Thursday, April 16, 2015

Performance Art Video #2 - An Experiment In Context

The intent of this piece is threefold:

1) The concept serves at least partially as a satire of overly-indulgent, conceptually weak performance art videos.
2) The performance itself (or lack thereof) consists of me standing with my arms folded in an elevator while being very overtly filmed by a friend of mine. Both components are meant to force passersby to fill out the holes in context mentally, which is an interesting juxtaposition our Crash TV-esque culture of internet videos where people do outlandish things in short bursts specifically for views. What is the guy with his arms folded doing for seven minutes to go viral? 
3) The finished product is meant to do something similar for the viewer, but rather than ask themselves what the memetic hook of the video is, they're meant to see that it's performance art and ask themselves why, to look for a purpose that I intentionally did not include, turning the "performance art" tag into a sort of red herring. This was inspired by something said in class about performance art only requiring proper context to be considered such.

Additionally, it must be noted that the cameraman did not do the exact thing I asked him to do; he was supposed to keep the camera in a fixed position the entire time but instead frequently moved the focus around the elevator. This deviates slightly from the intention of the piece, but it could not be re-shot in the amount of time I had so this version is the final, though it is still functional in its current form. 

Song is "iamsoproudofyou" by Thomas Stanley.


Tuesday, March 31, 2015

Performance Art Piece #1 - 31 March 2015

The concept of this came to me the other night when I was writing a poem vaguely inspired by the military, and I realized that there are times where I don't actually know dick about the life experiences I try to touch on in my writing, and that made me feel weird and spoiled in a way, for lack of better words. This piece is me reciting the poem Invictus by William Ernest Henley, a poem about strife and personal pain, while beating the tar out of myself with a belt. It hurt. A lot. The point of it all was to ingrain myself with the poem, one I consider a personal favorite, and to try and juxtapose my own attempts to create characters in my work with the idea of finding inspiration in one's own life.

Wednesday, March 25, 2015

Stop Motion Project

Hybrid stop motion and flipbook-type thing. Frame-by-frame of some random MS Paint doodles. Somewhere around 400 frames running at approximately 10 FPS. Song is Glitters, created by myself in Logic Pro.

Tuesday, March 24, 2015

Grid Art Project - 19 March 2015


Spray paint on poster board. Design created by layering stencils, with the grid effect being provided by chicken wire (which is way harder to roll out and manipulate than I remember). Tentative title is "Dead Or In Jail".

Tuesday, March 17, 2015

Nonsensical Product - "The Fantastic Triangle Randomizer"



My nonsensical product was The Fantastic Triangle Randomizer. It literally just makes triangles of completely uncontrollable sizes. Advertising touches on various stereotypical focus-grouped points.

Thursday, March 5, 2015

Opera Paper - 5 March 2015

L'Orfeo, by Claudio Monteverdi, is one of the oldest surviving operas currently in rotation, if not the oldest. It retells the myth of Orpheus, a tragic hero who goes on a noble quest to the underworld to rescue his true love only to lose her once again to his own doubt. The version being discussed here, a 1978 production directed by Jean-Pierre Ponnelle, had a very interesting mise en scene that made it feel almost like a fantasy movie. The sets were complex and detailed and changed dramatically with the setting, the costumes period-accurate and often featuring ornate fantasy-inspired makeup (particularly Pluto), and included cinematic special effects such as varied lighting and fog. It seems as if Ponnelle had aspirations to stage this as if it were a blockbuster movie, and from that my inspiration for a video game adaptation really takes shape.

If I were to adapt L'Orfeo into a video game, I would most likely aspire for it to be something in the recently-reemerged interactive drama genre, in a similar vein to games like Heavy Rain and Beyond: Two Souls. Seeing as this game is primarily a story being told through dialogue and music, it wouldn't make much sense to make it action-heavy, so it would be a good fit as a story that the player is simply on the ride for, albeit one that hinges on their decisions. The most prominent element of gameplay would be the playing of Orpheus' lyre, which would be used for rhythm game-esque segments in which the player would have to perform songs at a certain level of accuracy to charm or manipulate his target as Orpheus often did. Difficulty would be adjustable to give it replay value. Beyond that, the story would largely be told through dialogue, sung-through of course, and the player
would be able to select their responses from a list as opposed to being chained to watching a scene, a style of storytelling showcased in games such as Mass Effect. These selections would not heavily alter the story, but they would vary in demeanor and selecting the right tone of response would impact whether or not the player could advance. In walking sections between spoken bits, there would be a loop of the instrumental section that precedes the next bit of dialogue, to give it the feel that it is a continuous musical.

