Friday, December 9, 2011

Final Documentation (due 12.19.11 at 10 am)



Congratulations to all on excellent performance projects!

Please remember to do the following by 12.19.11 at 10am:

-2 mastered DVDs with ALL of your projects (instructions here: http://introto4df11.blogspot.com/2011/11/masteringauthoring-to-dvd-using-idvd.html)

-1 DVD with the quicktime file of your final performance project documentation

-ALL THREE DVDs DUE BY 10AM IN MY MAILBOX, FINE ARTS OFFICE 25 East 13th Street 5th FLOOR 12.19.11

-Fill out the online course evaluation -- we can really use your feedback!

Wednesday, November 30, 2011

Mastering/authoring to DVD using iDVD

These are basic instructions for making a DVD with a menu that will play anywhere (any TV, any computer, and any DVD player). DVD's are by their very nature just Standard Definition (i.e. NOT HD). iDVD will take your HD movie and down convert it into interlaced NTSC Standard Def video. In order to record HD video onto a physical disk you need a Blu-Ray disk and Blu-Ray burner, not something that is standard on Apple or owned by most people. This is why you are making BOTH a full quality Quicktime file (preserving HD as needed) AND a mastered DVD of your projects.

1. Export your projects as full quality Quicktime files and burn them to DVD so that you have backups (http://introto4df11.blogspot.com/2011/10/exporting-from-fcp.html).

2. Copy all 3 of your Quicktime files to Work in Progress (don't try to burn DVDs from your hard drive!) and open iDVD. Click "Create New Project." Keep the aspect ratio Standard. In order to properly display widescreen DVDs, the DVD player and TV must be able to read the widescreen aspect ratio and properly display the full menu, which most TVs and DVD players cannot do. Widescreen DVDs suffer from significant cropping when displayed on regular 4:3 TV sets.

3. Go to iDVD> Preferences. Under "General" uncheck "Show Apple Logo Watermark." Under "Projects" change the Encoding to Professional Quality and DVD Type to Single Layer.

4. Click on "7.0 Themes" and change to "All." Scroll down to "Portfolio Color." Drag and drop your three Quicktime video projects into the main area. They will appear as icons with text below.

5. To edit the text, click twice. You can choose font, size, etc. To edit the buttons, click "Buttons" on the lower right to choose the shape. Then Control-click on the image and choose "Show Inspector Window" which will allow you to adjust the size, etc. of the button.

6. Click the Play button on the bottom right to preview your DVD. Once it's ready, click the Burn button next to the Play button. Insert your DVD-R DVD and get out something to read because THIS WILL TAKE A LONG TIME (20-30 minutes maybe more!). Then voila! You have a DVD. Burning subsequent DVDs takes a lot less time, so make duplicates NOW.

7. Make a minimum of 4 copies of this DVD: 2 for you, 1 for me, and 1 for the Fine Arts Dept. This mastered DVD, with all 3 of your projects, is DUE DEC. 19 BY 10AM IN MY MAILBOX, FINE ARTS OFFICE 25 East 13th Street 5th FLOOR. You must also burn and turn in a DVD with the quicktime file from your Performance project. In other words, you should be dropping off 2 DVDs to me: 1 mastered DVD with a menu and all 3 of your projects, and 1 DVD with the quicktime file from your Performance project.

*Ken Stone is an excellent resource for all things FCP and iDVD related.

Detailed iDVD tutorial from Ken Stone's web site:
http://www.kenstone.net/fcp_homepage/idvd_6_stone.html

iDVD 7
http://www.kenstone.net/fcp_homepage/idvd_07_stone.html

**There are some options for burning Blu-Ray material onto a standard DVD in a format that Blu-Ray players will recognize in FCP, see this earlier post: http://introto4df11.blogspot.com/2011/10/burning-mastered-dvd-directly-from-fcp.html. Only do this if you have a Blu-Ray DVD player, it will not play on your Mac!

Tuesday, November 29, 2011

Live Drawing Performance at Location One 12.08.11 8pm *FREE*

http://blast.location1.org/120811.html

Hiraku Suzkuki
Live Drawing Performance
with Live Music by Raz Mesinai
Thursday, December 8, 2011
8pm. FREE and open to the public

Artist Hiraku Suzuki will perform live drawings in collaboration with composer/DJ Raz Mesinai in a duel/duet where hands attack horizontal surfaces: one artist on paper, the other vinyl, as visual and sonic worlds collide and combine.

Hiraku Suzuki
Born in Miyagi, Japan, 1978.
Lives and works in Tokyo.

Hiraku Suzuki obtained an MFA from Tokyo National University of Fine Arts and Music. Focusing on ideas of memory and excavation, the work of Hiraku Suzuki centers around an expanded notion of drawing; encompassing works on paper and panels, installation, murals, frottages as well as live drawing performance. Much of his work hinges on the vast library of signs and glyphs he has developed by focusing on the shapes, forms, rhythms and materials of his immediate environment, which can be understood as the base units of the ever-changing hidden language of the city. His recent solo exhibitions include at WIMBLEDON space, London (2011), Galerie du JourAgnes b., Paris (2010) and Tokyo Wonder Site Shibuya, Tokyo (2008). Group exhibitionsinclude Roppongi Crossing, Mori Art Museum, Tokyo (2010); 100 stories of love, The21st Century Museum of Contemporary Art, Kanazawa (2009); Between site and space, ARTSPACE, Sydney (2009); Redbull House of Art, Hotel Central, Sao Paulo (2009)and Vision of Contemporary Art, The Ueno Royal Museum, Tokyo (2009). His early works are held in thecollection of The 21st Century Museum of Contemporary Art, Kanazawa. Publications include GENGA, published by Kawade Shobo Shinsha/Agnes b., and Looking For Minerals, published by BEAMS. http://www.wordpublic.com/hiraku
Mr. Suzuki’s residency is made possible by The Asian Cultural Council

Raz Mesinai is a New-York based composer, producer, DJ and sound alchemist, making music at the intersection of Dub and modern composition. Long considered one of the premier innovators behind the New York school of experimental dub/dance music scene in the early nineties he continues to push the envelope, collaborating with such pioneers in diverse genres from Kode9, Shackleton and Meat Beat Manifesto to John Zorn and The Kronos Quartet.


Location One is extremely grateful to The NY State Council on the Arts, The New York City Department of Cultural Affairs, The Asian Cultural Council and Location One’s International Committee for making this event possible.


ABOUT LOCATION ONE
Based in the Soho arts district of New York, Location One is an independent, non-profit organization dedicated to fostering new forms of creative expression and cultural exchange through exhibitions, residencies, performances, public lectures and workshops. Traditionally focused on technological experimentation and new media, Location One's residencies and programs have favored social and political discourse and dialogue, and acted as a catalyst for collaborations. With a unique environment providing individualized training, support, and guidance to each artist, as well as exposure for their creations and collaborations, Location One continues to nurture the spirit of experimentation that it considers the cornerstone of its mission.

Location One • 26 Greene Street NYC 10013 • +212.334.3347 • http://location1.org

Monday, November 21, 2011

Schedule reminder

11/22 **(TUESDAY) MAKEUP CLASS
Class critique of works in progress
HW: Significant progress on performance

11/24 Thanksgiving Holiday NO CLASS

12/1 Week 13 PERFORMANCE
Demo: Mastering to DVD
In-class work time
HW: Significant progress on performance

12/8 Week 14 PERFORMANCE CRITIQUE ** LAST CLASS

12/15 Week 15 FINE ARTS DEPARTMENT FINAL REVIEWS

12/19 Intro to 4D DVDs DUE BY 10AM IN MY MAILBOX, FINE ARTS OFFICE 25 East 13th Street 5th FLOOR

Wednesday, November 16, 2011

Homework due 11.22.11 *TUESDAY MAKE-UP CLASS*

Work and Re-work: Significant progress on your performance project. Be prepared for class critique of your work in progress.

