Thursday, 28 July 2011

Logos Survey

Results for the voting on the logo are out, Monkee's second option got the most responses, check below!


Monday, 25 July 2011

HTML of the QR codes

mayachami.blogspot.com:
qrcode

mayachami.wordpress.com:
qrcode

I should print these on batches of A4 stickers, matt paper so they would not reflect on flash in dark spaces.

Wednesday, 20 July 2011

Tuesday, 19 July 2011

my option for the show logo 4

the solution for the 2011 problem in the earlier version:




Thursday, 14 July 2011

my option for the show logo 3


fine tuned logo option for the show.

Thursday, 7 July 2011

Revoting on the show name - Survey results collected -

revoting on the name of the show closed, here are the results of the survey collected.

Wednesday, 6 July 2011

Ziad Voice Layer Final

This is the voice layer, the sentences that I have written earlier are performed by tenor Ziad Nehme. I asked him to just give me a first draft, a brainstorm like singing, for the long sentences, I asked him to just read them. These are the joined clips, they were placed later randomly on the edited music layer. I randomized the sentences to manipulate the live clips accordingly.
The whole sentences topped up to 9 minutes approximately.
Ziad's other works could be found on the following link: http://www.ziadnehme.com/

video

Tutorial with Jonathan on Tuesday July 6, 2011

1- Regarding the show, about the live performance:

I had 2 options:
- Option 1: To do the live performance in Beirut and show a showreel with the audience followed by 1 version of the edited clips
- