Jujube/methods-session-5 - Revision history

Jujube at 15:13, 16 May 2019

2019-05-16T15:13:08Z

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	I am currently editing the footage I gathered during the residency. The final version of the video will be screened at the EYE Film Museum in Amsterdam in early March and will be publicly accessible on my vimeo page around the same time.		I am currently editing the footage I gathered during the residency. The final version of the video will be screened at the EYE Film Museum in Amsterdam in early March and will be publicly accessible on my vimeo page around the same time.

	==The roles of theory and story in my work: how I made Seek (~~ESSAY in skeleton~~)==		==The roles of theory and story in my work: how I made Seek (an unfinished essay that never started)==

	[This essay ~~connects~~: my recent piece of work, theories on photographic and cinematic time/"the arrow of time" (in physics), the story as structure.]		[I never finished this essay, partly because I stopped wanting to analyze the work, Seek, and moved on before the deconstruction happened. This essay would connect: my recent piece of work, theories on photographic and cinematic time/"the arrow of time" (in physics), the story as structure. The part on theory is still quite useful.]

	I want to write it in a personal tone rather than an academic one.		I want to write it in a personal tone rather than an academic one.

Jujube at 10:20, 10 April 2019

2019-04-10T10:20:49Z

← Older revision		Revision as of 12:20, 10 April 2019
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	[[Methods_lens-based#Session_five]]		[[Methods_lens-based#Session_five]]

			== STEP travel grant reflection (Seek) ==

			With the STEP travel grant I was able to offset the travel cost to JOYA: Arte + Ecología, an artist residency in Southern Spain. During the residency, I completed the research and video shoot for my project, found spontaneous collaborations and developed new relationships with fellow artists.

			The impetus for the project was to use the camera as a device for meditation and synthesize the footage in a video. As I became more interested in the relationship between autobiographical materials and universal emotions through tales, I shifted from this originally generative approach to focus more on storytelling with pre-meditated imageries. I wrote a script before departing Rotterdam, in which I set the main scenes near a lake.

			When I arrived in Veléz-Blanco, the local climates suggested something different from the lake scenes. The land was arid. There was no visible body of water. All of us at the residency were encouraged to conserve by keeping shower water in buckets and washing dishes in bins. Coming from an urban environment where water is taken for granted as part of the infrastructure, its sudden scarcity provoked new thoughts:

			What is the essence that I want to convey through water? Can I evoke the same message in a drastically different landscape?

			To find the answers, I developed a routine. Each morning I left the dwelling and walked down into the barranco, a type of ravine formed by erosion (both by rainfall and agro-pastoral modification common in this region). I observed the weather, geology, flora and fauna with my video equipments: a DSLR camera, two lenses, a field recorder, a pair of headphones and a tripod. The barranco inspired new development of the script and became the central imagery of the video.

			Collaborations took place both within the project and across dinner tables. For the video, I collaborated with two volunteers I met at the residency, Lucy Wade and Francesco Ferrari. I recruited Lucy as the voice of the video and Francesco as the musician. For one of the communal dinners — which our hosts generously provided every night — I planned a Mexican menu and cooked with two London-based Korean artists who stayed at the residency concurrently. Our friendship continues beyond JOYA.

			During my stay I also learned about JOYA's ambition in the cultural ecosystem in the region of Almería, Spain. The organisation hosts a constant stream of contemporary artists, architects, writers and provides knowledge of the history, economy and environment of this rural area of Spain. The founders, Simon and Donna, also curate. They have invited artists to exhibit in the medieval castle in the village of Veléz-Blanco, generating a new form of cultural tourism. The ground of the farmhouse — with its own water treatment system and wind turbine — is also an educational site for permaculture and off-grid living.

			The travel grant was the first grant I received after my decision to further my artistic career in Europe. The funding alleviated some financial burden for a young artist with a non-EU, non-western passport like myself. (Visa was not a concern this time as I currently hold a temporary residence permit from the Netherlands.)

			I am currently editing the footage I gathered during the residency. The final version of the video will be screened at the EYE Film Museum in Amsterdam in early March and will be publicly accessible on my vimeo page around the same time.

	==The roles of theory and story in my work: how I made Seek (ESSAY in skeleton)==		==The roles of theory and story in my work: how I made Seek (ESSAY in skeleton)==

Jujube: /* The roles of theory and story in my work: how I made Seek (ESSAY IN PROGRESS) */

2019-04-10T10:19:28Z

The roles of theory and story in my work: how I made Seek (ESSAY IN PROGRESS)

← Older revision		Revision as of 12:19, 10 April 2019
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	[[Methods_lens-based#Session_five]]		[[Methods_lens-based#Session_five]]

	==The roles of theory and story in my work: how I made Seek (ESSAY ~~IN PROGRESS~~)==		==The roles of theory and story in my work: how I made Seek (ESSAY in skeleton)==

	[This essay connects: my recent piece of work, theories on photographic and cinematic time/"the arrow of time" (in physics), the story as structure.]		[This essay connects: my recent piece of work, theories on photographic and cinematic time/"the arrow of time" (in physics), the story as structure.]
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	3. The case studies from theories give me works to see/watch/research, which helps widen my perspective. The fact that some of them resonate with me more than others drive me to inquire about my own preference — visually, narratively, affectively. By reflecting on other people's work I can also be more certain about my own aesthetics and processes.		3. The case studies from theories give me works to see/watch/research, which helps widen my perspective. The fact that some of them resonate with me more than others drive me to inquire about my own preference — visually, narratively, affectively. By reflecting on other people's work I can also be more certain about my own aesthetics and processes.


	== '''Reflecting on autobiography in my own work''': reading Alexander Chee's ''The Autobiography of My Novel'' ==		== '''Reflecting on autobiography in my own work''': reading Alexander Chee's ''The Autobiography of My Novel'' ==

Jujube at 20:14, 24 March 2019

2019-03-24T20:14:57Z

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			__FORCETOC__

	<div style="width:50%; font-size:20px;">		<div style="width:50%; font-size:20px;">

Jujube at 21:15, 18 March 2019

2019-03-18T21:15:23Z

← Older revision		Revision as of 23:15, 18 March 2019
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	==The roles of theory and story in my work: how I made Seek (ESSAY IN PROGRESS)==		==The roles of theory and story in my work: how I made Seek (ESSAY IN PROGRESS)==

	~~<s>Previously: '''The roles of theories in my own work''': reading ''The Cinematic''</s>~~		[This essay connects: my recent piece of work, theories on photographic and cinematic time/"the arrow of time" (in physics), the story as structure.]

	[This essay connects: my recent piece of work, theories on photographic and cinematic time/"the arrow of time" (in physics), the story as structure.

	I want to write it in a personal tone rather than an academic one.		I want to write it in a personal tone rather than an academic one.
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	1. Theories give me a historical perspective of what has been done. I am not studying art history in any comprehensive fashion, but through theories I am gradually learning to place my works and their relevance in accordance to the form(s) I choose.		1. Theories give me a historical perspective of what has been done. I am not studying art history in any comprehensive fashion, but through theories I am gradually learning to place my works and their relevance in accordance to the form(s) I choose.

	2. Theories provide soundbites for rumination. I avoid jargons in describing my work (or even writing the imaginary wall text for it). When I read jargon-y words, however, ~~I find~~ the terms become starting points for connecting systems of knowledge. In articulating these connections I can be genuine, specific, and unpretentious.		2. Theories provide soundbites for rumination. I avoid jargons in describing my work (or even writing the imaginary wall text for it). When I read jargon-sounding words, however, the terms become starting points for connecting systems of knowledge. In articulating these connections I can strive to be genuine, specific, and unpretentious.

	3. The case studies from theories give me "works to see/watch/research.~~" Some~~ of them resonate with me more than others, and ~~I contemplate why it is so~~. ~~Is it the visual coherence? The fit between form and meaning? The logic?~~		3. The case studies from theories give me works to see/watch/research, which helps widen my perspective. The fact that some of them resonate with me more than others drive me to inquire about my own preference — visually, narratively, affectively. By reflecting on other people's work I can also be more certain about my own aesthetics and processes.

Jujube at 11:19, 17 March 2019

2019-03-17T11:19:23Z

← Older revision		Revision as of 13:19, 17 March 2019
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	[[Methods_lens-based#Session_five]]		[[Methods_lens-based#Session_five]]

	~~== Yuki Okumura ==~~

	~~I Am He As You Are He As You Are Me and We Are All Together: Shuffled Subjectivities In and Out of the Frame by Yuki Okumura~~

	==The roles of theory and story in my work: how I made Seek (ESSAY IN PROGRESS)==		==The roles of theory and story in my work: how I made Seek (ESSAY IN PROGRESS)==

Jujube at 11:19, 17 March 2019

2019-03-17T11:19:07Z

← Older revision		Revision as of 13:19, 17 March 2019
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	[[Methods_lens-based#Session_five]]		[[Methods_lens-based#Session_five]]

			== Yuki Okumura ==

			I Am He As You Are He As You Are Me and We Are All Together: Shuffled Subjectivities In and Out of the Frame by Yuki Okumura

	==The roles of theory and story in my work: how I made Seek (ESSAY IN PROGRESS)==		==The roles of theory and story in my work: how I made Seek (ESSAY IN PROGRESS)==
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	For now, I remain pondering.		For now, I remain pondering.

	~~== TOC placeholder 1 ==~~

	~~== TOC placeholder 2 ==~~
	</div>		</div>

Jujube at 09:57, 9 March 2019

2019-03-09T09:57:57Z

← Older revision		Revision as of 11:57, 9 March 2019
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	For now, I remain pondering.		For now, I remain pondering.

			== TOC placeholder 1 ==

			== TOC placeholder 2 ==
	</div>		</div>

Jujube at 22:40, 23 January 2019

2019-01-23T22:40:42Z

← Older revision		Revision as of 00:40, 24 January 2019
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	Last, I will write more in-depth about how story serves as the overall structure. Why am I drawn to story (after distancing myself from it) and how story-telling fits the medium of the moving image?]		Last, I will write more in-depth about how story serves as the overall structure. Why am I drawn to story (after distancing myself from it) and how story-telling fits the medium of the moving image?]

	-- part on theory --		-- part on theory (rough) --

	I read ''The Cinematic'', an anthology of film and photography theories, with the intention to familiarize myself with relevant film theory vocabularies. The benefit of reading the anthology is the quick access to a sizable amount of different perspectives in one single volume. The drawback, on the other hand, is the density of abstract ideas and abstraction. The anthology includes pieces of canonical texts as well as criticisms regarding these pieces. This anachronism was confusing.		I read ''The Cinematic'', an anthology of film and photography theories, with the intention to familiarize myself with relevant film theory vocabularies. The benefit of reading the anthology is the quick access to a sizable amount of different perspectives in one single volume. The drawback, on the other hand, is the density of abstract ideas and abstraction. The anthology includes pieces of canonical texts as well as criticisms regarding these pieces. This anachronism was confusing.

Jujube at 22:40, 23 January 2019

2019-01-23T22:40:21Z

← Older revision		Revision as of 00:40, 24 January 2019
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	In the second part I will link specific scenes of the film to concepts of film theory (such as the use of photography in cinema). How does theory help me make aesthetic decisions?		In the second part I will link specific scenes of the film to concepts of film theory (such as the use of photography in cinema). How does theory help me make aesthetic decisions?

	Last, I will write more in-depth about how story serves as the overall structure. Why am I drawn to story (after distancing myself from it) and how story-telling fits the moving image?]		Last, I will write more in-depth about how story serves as the overall structure. Why am I drawn to story (after distancing myself from it) and how story-telling fits the medium of the moving image?]

	-- part on theory --		-- part on theory --