Performance Art: 1980's-Present

Pauline Oliveros
1967 “Alien Bog Beautiful Soop” http://www.youtube.com/watch?v=NxjzNfwnINU
1983 “Horse Sings from Cloud” http://www.youtube.com/watch?v=nqc8OmaggFg

1980’s

Mark Pauline & Survival Research Labs, 1979 - 1980’s
1988 “A Bitter Message of Hopeless Grief” VCA 5564 http://www.youtube.com/watch?v=wVRI93tWFyY
1994 "A Calculated Forecast of Ultimate Doom" San Francisco http://www.youtube.com/watch?v=aeNdH2ByfCM

Tehching Hsieh
1980-81 One Year Performance” April 11, 1980 - April 11, 1981
http://www.youtube.com/watch?v=AVpyMfeqoBY

Linda Montano and Tehching Hsieh
1983-84 “Art/Life: One Year Performance (a.k.a. Rope Piece)” 4 July 1983 – 3 July 1984 http://nobetty.net/4d/resources/images/montano_tehching_ropepiece_1984.jpg

Laurie Anderson
1981 “O Superman (For Massenet)” http://www.youtube.com/watch?v=-VIqA3i2zQw
1984 “Langue d’Amour” http://www.youtube.com/watch?v=H_2g8a9DnWU

Paul McCarthy
documentary “Destruction of the Body” (2001) VCA14303 http://www.ubu.com/film/mccarthy.html

1990’s

Andrea Fraser
1991 “May I help you?” http://blip.tv/smac-scribemedia-arts-culture/andrea-fraser-3-2495087
2003 “Untitled” http://nobetty.net/4d/resources/images/fraser_untitled2003_01.jpg http://nobetty.net/4d/resources/images/fraser_untitled2003_02.jpg

Coco Fusco & Guillermo Gomez-Peña
1992 “Undiscovered Amerindians” http://www.youtube.com/watch?v=gLX2Lk2tdcw
“The couple in the cage [videorecording] : a Guatinaui odyssey“ VCA4352 http://vimeo.com/7319457
“Operation Atropos” DVD10349
Interview with Coco Fusco DVD10118
2009 “"A Room Of One's Own: Women and Power in the New America"
http://www.youtube.com/watch?v=-8Voh4nLWIw

Janine Antoni
1992/93 “Loving Care” http://nobetty.net/4d/resources/images/antoni_lovingcare_1993_01.jpg
1992 “Gnaw” http://nobetty.net/4d/resources/images/antoni_gnaw_1992_01.jpg
http://nobetty.net/4d/resources/images/antoni_gnaw_1992_02.jpg
1993 “Lick & Lather” http://nobetty.net/4d/resources/images/antoni_lickandlather_1993.jpg

Matthew Barney
1987-ongoing Drawing Restraint http://www.drawingrestraint.net/
Short interview about Drawing Restraint http://www.youtube.com/watch?v=83WTxmkye04
2005 Drawing Restraint 9 Trailer http://www.youtube.com/watch?v=wxsXLMbQA5Y
1994-2002 Cremaster Cycle http://www.cremaster.net/
2002 Cremaster Cycle Trailer http://www.youtube.com/watch?v=R_aZQffIBw0
Cremaster 1 http://www.youtube.com/watch?v=_y9tM8dcyuk
Cremaster 2 http://www.youtube.com/user/LeRareMovies#p/u/27/v6rD4y7ZltY
Cremaster 4 http://www.youtube.com/watch?v=-VpXpMJzPVc

Contemporary

Miranda July
2000 “Love Diamond” performed at The Kitchen http://www.youtube.com/watch?v=XuU99STtP2s
2001 “The Swan Tool” http://www.youtube.com/watch?v=NeMi5FW5fWk

Patty Chang
2003 “In Love with Patty Chang” short documentary http://www.youtube.com/watch?v=5LeEMWNqjJw

Sharon Hayes http://www.shaze.info/
2003 “Symbionese Liberation Army (SLA) Screeds #13, 16, 20 & 29“ http://www.shaze.info/projects/sla_video.html
2007 “Everything else has failed! Don’t your think it’s time for love?” http://www.shaze.info/projects/eehf_audio.html
2009 “In the Near Future” http://nobetty.net/4d/resources/images/hayes_inthenearfuture_2009.gif

Lilibeth Cuenca Rasmussen
2009 “Never Mind Pollock” http://vimeo.com/10953391
2011 “Afghan Hound” http://vimeo.com/31501248

Tino Sehgal
2007 “The Kiss” http://nobetty.net/4d/resources/images/sehgal_thekiss_01_2007.jpg
http://nobetty.net/4d/resources/images/sehgal_thekiss_02_2007.jpg
2010 “This Progress” http://nobetty.net/4d/resources/images/sehgal_thisprogress_2010.jpg

Ernesto Pujol http://ernestopujol.org/
2010 “Awaiting” http://www.youtube.com/watch?v=6i-npj7cgGI

Nick Cave
2010 “Soundsuits” performance UCLA http://www.youtube.com/watch?v=ksm7LkzyFrk

Wednesday, November 9, 2011

Homework due 11.17.11

1. Experience: Go to see at least one of Performa's live performances http://11.performa-arts.org/plan-your-visit/calendar. Do at least 3 sketches in your sketchbook and take notes, be prepared to describe the performance to the class.

2. Read: Excerpt from RoseLee Goldberg's _Performance: Live Art 1909 to the Present_ http://nobetty.net/4d/resources/readings/TheLiveArt-1970-80.pdf. Be prepared to discuss in class.

3. Create: Make a rough sketch of your performance piece. This should include drawings, photographs and video. Be prepared to discuss/perform with Norene & Reena.

Performance Art: 1950's-1970's

1950’s

1954 Gutai Bijutsu Kyokai (Gutai Art Association) formed in Osaka by Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Shiraga Kazuo, and Shimamoto Shozo

Shiraga Kazuo
1955 “Challenge to the Mud” http://nobetty.net/4d/resources/images/shiraga_challengetothemud1955.jpg

1960’s

George Maciunas / Fluxus
1963 Fluxus Manifesto
http://nobetty.net/4d/resources/images/maciunas_fluxusmanifesto1963.jpg

Shigeko Kubota / Fluxus
1965 Vagina Painting, Perpetual Fluxus Festival, New York, July 4, 1965
http://nobetty.net/4d/resources/images/kubota_vaginapainting1965.jpg

Yoko Ono / Fluxus
1965 “Cut Piece” http://www.youtube.com/watch?v=F2IgqYiaywU

Joseph Beuys
1974 “I Like America and America Likes Me” Rene Block Gallery, New York
http://www.youtube.com/watch?v=mHBuZ2BPabs part 1
http://www.youtube.com/watch?v=HEmapyPJURw part 3
http://www.youtube.com/watch?v=vycuN-cGpfo part 4

Robert Whitman
1965/1976 Prune Flat http://video.google.com/videoplay?docid=2759949865697042686#docid=5379816737291400603

Allan Kaprow
1964 “Household” http://nobetty.net/4d/resources/images/kaprow_household1964.jpg
1966 “Gas” (Long Island) http://nobetty.net/4d/resources/images/kaprow_gas1966.jpg
1967 “Yard” http://nobetty.net/4d/resources/images/kaprow_yard_pasadena1967.jpg

Yvonne Rainer
“Five Easy Pieces” VCA 14537
1966 “Hand Movie” http://www.youtube.com/watch?v=RK_4xoWNtZA
1966/1978 “Trio A” http://www.youtube.com/watch?v=6xRduBFbzXQ

Valie Export
1968 “Touch Cinema” VCA 13896 http://nobetty.net/4d/resources/images/export_touchcinema_1968_01.jpg
http://nobetty.net/4d/resources/images/export_touchcinema-1968_02.jpg
1969 “Action Pants: Genital Panic”
http://nobetty.net/4d/resources/images/export-action-pants_1969.jpg
1973 “...remote...remote” http://www.youtube.com/watch?v=B3R2qCEFnUU

Carolee Schneeman
1963 Eye Body http://nobetty.net/4d/resources/images/schneeman_eyebody1963.jpg
1963-64 Meat Joy VCA 9742
http://nobetty.net/4d/resources/images/schneeman_meatjoy1964judson.jpg
http://nobetty.net/4d/resources/images/schneeman_meatjoy1964.jpg
1975 Interior Scroll http://nobetty.net/4d/resources/images/schneeman_interiorscroll1975.jpg

1970’s

Rebecca Horn
1970 Einhorn (Unicorn) http://nobetty.net/4d/resources/images/horn_unicorn1970.jpg
1972 White Body Fan http://nobetty.net/4d/resources/images/horn_whitebodyfan1972.jpg
1974 Berlin Exercises, Exercise 1: Scratching Both Walls at Once (West Berlin) http://www.youtube.com/watch?v=O0uNnmAudmk
1978 Performance II http://www.youtube.com/watch?v=v3DfebecTcQ
1978 Feathered Prison Fan from Der Eintänzer
http://nobetty.net/4d/resources/images/horn_feateredprisonfan1978.jpg

Vito Acconci
1971 “Seedbed” Sonabend Gallery, New York http://nobetty.net/4d/resources/images/acconci_seedbed1971.jpg

