TRANSMEDIA C&J 2010: February 2010

Dear all,

Good session today, great to see your thought process take form in execution. As you head towards our midterm next week please keep in mind one thing: the work you generate speaks for yourselves (and for itself). Make it shine, feel it and commit yourselves to it. As Amelia Earhart said "The most difficult thing is the decision to act, the rest is merely tenacity. The fears are paper tigers. You can do anything you decide to do. You can act to change and control your life; and the procedure, the process is its own reward." "The best way to do it, is to do it". I sensed some of you were hesitant to the process and its inherent fluctuations, my advice: re-direct that hesitant energy to the process itself, towards the embodiment of your intent, rather than letting it control you. Your work reflects you.

Keep going and push yourselves as we head towards our midterm next week, excellence is where its at. You are all capable of it, some of you are at its threshold.

Below please find specifications for what's due, as discussed today:

PHYSICAL MODEL:
— bring in your models / remember: materials, context (where it is situated), scale (relationship of installation to scale figures, aka: little people), lighting conditions.

OBJECTIVE MODEL SHOTS:
— photograph your model in this manner:
- top view
- side views
- interior views (from afar / mid ground and details (macros)
- exterior views (from afar / mid ground and details (macros)

VISUAL & IMMERSIVE STORYTELLING: (SUBJECTIVE SHOTS i.e. INHABITED)
— Generate a series of sequential images that guide us through your whole installation, step by step, from multiple points of view (what happens when i get there, what happens when I am in it, how does it feel to be there, how does media contribute to the material sensation of being there)
— Think of it this way: you are presenting to someone who has no idea what your project is about, you need to guide them through it and make them feel like they are inhabiting and living that space in all its material, structural, psychological, emotional and narrative properties.
— Use photography and photoshop to storyboard this visual storytelling; cinematic in how it unveils a story from beginning, middle and end.
—I need to feel that I am moving through it, that I am in it, that I am seeing it respond to my presence and that IT in turn, responds to me.
— Best way to generate realistic points of view to scale is to do this: photograph you model as if you were the "little people" yourself.
— The camera sees what we cannot see, particularly in a model
— Explore every component: light / projections onto space itself / location(s) / transformation (responsiveness) etc
— Include every component, if you have video studies bring those in

PROJECT NAMES:
— bring ideas for your project name
— if you have this begin typographic studies for your "logo"

ARTIST STATEMENT:
— bring a draft of your artist statement. Here is where you describe the piece objectively: what is it, what it sets out to do, how it does it.

PROCESS PICS:
—Alongside your visual & immersive storytelling bring process pictures (studies that culminated in your final direction, photographs / documentation of your construction etc
— I value process tremendously (plus, it is very fun to watch)

We look forward to your beautiful work!
questions welcome

thank you
Carolina & Jaime