be heightened

• not a PhD, only a 5000 word paper
• goal = find interesting links
• field work: go to Stanley Kubrick film archive @ LCC /
  e-mail Cate Elwes – expert in video art – ask for relevant video editors/
  get coffee appointments to speak to games editors in Glasgow or Dundee (or Hawaii!?) by saying: ‘Editing has a pivotal role in the future…’/
  Framestore (?) [google search on role and relevance]/
  e-mail Pete Greenaway [google search on role and relevance]/
  e-mail Jem Mackay PhD in open source film-making
• question for editors or Cate: How does the role of an editor fit into this environment

• go through my bibliography for relevant quotes
• try to define the research question and apply pruning to it e.g. I won’t be looking at Hollywood
• define and compare practitioners e.g. movimg image editors, film making editors, traditional editors, music editors, gaming editors – prepare set of questions for them, e.g. How does the role of an editor fit into this environment?
• Stick to 5000 words
• Think tactically e.g. don’t read cover to cover

19.10.10 Tutorial on Research Paper with Cate Elwes
Issues discussed / subject:

• Interview one film editor, one programmer and one gaming editor
• write well but don’t cite excessively
• trace the history of narrative in relation to the role of an editor
• 3000-5000 words

08.03.11 Tutorial with Ed
Presentation: I showed: a visual piece with the proposed installation in detail.
My practice question concerns film editing, so I am making two short films which will be cut together (total length 2.5 mins).

• Film 1: simple narrative, show freight train clip / transition.
• Film 2: stylistic edit.

Instead of sharing a screen, they will be shown separately – see sketch.

Whilst the opposite clip is showing, instead of cutting to slug or matte, the first sequence will cut to place-holder, e.g. orange finger image or slow-moving code sketch.
Showed Processing sketches:

• traffic
• bendy bus
• caption-poem
• MADA x 1+

Centre item: Projection of simple fish sequence through tank. Also may use algorithmic optics sequence (to reshoot).

Interaction. See also sketch / model on installation layout.

I need advice on:

• stablility issues
• electronics shopping list (forward Daniel’s mail to Ed)
• PD possible use in my proposed installation?
• software ‘hosting’ info: i.e. ‘platform / mother-file’

Ed’s Feedback / suggestions:

• Having a sequence between styles e.g. recognisable → abstract will link the 2 films and balance the work
• 2 sharp infrared sensors are more feasible than the X Bee system
• make the 2 films and centre piece by end March (movie-maker info in Delicious)
• do experiments with camera + superimposition in April (this refers to the alamagamation of the 3 items, the addition of an alpha layer (fish swimming over entire format) and the use of sensory equipment
• make 5 or 6 pieces, take the best or unexpected forward for the degree show

My Comments:
This tutorial was very enabling in that the feedback helped crystallise the piece into one coherent whole. I have narrowed the focus lately, so the ideas are less numerous, e.g. interaction. Talking about the project used to make it sound complex, but the visual showed it is actually not. Any issues will arise in the making and I will connect with the tutors on necessary shifts in direction at those times.

Tutorial with Ed 07.07.11

• show experiments
• show blurb
• show new model re projections, sound and shower, and comment on shower issues
• progress journals, June, July
• involvement in show planning
• get help to check shopping list
  e.g. infrared sensors etc
  find or buy speakers
  find or borrow computers
  source possible 4th projector
  buy or borrow arduino kit
  
• get help: build PD or Processing app. to synchronise 3 screenings to start / finish together
• build PD or Processing app. to link sensors to sounds / speakers
• build PD or Processing app. to link possible algorithm projection to 4th sensor
• get help to assemble and test all the circuits

GOOD PRACTICE

Re show:

• test everything, e.g. projections
• send individual mails to galleries or they will go to junk folder
• follow up with calls
• send invites early

Skill set

• academic skills
• self-management skills
• communication skills
• interpersonal skills

• See also keyskills Grid link

Research & Practice = Dialogue

• critical thinking
• critical writing
• critical practice
• critical research – question everything
• time management

Bubbles – converging and expanding

• writing little and often for essay or blog e.g. 1/2 hr per day
• use glossary and bibliography when composing paragraphs
• be realistic but have a disciplined strategy
• information skills

• active listening
• oral /visual presentations
• 26 golden rules for writing essays well

Key things from course handbook

• research groups are very good
• peer learning is very good because discussion expands knowledge

Unit 1

• research e.g. Pure Data
• development
• practice @ 20 wks ea.