Chris Burden
1971 “Shoot” http://www.youtube.com/watch?v=JE5u3ThYyl4

Marina Abramović
1973 “Rhythm 10” http://www.youtube.com/watch?v=h9-HVwEbdCo
1975 “Art Must Be Beautiful” http://www.youtube.com/watch?v=8cCFDSzDnUk
1978 “AaaAaa” http://www.youtube.com/watch?v=iAIfLnQ26JY

Ana Mendieta
http://www.ubu.com/film/mendieta_selected.html

Mierle Laderman Ukeles
1977-80 “Touch Sanitation”
http://nobetty.net/4d/resources/images/ukeles_Touch_Sanitation_Fresh_Kills_1977-80.jpg
http://nobetty.net/4d/resources/images/ukeles_touch-sanitation.jpg

Adrian Piper
1970 Catalysis, street performances, New York
http://nobetty.net/4d/resources/images/piper_catalysis1970.jpg
http://nobetty.net/4d/resources/images/piper_catalysisIII1970.jpg
short documentary “Adrian Piper: Deconstructing Race in the Indexical Present” http://www.youtube.com/watch?v=SKPtKrKvXyo
1988 Cornered
http://www.youtube.com/watch?v=yUJ8MhXTwtI part 1
http://www.youtube.com/watch?v=XIkvjGq7VgM part 2

Performance Project (due 12.08.11, documentation due by 12.19.11)

Einhorn (Unicorn), Rebecca Horn, 1970

For your final project, create a five-minute (or less) piece that explores performance. We are defining performance as "the execution of an action" so your project has a wide range of options and influences: Rebecca Horn (prosthetics), Marina Abramović (direct use of the body), Adrian Piper (confrontation/politics), Robert Whitman (interaction with projections/media), John Cage (sound), etc. This can be a recorded performance or a live performance.

The key to many successful time-based artworks is documentation. Think about how you are going to stage it, and what exactly you want the audience to see for your final critique: Is it a live performance? Are you showing only evidence from a past performance? Are we watching a video of the performance? Is there an installation component?

The project is due on 12.08.11 and you have a maximum of five minutes to perform/present your piece. You have a choice of several rooms in addition to our regular classroom for the final performance and critique:
2 W. 13th St. L704 is available every Thurs. 9am-2:40pm
2 W. 13th St. L711 is available Thurs. Dec 1 and Dec 8 from 9am-11:40am
Please check out these rooms to see which space will work best for your project.

Please plan in advance. Check out the available rooms, and consider how, when, where and what equipment (camera, TV, DVD player, LCD projector) you will need. Your performance must be thoughtfully documented. Arrange for one of your classmates to video/photo it, including reserving the video camera and tripod. The documentation will then be assembled into a mastered DVD due 12.19.11.

*Reena will be organizing the crit schedule and equipment, so you need to let her know ASAP what your needs are.

CLASS SCHEDULE

11/10 Week 10 PERFORMANCE
Introduction: Performance History (50’s-70’s)
Movement exercises
Review preliminary sketches
HW: Go to at least one Performa event, rough sketch of performance (drawings + movements), reading

11/17 Week 11 PERFORMANCE
Introduction: Performance Now (80’s-Present)
Review performance sketches
HW: Go to at least one Performa event, significant progress on performance

11/22 **(TUESDAY) MAKEUP CLASS
Week 12 PERFORMANCE
Class critique of works in progress
HW: Significant progress on performance

11/24 Thanksgiving Holiday NO CLASS

12/1 Week 13 PERFORMANCE
Demo: Mastering to DVD
In-class work time
HW: Significant progress on performance

12/8 Week 14 PERFORMANCE CRITIQUE ** LAST CLASS

12/15 Week 15 FINE ARTS DEPARTMENT FINAL REVIEWS

12/19 Intro to 4D DVDs DUE BY 10AM IN MY MAILBOX, FINE ARTS OFFICE 25 East 13th Street 5th FLOOR

Wednesday, November 2, 2011

*Extra Credit* Artist Talk with Lilibeth Cuenca Rasmussen at Location One



November 3, 2011 6:30pm
Artist Talk with Lilibeth Cuenca Rasmussen
Curator Jovana Stokić speaks with Lilibeth Cuenca Rasmussen on the subject of her current exhibition Afghan Hound. FREE and open to the public.

http://www.location1.org/afghan-hound/

Homework due 11.10.11

1. Read: Excerpt from RoseLee Goldberg's _Performance: Live Art 1909 to the Present_ http://nobetty.net/4d/resources/readings/TheLiveArt-1950-60.pdf. Be prepared to discuss in class.

2. Look: Watch this live performance piece by Lilibeth Cuenca Rasmussen: http://vimeo.com/31501248. Be prepared to discuss in class.

3. Think: Come up with three preliminary ideas for your performance project. Include drawings and notes, be prepared to present in class.

4. Document: Export your animation and upload it to the class youtube site. Instructions are posted here: http://introto4df11.blogspot.com/2011/10/exporting-from-fcp-and-uploading-to.html.

Thursday, October 27, 2011

*Extra Credit* Performance at Location One 10.29.11, opening 6-8pm performance at 7pm

http://blast.location1.org/102911.html

Solo Exhibition and Live Performance by Lilibeth Cuenca Rasmussen
Curated by Jovana Stokić
October 29 – December 23, 2011
Opening Reception: October 29, 6-8pm
Live Performance at 7pm
Artist talk with curator Jovana Stokić November 3, 6:30pm


A girl raised as a boy. A boy trained to act as a girl. A writer and activist in exile. Anauthoritative male. These are the four characters through whom Lilibeth Cuenca Rasmussen addresses the complexities of gender in cultures where men and women are segregated — and masculinity rules.

This is Afghan Hound, the performance Cuenca premiered to rave reviews at the 54th Venice Bienniale, and which now makes its New York premiere at Location One on October 29th,, along with an exhibition of photos and sculpture developed expressly for this exhibition.

Through photographs. sculpture, video, song, costume and performance, Cuenca explores the fragile structure of political hegemony and patriarchal domination. Her premise: When sexuality is repressed, new constructions of gender develop. The title refers both to the long-haired dog breed (the artist uses hair in extreme exaggeration throughout the work) and to Afghanistan (the male-dominated culture from which her characters are drawn).

The Afghan Hound performance includes four impersonations of voices from Afghanistan. The four stories that unfold are recounted through music and song. The choreography is contingent upon a costume made out of hair, metaphorically symbolizing different sexualities that are hidden in the particular context of contemporary Afghan culture.

The lyrics of the first song, for example, use quotes by the Afghan activist, writer and politician in exile, Malalai Joya; the second tells the tale of a Bacha Bazi (a young boy trained to act as a girl, who dances at men’s parties but is also a sex slave); the third character revolves around powerful male speech and masculine authority, and the last character, is a former Bacha Posh, a girl raised as a boy, when there are no sons in the family.

Cuenca purposely inhabits the role of an “impersonator.” The artist has stated: “My position as an artist and impersonator is to be a mouthpiece for repressed voices that I find urgent to unveil. The Western discourse on the Arabic World is often reduced to our positioning of them. I have tried to communicate stories seen from their tradition and culture, which in my opinion is important to try to understand, before we interfere or judge.”

Taking her own Danish-Filipino background as a point of departure, Cuenca universalizes cultural narratives in a critical and humorous approach to issues such as identity, religion, gender and social relations. Her productions involve choreographed songs and composed music with stylized costumes. The exhibition at Location One features performance documentation, as well as the new series of photographs developed along with the performance.

Lilibeth Cuenca Rasmussen, who last performed at Location One in 2009, was born in 1970 in Manila, Philippines, and now lives in Copenhagen, Denmark. A graduate from The Royal Danish Academy of Fine Arts Copenhagen, she primarily engages in video and performance art. Her productions involve scripted texts/songs; composed music as well as intricate visual elements that include set design and costumes. Lilibeth Cuenca has had solo exhibitions at the National Gallery of Denmark in Copenhagen, at the Gävle Konstcentrum in Gavle, Sweden in 2006 and at Heidelberger Kunstverein, Germany in 2010. She has participated in numerous exhibitions worldwide, including: Performa 09, New York City, The Thessaloniki Biennial of Contemporary Art, 2009 and The Tate Modern in London, 2009. In 2007 she was part of the exhibition Global Feminisms at the Brooklyn Museum in New York. She was included in the Bussan Biennial, South Korea, 2006, and the Rauma Balticum Biennial, Finland, 2006. A monograph of Lilibeth Cuenca Rasmussen’s works is published by Revolver Publishing, Berlin, including texts by André Lepecki, Bettina Knaup and Lars Bang Larsen. In 2011, she participated in the exhibition Speech Matters, The Danish Pavilion, at the 54th Venice Biennale.

