Matching Items (4)

In A Blink

Description

The purpose of this project is to artistically express that our perceptions of the visual world are interrupted due to the often overlooked blinking of our eyes. The project was

The purpose of this project is to artistically express that our perceptions of the visual world are interrupted due to the often overlooked blinking of our eyes. The project was guided by two questions: 1) How is blink rate related to thought and emotion? 2) How does the process of blinking provide context to our life experiences? To link these two concepts together, I constructed a creative editing device that uses a live video feed of the user's eye blinking to randomly launch pre-existing footage of the user's significant life events. The process of creating this project occurred in three distinct steps. In the first step, I recorded 30-second videos to be used as a demonstration when exhibiting the device. In the second step, I attached a camera to a head mount to output a real time video of my eye blinking. In the third step, I created a Max patch that used the video feed of my eye as a trigger to play my pre-recorded clips. The final result was an evocative non-linear narrative of past personal experiences, and the development of the narrative itself is similar to the way in which humans recall memories. The visuals of the blinking eye were placed adjacent to the pre-recorded footage in order to mimic the positioning of two eyes on a face; one side of the display shows my actual eye, and the other side signifies looking back on what my eye has seen. The intended effect was to generate an awareness of the breaks in our vision and how this influences our existence.

Contributors

Agent

Created

Date Created
  • 2014-05

In A Blink

Description

The purpose of this project is to artistically express that our perceptions of the visual world are interrupted due to the often overlooked blinking of our eyes. The project was

The purpose of this project is to artistically express that our perceptions of the visual world are interrupted due to the often overlooked blinking of our eyes. The project was guided by two questions: 1) How is blink rate related to thought and emotion? 2) How does the process of blinking provide context to our life experiences? To link these two concepts together, I constructed a creative editing device that uses a live video feed of the user's eye blinking to randomly launch pre-existing footage of the user's significant life events. The process of creating this project occurred in three distinct steps. In the first step, I recorded 30-second videos to be used as a demonstration when exhibiting the device. In the second step, I attached a camera to a head mount to output a real time video of my eye blinking. In the third step, I created a Max patch that used the video feed of my eye as a trigger to play my pre-recorded clips. The final result was an evocative non-linear narrative of past personal experiences, and the development of the narrative itself is similar to the way in which humans recall memories. The visuals of the blinking eye were placed adjacent to the pre-recorded footage in order to mimic the positioning of two eyes on a face; one side of the display shows my actual eye, and the other side signifies looking back on what my eye has seen. The intended effect was to generate an awareness of the breaks in our vision and how this influences our existence.

Contributors

Agent

Created

Date Created
  • 2014-05

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Story: a collaborative dance project

Description

The intention for the dance production Story was to develop and explore a collaborative creative process to communicate a specific narrative to an audience. The production took place in the

The intention for the dance production Story was to develop and explore a collaborative creative process to communicate a specific narrative to an audience. The production took place in the Margaret Gisolo Dance Studio at Arizona State University on November 18, 19, and 20, 2011. The purpose of my thesis work was to investigate how my personal inspiration from classical ballet, balletic movement vocabulary, fantasy narrative (an imaginative fictional story), supportive lighting, set, costumes and expressive sound might merge within a collaborative dance-making process. The final choreography includes creative input from the participating dancers and designers, as well as constructive feedback from my thesis committee. My reflection on the creative process for Story describes the challenges and personal growth I experienced as a result of the project.

Contributors

Agent

Created

Date Created
  • 2012

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Art and craft: contemporary directing pedagogy in colleges and universities in the United States

Description

The purpose of this study was to explore current pedagogical approaches of undergraduate directing curricula in selected U.S. institutions of higher learning. Building on the work of Clifford Hamar and

The purpose of this study was to explore current pedagogical approaches of undergraduate directing curricula in selected U.S. institutions of higher learning. Building on the work of Clifford Hamar and Anne Fliotsos, the thesis builds a foundation for further study of contemporary directing pedagogy. Fourteen course syllabi were collected voluntarily from members of The Association for Theatre in Higher Education (ATHE) and served at the primary source material. They were interpreted and analyzed qualitatively for components that identified the methods and philosophies of the instructor and/or institution. From these syllabi, the researcher found 11 "skill categories" which cover all potential skills and bodies of information that, according to the data, a director should master. The categories are: (1) Script and Performance Analysis; (2) Directorial Techniques and Methods; (3) Production Practices; (4) Role and History of the Director; (5) Actor Training; (6) Technical Knowledge; (7) Personal Growth, Expression, and Vision; (8) Collaboration; (9) Communication; (10) Directorial Criticism; and (11) Storytelling. The categories fall on a spectrum ranging from practical based "knowledges" to skills based in individual resources and artistry, termed "abilities." Once these categories were established, the researcher examined two case study institutions: State University of New York at Buffalo (UB) and University of New Hampshire (UNH). The researcher collected public information concerning the guiding philosophies, financial profile, and curricula for both universities. From this data, combined with the 11 categories, the researcher found that the "personality" of the institution was reflected in the pedagogical approach of their respective directing courses. In the case of UB, a research-oriented institution had a production-focused directing course. UNH, with its Liberal Arts philosophy that promotes personal exploration, had a directing course that emphasized the artistic resources of the individual. Most importantly, this work creates a foundation from which future studies can be built. Broader and deeper analysis at a national level can now be approached with a framework of evaluation and analysis, leading ever closer to an understanding of the art and craft of directing.

Contributors

Agent

Created

Date Created
  • 2010