Habits

• Ina Dorthea Thuresson Heh, thanks Claire! The only tips i can come up with is blog a lot, and try to make the contextual background of the work just as strong as the physical work, be ambitious yet realistic and be bossy! The feedback form did not say very much, other then that i had a very good blog, did a good job for the final show and did what i said i would in the project proposal
• observe practitioners
• choose methods
• be adventurous but realistic i.eg not too many new applications

• use blog to reflect on forums and discuss methods (this builds confidence)
• remember we are assessed on learning outcomes
• sustained, not tactical study i.e. don’t do whatever it takes to submit criteria but be a natural researcher / practitioner
• demonstrate critical engagement in the blog, the proposal and the mid-point review

• use blog to show how I am challenging and questioning myself
• instigate workshops
• articulate new things or old things in new approaches
• erase and redo certain decisions

• aim for deeper learning
• collect quotations for ongoing bibliography
• compositions: 1) part-assemble / 2) add new? 3) rework existing?
• be confident in presentations

General

• be checking MADA Wiki for events, calendar & other blogs
• add blog posts every 2-3 days
• bump up contrast for projections
• borrow books from reading list, peruse and decide whether to add to bibliography

• visit bookmarked sites as a vital addition to research and practice
• attend supplementary events e.g. private views etc especially if related to peers / staff but also if relevant to practice area
• keep To Do list of smaller tasks re project and theory
• keep To Ask list for various members of CCW staff

• make use of library, open access room and workshops
• make use of peer learning opportunities
• keep formal and informal sketch books for project aspects and jotting ideas
• ask Why? for each approach to strengthen and simplify

• check Gutenberg has online versions for citation without hard copy
• break week down into blocks and make a structure to plan
• remember audio goes ahead of visual

Notes

• Illustrator for laser cutter: nothing on pasteboard / same red for engraving / for type create outlines in black with a none fill
• measure acrylic and fit all shapes to a similar shape with a few mm bleed
• 3D area: not too much pressure on the vice or acrylic shatters
• 3D area: ban saw is better than sander for turning Fruit Shoot tops to hub-caps, and for acrylic (to make more off-cuts). Sander is good for modelling.
• sandpaper is better than nail varnish remover to get rid of superglue marks. Follow with polishing wheel.
• superglue is horrible compared to glue gun glue but necessary for acrylic. There is a watered down version which takes longer to dry but is not so mean on your lips and skin.

Re Thesis:

• How
• Why
• What

Title / theme … leads to: plan / research

Limit variables: don’t do everything

Start with mind-maps and brain-storming

Use keywords / angle to focus question

Use library database

Critical dialogue

Describe context and engagement of question with the context

• Topic
• What I don’t know
• Why do I want to know

Bibliography = 15-30 items

Answer the question

Ideas which emerge can be useful or distracting

Library Induction # 2

e-library: steps

1. Blackboard
2. Library Homepage
3. multi search
4. alphabetical list of 170 resources
5. tick boxed items have a bridge for advanced searches
6. otherwise, type keywords into search box in inverted commas
7. hit refine if list is too long
8. send to self, download or add to results
9. hit Find it [Full text] or Find it, whichever is shown
10. no full text available, hit holdings to go to UAL catalogue or other archive where we can physically go to source the periodical
11. translate, if necessary
12. hit Bridgeman education to make slide shows of images
13. make my own mini-bookmark list which will last as long as I am a student of UAL – hit my resources
14. use my research / my results

V & A

• go to main website… search the collections… ask to see images in the prints and drawings study room
• go to National Art Library in person or online… call something up e.g. Cybernetic Serendipity

Miscellaneous

• tips on compression, especially for vimeo
• surveymonkey.com