Jovana Stokić is the curator of performance art at Location One where she supports the growth of performance art by promoting the works of emerging artists on an international scale, organizing and collaborating on events using a network of people converging at Location One. It shows a commitment to experimentation across all art forms and points to recent efforts to return performance art to its central position within the gallery system. Performances, public panels and discussions promote and seek critical discourses on contemporary performance art practice and related issues.

Wednesday, October 26, 2011

Contemporary Animation

Nathalie Djurburg

Interview: http://arttube.boijmans.nl/en/video/pagan-poetry/







http://www.zachfeuer.com/artists/nathalie-djurberg/


Federico Solmi





http://www.federicosolmi.com/

Schedule for the next 2 weeks

Thursday 10/27

9-9:15 Crit Jessica
9:15-9:45 Short animation screening & discussion
9:45-10:15 Importing and editing images into FCP
10:15-11:15 Reena Soundtrack demo
11:15-2:40 In class work time, both classrooms

Thursday 11/3

9-12 Crit animations
12-1 Lunch
1-1:30 Crit animations
1:30-2:40 Reena sound walk and discussion

Friday, October 21, 2011

Homework due 10.27.11

Serious Progress on your animation project. You must bring in images to start importing into FCP and, if you are using sound, please bring in some audio. Reena will be doing a Soundtrack Pro demo, following up on the audio equipment demo she gave 10.20.11.

Thursday, October 20, 2011

Audio Equipment List

Here's a list of the equipment from today's demo:

Edirol R-44 Kit_001
Tascam HD-P2 Kit
Boompole with shockmount
Field Headphones
Pistol Grip
Windscreen for Shotgun Pro Mic
Softie for Shotgun Pro Mic
Table Mic Stand
Handheld Microphone
Lavalier Microphone Kit
Shotgun Pro Microphone Kit
Stereo Microphone Kit

Wednesday, October 19, 2011

Tips for working with photos in FCP

1. Put all of the images you want to use in one folder on your FireWire drive.

2. In FCP, set up your project with the same Apple ProRes 422 HD settings.

3. Go to Final Cut Pro>User Preferences. Click on the Editing tab and change the Still/Freeze duration to 1 second (the default is 10, way too long!).

4. Go to File>Import>Folder and choose the folder of images in your hard drive. The folder will appear in the Browser. Drag the folder into your timeline, and your images will appear in sequence. Each image will have a duration of 1 second.

5. To apply a filter or change the speed of all of your images you will need to NEST your sequence. This turns your many clips into one clip.
To nest a sequence:
-create a new sequence in your Browser (File>New>Sequence)
-double click to open it in the Timeline
-from the Browser, pull your original sequence down into your new sequence, it will appear as a single clip
-to make edits to your nested sequence that require the Viewer, remember to hold down the Option key when you double click to get your nested sequence to appear in the Viewer

6. If FCP is acting buggy, it may be that your images are too big. You can open/import them in iPhoto, then go to File > Export, and choose JPEG, medium quality. It should make everything go much faster.

Stop-motion Animation Project (due 11.03.11)





For your next assignment, create a short (3 minutes or less) stop-motion animation project influenced by the hand-made/drawn/torn animations of William Kentridge or the more traditional stop-motion techniques of Jan Svankmajer. This is a short, experimental project, keep it simple. You have 2 class periods of work time, with the final animation due 11.03.11.

Examples of student work:

http://www.youtube.com/watch?v=OxAmSh6YYXQ

http://www.youtube.com/watch?v=rWsWxxjTR34

http://www.youtube.com/watch?v=CgMns9I0dhw

In addition to our usual classroom, we have reserved room L704 2 West 13th St. This room is available to us during class time for the rest of the semester.

Guidelines and notes:
-If you use one of the school's DSLR cameras and have it set to shoot video, it will take a still image and give you a preview of what the image will look like in FCP (note the gray bars on the top and bottom). If you use your own camera, it may not. If it's a different aspect ratio, how are you going to use the extra space in the frame?
-Use a tripod and tape its placement on the floor. Label your tape with Sharpie that says "DO NOT REMOVE UNTIL 11/3/11." Every time your camera moves, even slightly, it changes the shot and will effect the flow of your animation (you will suddenly have a slight jump over to the left, for example).
-Definitely do not use natural light, it's impossible to keep consistent. If the lighting changes, even slightly, it changes the shot and will effect the flow of your animation (you will suddenly have one blueish frame, for example).
-If you can work in L704, I'd suggest pulling the shades and leaving the overhead lights on to keep the lighting consistent.
-Before you start, test with and without a flash to see what works better (if you have anything glossy or shiny no flash).
-You can use photo lights but they have to be set up in exactly the same place in exactly the same way every time, tough to do when you have to move around. Be sure to tape the placement of everything on the floor and take notes. Label your tape with Sharpie that says "DO NOT REMOVE UNTIL 11/3/11." You can sign out light kits from fine arts as well as the Equipment Center.

Stop-motion Animation

Stop motion (also known as stop action) is an animation technique to make a physically manipulated object appear to move on its own. The object is moved in small increments between individually photographed frames, creating the illusion of movement when the series of frames is played as a continuous sequence. Clay figures are often used in stop motion for their ease of repositioning. Motion animation using clay is called clay animation or clay-mation.

"Darkness, Light, Darkness" 1990 dir. Jan Svankmajer


"Alice" 1989 dir. Jan Svankmajer (excerpt)


"Superstar: The Karen Carpenter Story" 1987, dir. Todd Haynes

*There are only a few instances of stop-motion here, but the use of inanimate objects to play live characters functions in a similar way

Openly gay, experimental filmmaker Todd Haynes burst upon the scene two years after his graduation from Brown University with his now-infamous 43-minute cult treasure "Superstar: The Karen Carpenter Story" (1987). Seizing upon the inspired gimmick of using Barbie and Ken dolls to sympathetically recount the story of the pop star's death from anorexia, he spent months making miniature dishes, chairs, costumes, Kleenex and Ex-Lax boxes, and Carpenters' records to create the film's intricate, doll-size mise-en-scene. The result was both audacious and accomplished as the dolls seemingly ceased to be dolls leaving the audience weeping for the tragic singer. Unfortunately, Richard Carpenter's enmity for the film (which made him look like a selfish jerk) led to the serving of a "cease and desist" order in 1989, and despite the director's offer "to only show the film in clinics and schools, with all money going to the Karen Carpenter memorial fund for anorexia research," "Superstar" remains buried, one of the few films in modern America that cannot be seen by the general public.

Wednesday, October 12, 2011

Homework due 10.20.11

1. Look: Watch "William Kentridge: Anything Is Possible"

Watch the full episode. See more ART:21.

In addition to being a great documentary on Kentridge, there's some excellent footage demonstrating a variety of stop-motion animation techniques:
-gradually assembling torn paper into a cohesive image (singer and the cell phone)
-assembling cut/torn paper into "paper dolls" with hinged limbs
-projecting animations on top of and behind performers
-performing/interacting with video/animation
-using reversal to tear things down and build them up

2. Draw/Write: Come up with three short stop-motion animation ideas. You must have drawings and written notes for each in your sketchbook. Be prepared to present all three to the class.

3. Document: Upload your project to the course YouTube account.

4. *EXTRA CREDIT: Go see the Eve Sussman | Rufus Corporation show at Cristin Tierney Gallery 546 W. 29th Street http://www.rufuscorporation.com/wowpr.htm. Make 2 drawings and write 3+ paragraphs in your sketchbook.

Exporting from FCP and uploading to YouTube

EXPORTING FROM FCP
1. From FCP, click on the sequence you want to export in the Browser. Go to File>Export>Using QuickTime Conversion. In the dialogue box:
Save As: give your movie a title like "commute_youtube.mov" so it is distinguishable from your other video exports.
Where: Save it to your FireWire hard drive.
Format: QuickTime Movie
Then click on Options, and a new dialogue box appears.
2. Under Video choose Settings
Compression Type: MPEG-4 Video
Leave the frame rate on Current and set the quality to Best.
Click OK, this takes you back to the earlier dialogue box.
3. Under Video choose Size. Change to 1280x720 HD (or adjust to whatever size you are editing).
4. Under Sound choose Settings.
Format: AAC
Rate: 48
Render Settings: Best
Click OK, this takes you back to the earlier dialogue box.
5. Click OK again, then Save. Your file will begin exporting. This takes time, be patient! Do not click on the file, even if it appears in the Finder, until FCP is finished.
6. Check your exported video -- open it in QuickTime, it should look good.

