Timeline for support material creation
- March 1 to 28 - Michelle in residence
- March 12 to 21 - with Adelina and Daniel (more about this configuration later)
- Unfortunately Heidrun is unable to make it this time as her sister is ill in Germany.
Main questions that will help us complete this task:
- What is (audiovisual) support material - what parameters do we have to work in?
- How can the value and processes of a work at research stage be communicated?
- How can we create examples that do not indicate a necessary aesthetic (which could warp expectations)?
- How can we frame it to look 'professional', rather than looking like a bunch of people messing around in a studio? This has been a concern of the STRUT committee.
Documentation I have so far that may be useful:
A 'demonstration work' that Dan and I created out of a research process as part of the Butcher/Lane lab in Sydney, November 2009. This example would need to be contextualised through titling, voiceover etc.
Not the Sound Bite! - an example of working with archival materials (audio element). This documentation would also need to be contextualised as last time I used it the feedback was that the panel didn't understand that there was archival material involved which indicates they may have been watching the dvd with the sound down!
Remixing the Aftermath - an example of working in an installation environment with performance installation group Shagging Julie (2001-2004 - Michelle Outram, Teik Kim Pok, Gavin Sladen & Luke Waterlow). This was early 2003, so it's getting a bit old now. Useful for the feel though. These stills have been captured from video by Peter Oldham - I haven't had the chance yet to scan in Heidrun's beautiful photos!
Better than a Blow-Up Doll - another example of an installation environment created by Shagging Julie (in a caravan for an audience of six at a time). I don't have good video of this one unfortunately. Also quite old (2004).
Untitled - this example is from an untitled solo work from 2002. The video version (by Sam James) shows my interaction with the audience. While I entertain them by playing the recorder, they make a fruit salad literally on me. You can see that Harley Stumm has most kindly dumped a banana peel on my head. I think it was either him or Steve from Erth who poured the custard on my head. In any case it was the middle of July and COLD!
Ideas for creating support material
I would be happy if we were able to capture four different examples of work or working. Each could be edited to around one minute. They could then be used as a collection or with other of the above examples depending on the context of the submission.
- Example of process: It would be possible to document me explaining a 'score' to a performer or group. The exploration of this score could then be captured along with some of the review/feedback after the session.
- Example of working with audience: Show short clips of the audience entering the environment; the audience and performers in 'conversation'; exploration of the environment; private conversation etc.
- Example of a performer working with a projector/projection: Demonstrates a range of possibilities and gives a concrete example of something many people find difficult to imagine.
- Example of group work - choreography: A description of and documentation from a complex iteration of a 'spiral' score. (Don't worry if you don't know what this means yet.)