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Critical making is kind of what all art is about. Without a goal, art has no purpose. 

Before I took art seriously, I never made things with a goal in mind. A clear example was my final project for Interaction Lab a few years ago. Throughout the process I had no clear vision about what I was making and only realized once I started taking art classes that art without meaning can often be nothing.

In light of this, I try to come up with a solid idea for everything I make, and , more importantly, one that means something. My final, for example, was supposed to be about something I was passionate about and that I felt I could use to change people’s hearts. My first painting was about a memory that I cherish deeply and that is about a critical moment in my life. 

Making with new media also needs to carry this sentiment. The cause doesn’t change, only the tools with which you create. I liked this reading since it gave me a good reinforcement of what it means to make things and how I aim to make my art in the future.

1. Project Title: (TBA)　　　　　　　　　　　　　
2. Team Members: Santiago, Karla, Alaric 
3. Concept | Storyline: 

 We wish to juxtapose two characters, with one embodying the first monologue and the other embodying the second one. 

What is the piece (article, poem, story) for the narrative voice over?  Or who are you going to interview?:

Luthen’s speech from Andor and an excerpt from The Book of Disquiet by Fernando Pessoa read by either Karla or Alaric

What’s the story about?:

We are juxtaposing the monologues because they mirror each other in context. In addition, our group feels like we strongly relate to the contents of both pieces given that we are all super seniors. Hearing both of the audios will give you a better sense of what I mean when I say they are like two sides of a coin. 

Which part of the story are you going to focus on?:

Both of these excerpts are centered around dreams; in Luthen’s monologue, he details how he must sacrifice his life and his values, for the sake of a dream that he will never see come to fruition,  a fact that he is keenly aware of,  yet is still unwavering in his resolve. Conversely, Bernardo exists in a state of perpetual daydreaming, yet struggles to ground himself in reality. One character sacrifices everything for a goal he won’t see accomplished, while the other relishes in a dream he can’t seem to work towards.

 What kind of style/aesthetics are you going to pursue?

Dark, fruitless, forlorn. Maybe in the style of a Music video

Execution Plan: 

What equipment are you going to use when shooting the movie? (cell phone, DSLR camera, sound recorder, stabilizer..):

Cell Phone and stabilizer because we feel the video quality is strong enough without the need to use a camera and its equipment. Some audio equipment for Al’s voiceover

Which locations will it be shot at? When is it? Day time/night/unknown? Why?:

At night and after sunset in Xuhui, preferably in older, darker areas to really set the scene to match with the audios.

What are some challenges you might encounter and how will you prepare?:

Troubleshooting in terms of filming techniques. None of us have any experience working behind a camera so I think that will probably be the toughest hurdle. 

How will you collaborate? How will you divide work? (Gantt Chart below*):

Storyboard Draft (subject to change):

Samurai Champloo Storyboard

 

 

To start, I took a variety of photos instead of focusing on any one specific subject. This was I could narrow it down to something I think I could work with. 

I went around my neighborhood as it is where I thought I could find the best potential subjects. I’ve lived there for a couple of years now, and I had some spots in mind.

The first seven are photos I took in some of my favorite bars. The bottles in a bar are arranged not just for looks, but also for ergonomic reasons. Being able to grab a common mixing bottle is more important than showing off something top shelf. I thought this organization could provide something usable in my project. 

I took some architecture images to contrast the interior pictures. It wasn’t until I received some feedback that the direction of the lines or the reflections in the building picture could be used in interesting ways. 

However, what I think I want my diptych to be is something along the lines of what’s in the third row of images. I like working with lighting and playing with space using lighting, so I think for my project I will use a photo that provides a stark value contrast with one of these third row images.