UPLOADING TO YOUTUBE
1. Login to YouTube, login info was sent to your email. Click on Upload in the upper right. Click on the yellow Upload button on the left, and choose your newly exported file from your hard drive. It should begin uploading.
2. While your file is uploading (this can also take a while), choose a Title, Description, and Tags if you want your video to be Public. Tags are one or two word identifiers that make it easy to find your videos in a search, i.e. your name or Parsons.**If you don't want your video public, choose Unlisted.**
3. Once your video is uploaded on YouTube, you can send the link anywhere; you can also upload it (via that same QuickTime file) to Vimeo or other online video sites.

Thursday, October 6, 2011

Downloading clips from YouTube

Both of these links will allow you to download youtube videos without using any additional software:
http://keepvid.com/
http://saveyoutube.com/
If you are on your own Mac I recommend downloading MPEG Streamclip:
http://www.squared5.com/
Download the highest resolution MP4 file, but be prepared for low quality videos.
If you are willing to pay $20, iShowU works great for capturing videos in real time:
http://shinywhitebox.com/ishowu-v1/

Free Sound Effects

Free Sound: http://www.freesound.org/
You need to register, but it's free.

Normalizing your audio levels in FCP

1. Lock your video clips and select all of your audio clips.

2. Go to Modify>Levels. Adjust gain by: 0dB and Make Changes: Relative.

*You can also adjust your levels manually using keyframes (the pen tool) and the "mountain" button in the lower left corner of the Timeline.

Questions? Concerns about your project?

Please email both Norene & Reena, and one of us will get back to you:

leddyn [at] newschool [dot] edu

reena [at] radiodress [dot] ca

Wednesday, October 5, 2011

Video: the 2000's

Tony Oursler http://www.ubu.com/film/oursler.html
http://www.tonyoursler.com/ Interview: http://www.youtube.com/watch?v=p-s4xzB5D2Q

Diana Thater “Rare” 2008 http://vimeo.com/19218073
“gorillagorillagorilla” 2009 http://vimeo.com/19215391
“Chernobyl” 2010 http://www.youtube.com/watch?NR=1&v=sNzwQBa_9R8

Marilyn Minter “Green Pink Caviar” 2009 http://www.greenpinkcaviar.com

Ryan Trecartin http://ubu.com/film/trecartin.html
“The Re'Search (Re'Search Wait'S), 2009-2010” 2009-2010 http://ubu.com/film/trecartin_research.html

Homework due 10.13.11

1. Edit & Refine: Finish your video project, export it from FCP and burn it to DVD as a QuickTime file. Make 2 copies, 1 for me and 1 for you.

2. Look: Go see Nick Cave's "Ever-After" at Mary Boone (http://www.maryboonegallery.com/exhibitions/2011-2012/Nick-Cave/index.html) and Jack Shainman (http://www.jackshainman.com/exhibitions117.html) in Chelsea.
*The Jack Shainman portion of the show ends Oct. 8!

Burning a mastered DVD directly from FCP

1. In FCP, make sure that your final sequence is open in the Timeline, then go to File>Share.

2. For Destination Folder, click Choose and select a folder on your hard drive.
Click below (Apple TV is the default) and change to DVD. Then check the box below that says Create DVD. Another dialogue box will appear on the right, choose a title for your DVD, and you have a choice of black or white for a background. You can also add an image. Click OK, FCP will begin exporting, and in a few minutes will ask you to insert a DVD.

3. Once FCP is finished burning the DVD, the burner will open. Close it, the DVD will load, and Apple DVD player should open. Watch your DVD to make sure it works! This is now a mastered DVD that should play in most standard DVD players.

*To make a BluRay HD DVD, follow the same steps but choose BluRay instead of DVD.

Exporting from FCP

1. Once you are finished, save everything, then make sure that your final sequence is open in the Timeline.

2. Go to File>Export>Using QuickTime Conversion. In the dialogue box:
Save As: give your movie a title like "time_final_highquality.mov" so it is distinguishable from your other video exports.
Where: Save it to your FireWire hard drive.
Format: QuickTime Movie
Then click on Options, and a new dialogue box appears.

3. Under Video choose Settings
Compression Type: Apple ProRes 422 (*not* the ones with parenthesis).
Click OK, this takes you back to the earlier dialogue box.

4. Under Video choose Size. Change to match your project settings.

5. Click OK again, then Save. Your file will begin exporting. This takes time, be patient! Do not click on the file, even if it appears in the Finder, until FCP is finished.

6. Check your exported video -- open it in QuickTime, it should look fabulous. If not, check your settings and try again. You can also try using H264 for compression instead of Apple ProRes 422.

7. Burn this file to DVD. It will be big, 1-2 gigabytes. This is your backup, you can use this file to make mastered DVDs, and to import into other versions of FCP/FCP Express.

GeneralAssembly Gallery

Hi again!

I'm also attaching a call for submissions for GeneralAssembly - a small sound-based gallery I've started in my studio. See below, and feel free to ask me if you're thinking about submitting a project.

Reena

https://docs.google.com/document/d/1lqH7mPzYtr_N_VzYVR7W-l_TegrcN3XlXM011wa2fHs/edit?hl=en_US

Reena's Anarcho-Syndicalist Equipment Loans

Hi all;

The following is an ongoing project of mine, based out of my studio...you are all welcome to 'participate' by borrowing equipment from me :-)

***
Dear comrades;

Reena's Anarcho-Syndicalist Equipment Loans is happy to start our second year on the 5th floor of Parsons. As always, we are:
~working to give each producer the full potential of their creative labor~

…and delighted to serve you and your equipment needs.
When AMT is getting you down, RASEL yourself up!

We are:
- a revolution in 5th floor co-operative economics!
- self-managed by an authentic cultural worker!
- against late fee slavery!

We have some new items available AND a brand new location...see below for details.
Don't forget, we offer workshops in a variety of audio software too.

Open and free to MFAs, BFAs and their allies
Studio #23*, 5th floor
25 East 13th Street

OUR BORROWING POLICY:
- we trust you

EQUIPMENT AVAILABLE:

Audio:
- Edirol MA-100 Speakers
- wireless digital speakers (New York Yankees logo)
- mono tube amp, hand made, 2011
- M-Audio Dual Mic Preamp
- Lafayette Radio reel-to-reel recorder/player, circa 1960 (semi-functional)
- Zoom H4 stereo digital recorder
- Panasonic Toot-a-Loop AM Radio, circa 1975
- Boss ME-30 multi-pedal, circa 1998
- Boss RX-20 Loop Station pedal
- multi-pedal with analog/digital delay, custom built by Luis Herndandez, 2010
- ipod and charger
- assorted vintage mics, circa 1920 - 1970
- assorted audio cables

Film/video:
- Sony Super-8 camera, circa 1970 (stolen from my ex-boyfriend)
- PXL 2000 Pixelvision camera, circa 1985 (found on the street in Brooklyn; semi-functional)
- Sony card reader (SD/MMC/MS)

Physical Computing:
- Gekkon MyKit 200 electronics learning center, circa 1975
- Arduino microcontrollers (UNO and Duemilanove models)
- various motors
- multi meter
- assorted soldering irons
- wire cutter/strippers
- various alligator clips
- bread boards
- pure silver conductive glue

Tools:
- power drill
- Makita palm sander
- Makita jig saw
- Makita router
- assorted hand tools, circa 1960 - 2010

Misc:
- Toastmaster iron
- WelchAllyn speculum with internal LED and battery

*note change of location

Wednesday, September 21, 2011

Homework due 10.06.11

*No class next week for Rosh Hashana holiday

1. Edit: Rough cut of your Structural Film / Appropriation project. This means all of your footage is in the Timeline and cut. If you are using filters, split screens, etc. these should be applied and rendered, so that your project plays in the Timeline. Be prepared to present it to Norene & Reena.

2. Read: Two short pieces on Gillian Wearing http://nobetty.net/4d/resources/readings/GillianWearing-2001.pdf and Pipilotti Rist http://nobetty.net/4d/resources/readings/PipilottiRist-EverisOverAll.pdf.