Visually, I would want to capture the mise en scene of the Ponnelle production, so there would be a lot of fantastical set pieces. I would deviate, however, from realistic character models, as I believe purely-human form would hinder the story. Instead, I would go with a cel-shaded visual style similar to games like Naruto: Ultimate Ninja. This would give it the appearance of an animated film, and would allow for more surreal and imaginative scenarios in the story, particularly once Orpheus begins his descent into the underworld. There would be a bit of a meta twist though, to appeal to the shifting sensibilities of modern media consumers: the game itself would be a frame narrative within a performance of the opera. This is inspired by Act 1 of L'Orfeo where the story of Orpheus is seemingly introduced by the performers, and at one point a backdrop change is deliberately visible, and the fact that throughout the performance, there are a few instances of the orchestra shown, creating an odd pseudo-fourth-wall-breaking sensibility. In the segments that frame the main storyline, the orchestra will be visible, and the set will appear much more shoddy than the ornate and fantastical animated sequences that take place in the main segments. This will give interesting context to the gameplay, and will additionally give the game an almost innocent theme of imagination that I'm certain will be valued heavily by the players, and will compliment the scenes of Orpheus' magical journey well.

Claudio Monteverdi's L'Orfeo, given its age of over 400 years and its even older roots as a
Greek myth, is still tremendously ripe for modern adaptation. Jean-Pierre Ponnelle's 1978 production
showcased a version steeped in the tropes of fantasy film, and from there a sort of big-budget interactive drama adventure game could be derived. In lieu of traditional action or platforming, the game would present heavy musical dialogue, and would offer the gamer exciting quicktime events in the form of Orpheus' lyre. Visually, the game would be cel-shaded to create similarities to a cartoon movie, and while featuring ornate and surreal environments in the main storyline, it would be framed within a performance of a play with comparatively-shoddy set pieces and undisguised bit players, juxtaposing it with the main adventure to create a sense of imagination and wonder. There aren't many, if any games, that have framed themselves as narrative musicals in the same style as operas, so if something like this were to be made, based on any opera, it would be revolutionary, but L'Orfeo heart-wrenching and adventurous narrative and relatable humanistic morals would make it a prime target for this sort of adaptation.


L'Orfeo. By Claudio Monteverdi. Dir. Jean-Pierre Ponnelle. Perf. Philippe Huttenlocher. Zurich Opera House, Switzerland. 1978. Performance.

Monday, February 16, 2015

Opera/"Spectacle"

For my opera project, I've chosen L'Orfeo by Monteverdi. I picked this because it is based on a legend I've learned about in the past, and additionally I wanted to go with an earlier example of the form out of sheer curiosity.

Moving onto the most recent topic of discussion, the development of the role of "spectacle" in art is one I find very interesting because I felt like to an extent it was an inherent part of anything designed to entertain, as a hook of sorts. Everything has to have a draw, right? While some of the prototypical examples feel dated and problematic in hindsight (blackface is obviously a disgusting practice, and for all its intrinsic artistic value Josephine Baker's fetishization of "exotic" stereotypes doesn't feel quite right), the shock and boundary-pushing ideals of the vaudeville show stick out to me quite a bit. I'm reminded a bit of Extreme Championship Wrestling, a company from the 1990's that specialized in "hardcore" content featuring violent stunts involving tables and ladders and blatantly-sexualized female characters, and its popularity led to grittier, more realistic writing throughout the industry, including the development of the NWO in WCW and the "Attitude Era" of the WWF. The analogue makes me feel like there's a cycle of new mediums every time we as a culture are ready to move forward in what we tolerate, and it makes me excited to see what's developed next.