Film & Video: the 1980's

*Dan Graham 1982 “Rock My Religion” http://vodpod.com/watch/3340068-u-b-u-w-e-b-film-video-dan-graham-rock-my-religion

Bruce Nauman 1970 “Live/Taped Video Corridor” http://www.youtube.com/watch?v=9IrqXiqgQBo
1985 “Good Boy, Bad Boy” http://www.youtube.com/watch?v=VugLUa47sLI
1992 “Anthro-Socio” http://www.youtube.com/watch?v=MyiZD4Q3Mdk

Chris Marker 1983 “Sans Soleil” http://video.google.com/videoplay?docid=-8240960507863855068
1962 “La Jetee”
http://www.youtube.com/watch?v=mzPi7-faGkw part 1
http://www.youtube.com/watch?v=VbVjqXYUWpo part 2
http://www.youtube.com/watch?v=iGwlN5t30W4 part 3

Mark Pauline / Survival Research Lab http://srl.org/

The Guerilla Girls http://www.guerrillagirls.com/

Video: the 1990's

Pipilotti Rist 1996 “Sip my ocean” http://www.youtube.com/watch?v=0VTkxwNJHHs
1997 "Ever is Over All" http://www.youtube.com/watch?v=a56RPZ_cbdc
http://www.ubu.com/film/rist_ents.html

Gillian Wearing 1997 “2 into 1” http://www.youtube.com/watch?v=h7y5uvyhHgc

Shirin Neshat 1998 “Turbulent” http://www.youtube.com/watch?v=VCAssCuOGls

Revised syllabus

09/22 Week 4 VIDEO
Introduction: Video Art- 1990’s
Readings: Gillian Wearing, Pipilotti Rist interview
Assignment: Review FCP basic edits, rough cut, re-shooting
Materials: DVDs, camera and hard drive

09/29 Rosh Hashanah Holiday NO CLASS
Work period - after the holiday.

10/6 Week 5 VIDEO
Introduction: Video Art- 2000's
Assignment: Exporting from FCP, final cut
Materials: DVDs, camera and hard drive

10/13 Week 6 VIDEO CRITIQUE + ANIMATION
VIDEO CRITIQUE
Introduction: Stop-motion Animation (photo-based)
Screening: Jan Svankmajer “Alice” 1988 and “Darkness Light Darkness” 1989
Brothers Quay
Nathalie Djurburg
Reading: "An Interview with William Kendridge", by Dan Cameron, William Kendridge
Sketchbook: Ideas & sketches inspired by screenings and reading
Assignment: Develop a presentation of ideas and sketches to review for your preliminary animation project.
Materials: Select materials for your animation. Bring photographic camera and check out sound recorder - AMT or KU Equipment Center.

10/20 Week 7 ANIMATION
Introduction: Stop-motion Animation (drawing-based)
Screening: William Kentridge 1999 “Drawing the Passing”
Federico Solmi
Selection of international animations
Sound demo with mics and DAT recorder
Assignment: Finish photographing images. *Scan sketchbook entries to date for review.
Materials: Camera and hard drive

10/27 Week 8 ANIMATION
Assignment: Assemble photographs using Final Cut Pro. Develop sound for project. Import sound into Final Cut Pro.
Materials: Camera and hard drive

11/3 Week 9 ANIMATION CRITIQUE
Reading: Introduction to Performance: "American & European Performance
from c. 1933: The Live Art,” excerpt:1950 - 1960, Performance, The Live Art, 1909 -1990
11/10 Week 10 PERFORMANCE
Introduction: Performance History (50’s-80’s)
Screening/Discussion Themes:
Body as Material, Embodiment, Presence/Absence, Identity Politics, Autobiography, Activism, Feminism, Site-specific Performance, Butoh
Readings: "Seventies Performance, To Be with Art is All we Ask", 1970 - 1980", Performance, The Live Art, 1909 -1990

11/17 Week 11 PERFORMANCE
Introduction: Performance Now (90’s-Present)
Screening/Discussion Themes:
Psychological Space, Reworking Historic Situations, Surveillance, Sound-based Performance, Environmental Practices
Assignment: Exercise: Develop a preliminary idea using mapping to explore the body and define new actions. Document the mapping to display and discuss either through photographing or drawing or collage.
Readings: "Keep on Running, The politics of black British performance" by Catherine Ugwu, Let's Get It ON!.

11/22 **(TUESDAY) MAKEUP CLASS
Week 12 PERFORMANCE
Field trip TBD

11/24 Thanksgiving Holiday NO CLASS

12/1 Week 13 PERFORMANCE
Assignment: Define and develop final performance for critique next week.

12/8 Week 14 PERFORMANCE CRITIQUE ** LAST CLASS

12/15 Week 15 FINE ARTS DEPARTMENT FINAL REVIEWS

Wednesday, September 14, 2011

Homework due 09.22.11

1. Shoot: Shoot / re-shoot any additional footage you need for your project.

2. Watch: Dan Graham's "Rock My Religion" http://vodpod.com/watch/3340068-u-b-u-w-e-b-film-video-dan-graham-rock-my-religion. Be prepared to discuss in class.

*Focus on getting all of the footage you need to complete your project -- don't worry about assembling a rough cut. Because of our technical concerns, I've moved the deadline to Oct. 13. In class next week, Reena and I will get everyone set up on FCP to edit their final project.

FCP notes

New School tip sheet for FCP: http://www.newschool.edu/at/help/tipsheets/video/fcp.pdf

Software and Hardware Overview
• Digital vs. analog video, nondestructive and nonlinear editing
DV requires 3.6MB of storage per second, 216MB per minute, 1GB per 5 minutes
Aspect Ratios
4x3: This is the standard television format used throughout the second half of the 20th Century. Sometimes referred to as 12x9.
16x9: This format has gained acceptance as the new standard for widescreen TV, DVD and high-definition video.
21x9 (Cinemascope): A very wide screen format used for theatrical release movies.

• Desktop Tour
• Menus, Shortcuts, and Controls
Shortcuts:
Cmd-+/- to zoom in and out of window
Shift-Z to fit to window
Ctrl-Click for shortcut menus
Cmd-A to select all
Cmd-X to cut
Cmd-Z to copy
Cmd-V to paste
Shift-Click to select multiple items
Home key to go to beginning of sequence
Cmd-C then Option-V to paste attributes
• Editing and Effects Windows
The Browser: window where you organize and access all of your media source material
The Viewer: your source monitor, allows you to view video and audio clips, mark edit points, and add/control effects
The Canvas: monitor where you view playback of edited sequences (linked to the Timeline)
The Timeline: displays edited sequences as clips arrayed on multiple video and audio tracks along a time axis
The Tool Palette: contains editing tools for cutting and moving clips (similar to Photoshop)

Capturing Media
• Log and Capture / Log and Transfer

Getting Digital
• File Naming — .bin, .seq, each folder/drive/partition should not contain the entire name of another f/d/p
• Selecting a Logging Bin
• Logging and Capturing
• AutoSave Features

The Viewer
• Working with Clips
• Navigating with Timecode
• Setting In and Out Points

Editing in FCP
• Creating a sequence
• Basic Editing
Insert edit: inserts clip at the In point, and moves media to the right to make room for the new source clip
Overwrite edit: the source clip overwrites sequence clips past the sequence In point with no time shift in the existing sequence
Replace edit: replaces the contents of a sequence clip with source clip (uses position of viewer playhead)
Fit to Fill edit: the speed of the source clip adjusts to fill the duration specified by the sequence In and Out points
Superimpose edit: source clip is placed on a new track above the target track, starting at the sequence In point
Transition edits: the source clip is inserted into the sequence with the default transition at the source clip's head
• Deleting clips from a sequence
Lift: removes selected material leaving a gap (shortcut: Command-X)
Ripple Delete: removes the selected material and closes the gap (shortcut: Shift-Delete)
• Performing Edits in the Canvas
• Performing Edits in the Timeline

Using the Timeline and Canvas
• The Canvas Window
• The Tool Palette
• Working with Items in the Timeline

Transitions
• Adding Transitions
• When to use transitions
• Locating and Applying Transitions

Sending Project to Tape or DVD
• Tape Output Modes
• Printing to Video

Technical Resources
• The Final Cut Pro Help Menu in Final Cut Pro — this is the entire FCP manual in PDF format, easy to search and relatively well written for a software manual
http://www.apple.com/support/finalcutpro — for apple technical support and discussion boards
http://www.mopictive.org — The New York City Final Cut Pro Users Group, free to join and a good resource for technical questions

Converting files for FCP with Compressor

Compressor is both conversion and compression software that comes bundled with FCP and is available on all of the Mac towers at the New School.

1. Open Compressor. You'll get a dialogue box that asks about templates. Hit cancel.

2. Drag the first file you want to convert into the box with the arrow. A thumbnail of your video will appear.

3. Down below, click on the Settings tab. Choose Apple>Formats>QuickTime>Apple ProRes 422. Click and drag Apple ProRes 422 up to where it says "drag settings and destinations here." A QuickTime icon and Apple ProRes 422 will appear on the left, next to your video thumbnail.

4. Go back down and click on the Destinations tab. Choose Custom>Work In Progress. Click and drag Work In Progress up to where it says Source. Work in Progress should then appear next to Apple ProRes. To the right of Work In Progress, choose a new file name, be sure to keep the .mov file extension. Then click Submit on the lower right. Your file will begin compressing -- do not attempt to open it, even though it will appear in the Finder! Once it's done, save it to your hard drive. You can now safely import it into FCP.

*If you need to do this on a computer without Compressor, you can use free software called MPEG StreamClip. There's a tutorial here: http://www.youtube.com/watch%3Fv%3DXbqysbip7T4.

Setting up your HD project in FCP

1. Open FCP, in the first dialogue box choose Apple ProRes 422 and set the primary scratch disk to your FireWire 800 drive. The program should open.

2. In the upper left choose Final Cut Pro>System Settings. Make sure that all of the options are set to save to your FireWire drive.

3. In the upper left choose Final Cut Pro>Audio/Video Settings. For your sequence preset choose Apple ProRes 422 1280x720 30p/60p, *not* any of the ProRes settings with parentheses like (HQ) or (LT). For your capture preset choose HDV-Apple ProRes 422. For your device control preset choose non-controllable device. Video playback should be set to none and audio to default. Then click OK.

4. Go to File>New Project, then immediately save your project to your FireWire drive.

You're all set! Start editing away. Try and remember to save your project often -- computers crash, especially when they are editing video.

Film & Video: the 1980's

Dan Graham 1982 “Rock My Religion” http://vodpod.com/watch/3340068-u-b-u-w-e-b-film-video-dan-graham-rock-my-religion

Bruce Nauman “Live/Taped Video Corridor” 1970 http://www.youtube.com/watch?v=9IrqXiqgQBo
“Good Boy, Bad Boy” 1985 http://www.youtube.com/watch?v=VugLUa47sLI
“Anthro-Socio” 1992 http://www.youtube.com/watch?v=MyiZD4Q3Mdk

Chris Marker 1983 “Sans Soleil” http://video.google.com/videoplay?docid=-8240960507863855068
1962 “La Jetee” (available at NSU Fogelman Library)
http://www.youtube.com/watch?v=mzPi7-faGkw part 1
http://www.youtube.com/watch?v=VbVjqXYUWpo part 2
http://www.youtube.com/watch?v=iGwlN5t30W4 part 3

Mark Pauline / Survival Research Lab http://srl.org/

The Guerilla Girls http://www.guerrillagirls.com/

Friday, September 9, 2011

My website and equipment info...

Hey all;

It was great to work with you on Thursday! Here's my website if you want to check out a bit about my practice:

www.radiodress.ca

Also, below you'll find information on the equipment available through Fine Arts. They have cameras, lights, tripods, speakers, projectors and other equipment. If you haven't been there yet, the office is on the 5th floor of 25 East 13th St. The staff there will sign out equipment for you if it's available for a period of up to 2 days. It's limited, but can be less of a hassle than AMT, and has lower late fees. Here's the camera list:

1) SONY 800x Carl Ziess Lens

2) SONY 2000x Carl Ziess Vario-Tessar

3) 2000x Carl Ziess Vario Tessar)

4) SONY 40x Carl Zeiss Lens

And...last but not least - Joan Jonas (Wonderwoman video we saw) has an exhibition at MIT in Boston this month and next. Check it out if you're in the area:

http://arts.mit.edu/va/event/jonas/

Wednesday, September 7, 2011

Homework due 09.15.11

1. Draw: Map or storyboard your idea for Project 2: Structural Film <> Appropriation. These can be sketches or written diagrams, but they must clearly articulate your project ideas.

2. Shoot: At least three minutes for footage for Project 2: Structural Film <> Appropriation.

3. Read: This short essay by Nam June Paik "Input-Time and Output-Time" http://nobetty.net/4d/resources/readings/paik_inputoutput.pdf
and this interview with Dara Birnbaum from "The Early Show: Video from 1969-1979" http://nobetty.net/4d/resources/readings/dara_birnbaum_interview.pdf

4. Supplies: Bring in your footage and your portable Fire Wire hard drive.

Project 2: Structural Film <> Appropriation (due 10.13.11)

Create a short (three minutes or less) video piece influenced by Structural Film (Michael Snow's "Wavelength")
http://en.wikipedia.org/wiki/Structural_film

or using appropriation (Dara Birnbaum's "Technology/Transformation: Wonder Woman")
http://en.wikipedia.org/wiki/Appropriation_(art)

The piece will be worked out through drawings and diagrams in your sketchbook, shot in HD with one of the three New School camera options, and edited in FCP. It is due 10.13.11 for critique. Please bring your sketches, diagrams, and three minutes of footage next week to begin the editing process.

*If you are focusing on appropriation, both of these links will allow you to download youtube videos without using any additional software:
http://keepvid.com/
http://saveyoutube.com/
If you are on your own Mac I recommend downloading MPEG Streamclip:
http://www.squared5.com/
Download the highest resolution MP4 file, but be prepared for low quality videos.
If you are willing to pay $20, iShowU works great for capturing videos in real time:
http://shinywhitebox.com/ishowu-v1/

The Manhattan Wonderwalk

This is an amazing experience, not to be missed. And a great way to get some fabulous video footage!


* * * * *
It's the 3rd Annual Manhattan Wonderwalk! Come join us as we stroll nearly the entirety of the great Island of Manhattan. We will visit familiar spots and little known pathways; we'll see gorgeous public art and mundane displays of beauty. There will also be site-specific performances along the way. You may walk part of the way or all the way, just buy your map for $20 (*student price $10), and you'll be able to find us at any point throughout the day.

We'll start by stretching together at 9:30am, up in Inwood Hill Park, departing at 10am sharp. We will follow a thrilling path of adventure, ending at the middle of the Brooklyn Bridge at midnight. That's a 14-hour walk. With breaks and amazing surprises all along the way.

*The discount code is PERAMBULATE, under Secret City Citizen, for $10 tickets.

For more info, click here: http://www.themanhattanwonderwalk.com/

Film & Video: the 1970's

*Hollis Frampton 1971 "Nostalgia" http://www.youtube.com/watch?v=voMDL1TgTh4 part 1
http://www.youtube.com/watch?v=300DOyjj3Vw part 2
http://www.youtube.com/watch?v=Nzgsq5BnzeM part 3
http://www.youtube.com/watch?v=czMphN0r_1o part 4

Nam June Paik 1964/65 “Zen for Film” http://www.ubu.com/film/fluxfilm.html
*1973 “Global Groove” http://www.youtube.com/watch?v=n2c_H7AEOUs

Bill Viola 1973 “Migration (for Jack Nelson)” http://www.youtube.com/watch?v=6kshO9Ilefg
1977-79 “The Reflecting Pool” http://www.youtube.com/watch?v=D_urrt8X0l8
2007 “Ocean Without a Shore” interview and installation http://www.youtube.com/watch?v=6-V7in9LObI

Vito Acconci 1972 “Undertone” http://www.ubu.com/film/acconci_undertone.html

William Wegman 1972 “Two Dogs and a Ball,” “Used Car Salesman” http://www.ubu.com/film/wegman_selected.html

John Baldessari 1972 "Baldessari Sings Lewitt" http://www.ubu.com/film/baldessari_lewitt.html

*Joan Jonas 1972 “Vertical Roll” http://www.youtube.com/watch?v=-oqJZOFzbfA

Peter Campus 1973 “Three Transitions” http://www.youtube.com/watch?v=sJHnqOrII10

Richard Serra 1973-74 “Television Delivers People" http://www.youtube.com/watch?v=nbvzbj4Nhtk and "Surprise Attack" http://www.youtube.com/watch?v=s0ujASbr8Nc

Hermine Freed 1974 “Art Herstory”, excerpt http://www.youtube.com/watch?v=3vC1y6fLLY0

*Dara Birnbaum 1978 “Technology/Transformation:WonderWoman” http://www.dailymotion.com/video/x4y5e5_dara-birnbaum-technology-transforma_shortfilms

Friday, September 2, 2011

Photo/Video Supplies

Adorama
http://www.adorama.com/
42 West 18th Street, New York City, NY 10011
*Ask about student discounts

B&H
http://www.bhphotovideo.com/
9th Ave. @ 34th St. New York, NY 10001
*B&H gives student discounts through this program:
http://www.bhphotovideo.com/find/eduAbout.jsp/mode/edu

Wednesday, August 31, 2011

Project 1: The Rashomon Exercise


1. Watch "Rashomon" 1950 dir. Akira Kurosawa


You can also watch it on youtube here:
http://www.youtube.com/watch?v=-XZCZHXmWbA part 1
http://www.youtube.com/watch?v=XR9ZhLka6cM part 2
http://www.youtube.com/watch?v=ISM9aY0sVHQ part 3
http://www.youtube.com/watch?v=X-pOnZSm1FE part 4
http://www.youtube.com/watch?v=fTi1AMRToTE part 5
http://www.youtube.com/watch?v=FFjyg-Jm7i4 part 6
http://www.youtube.com/watch?v=JjCpCjNzKv4 part 7
http://www.youtube.com/watch?v=7qeJSebVqLQ part 8
http://www.youtube.com/watch?v=ufGhibcr4G0 part 9

You can also check it out from the New School Fogelman Library or watch it at NYU's Bobst Library.

Read this analysis http://nobetty.net/4d/resources/readings/THEFILMIDEA_Rashomon.pdf.

2. With your teammates, create one scenario to be shot from three different POVs, inspired by the film. This is an exercise, keep it short and simple: each scene should be one minute or less, and consist of only one shot. You must all agree on the scenario, then each student is responsible for shooting and directing one scene, as well as supporting sketches and a written description for that scene. Think about framing/composition, camera angle and position. Once your sketches are finished, sign out a camera and shoot your scenes. Save the digital files to your hard drive.

3. Bring your digital files, sketches, and any other supporting materials to class next week.


How to reserve equipment from the AMT Equipment Resource Center

AMT Equipment Resource Center website with the hours of operation and rules:
http://amt.parsons.edu/programs/photography/photography-facilities/

They are working out the kinks in their online system, so for now go in person to the AMT Equipment Resource Center 2nd floor of 66 5th Ave. Please identify as AMT Fine Arts students taking Intro to 4D, and you can sign out a Canon Vixia HF M32 video camera for 24 hours. These equipment checkouts are for 24 hours ONLY and students who fail to return equipment on time are penalized with loss of privileges. Also note the AMT Equipment Resource Center does not have tripods or other accessories.

***You must have a valid New School ID to pick up, they will not give you anything without one. Make sure that you TEST EVERYTHING before you sign for it, otherwise you are liable -- and they will make you pay.

All AMT students have access to the equipment (including the new canon vixia cameras) linked here:
http://amt.parsons.edu/files/2011/08/2011-12-AMT-ERC-Catalog.pdf.

How to reserve equipment from the New School/AT Equipment Center

1. Start here with the New School tip sheet for signing out equipment http://www.newschool.edu/at/help/tipsheets/eqc/eqc_gettingstarted.pdf. Then go to http://www.newschool.edu/at/agreements/s_eqc_agreement.html. Please read all of the information on this page.

2. Read and agree to terms and conditions.

3. Reserve your equipment, start date must be 2 full days business days in advance. *There are a limited number of "in-house" cameras you can sign out, but reservations take priority.

4. Choose the Canon 7D Kit (digital SLR camera with video Canon EOS 7D).

5. Pick up your equipment from the Equipment Center between 9am and 7pm. There is also a $40 no show fee, for reserving equipment and not showing up on time to pick it up. Reserved equipment must be returned by 7pm. Late return fee = $20 per hour, $100 per day.

***You must have a valid New School ID to pick up, they will not give you anything without one. Make sure that you TEST EVERYTHING before you sign for it, otherwise you are liable -- and they will make you pay.

Equipment Center Location
55 West 13th St, Rm. 921

Equipment Center Contact
Tel: 212.229.5300 ext. 4556
Fax: 212.647.8202
Email: eqc@newschool.edu

Homework due 09.08.11

1. Watch: "Rashomon" 1950 Akira Kurosawa http://www.hulu.com/watch/215845/rashomon. Go to P.S.1 and see Ryan Trecartin "Any Ever" http://www.ps1.org/exhibitions/view/323. **Exhibition closes Saturday Sept. 3**

2. Shoot: With your team, shoot 3 "Rashomon"-inspired scenes from 3 different POV's (Project 1).

3. Read: “A History of Experimental Film and Video: Origins of the Post-War Avant-Garde” A.L. Rees http://nobetty.net/4d/resources/readings/ExperimentalFilm&Video.pdf and http://nobetty.net/4d/resources/readings/THEFILMIDEA_Rashomon.pdf.

Film & Video: Origins to the 1960's

Notes:

Video arrived in the mid 20th century and film was suddenly not the only means of creating moving images.

In 1965 Sony Corporation introduced the Portapak, a handheld video camera and portable video recorder — 1/2in. tape as opposed to 2in. tape used for broadcast TV — brought ease, mobility, and affordability to video production — by 1968 exhibitions of video art internationally.

Video is a new medium (only 55+ years as opposed to thousands of years of drawing, painting, sculpture) — Difficult to categorize since there are no official schools of video, like the Impressionists or the Abstract Expressionists, just themes.

Video is an 'Art of time' used to extend, repeat, fast forward, and slow down time — new way of telling a story, non-linear video loops.

Early video pioneers in the 60s and 70s used video as another material (like paint and canvas, or marble) to execute an idea — artists used whatever material they were interested in.

General Categories of Video Art:

-Recording "mixed media" performances

-Extension of the body

-Technological advances

-Interactivity

-Surveillance

-Critique of commercial television or film

-Time-based ("moving") painting or drawing


Origin of film/video
*Thomas Edison “Edison Kinetoscopic Record of a Sneeze, Jan. 7, 1894”
http://www.youtube.com/watch?v=2wnOpDWSbyw

1940's
*Maya Deren 1943 “Meshes of the Afternoon” http://www.youtube.com/watch?v=4S03Aw5HULU

1950’s
*Hans Namuth and Paul Falkenburg, film, 1951 “Jackson Pollock” http://www.ubu.com/film/namuth_pollock.html

*John Cassavettes “Shadows”, film, 1959 http://www.youtube.com/watch?v=_JMuLsGPp-k

Robert Frank and Alfred Leslie “Pull My Daisy” 1959
*http://www.youtube.com/watch?v=V8jz8fgN-QM part 1
http://www.youtube.com/watch?v=QqyNVi61cI8 part 2
http://www.youtube.com/watch?v=b618uHPB1zA part 3

1960’s
Stan Brakhage “Dog Star Man”, film, 1963 http://www.youtube.com/watch?v=mTGdGgQtZic&fmt=18 (prelude)
*1959 "Window Water Baby Moving" http://www.youtube.com/watch?v=-drSrvTtZ1k part 1
http://www.youtube.com/watch?v=yxE3rI-LWm4 part 2
*1963 "Mothlight" http://www.youtube.com/watch?v=Jaezt80Sm1A

*Jack Smith “Flaming Creatures” 1963 http://www.youtube.com/watch?v=PlIxr5_nyUg part 1

Shirley Clarke “The Cool World”, VCA 3729 1963 excerpt http://www.youtube.com/watch?v=ZwXz9oDt7Ew 1967

*Andy Warhol “WARHOL's CINEMA - A Mirror for the Sixties (1989)” http://www.ubu.com/film/warhol_cinema.html
“Outer and Inner Space” 1965 http://www.youtube.com/watch?v=C9ck4fz7eBQ

*Michael Snow 1967 “Wavelength” http://video.google.com/videoplay?docid=-3009876496807585942

The Black Panthers “What We Want” late 60’s/early 70’s http://www.youtube.com/watch?v=5mpFCtftF7c (Roz Payne and Newsreel)

Welcome to 4D

Pipilotti Rist (Switzerland, 1962), I'm Not The Girl Who Misses Much, 1986, Video (video still)

Welcome to Intro to 4D! We're looking forward to an exciting and productive semester.

To download the syllabus, click here.

To download the glossary terms, click here.

Lab and classroom hours are posted here: http://www.newschool.edu/at/thelabs/hours/index.html.

The best way to get in touch with me outside of class is email, leddyn [at] newschool [dot] edu, office hours are by appointment only. If you don’t hear from me within 24 hours, please resend it. I also have a mailbox in the Fine Arts office, 25 E. 13th St. 5th Floor. You can leave me a message by phone through the Fine Arts Department 212-229-8942.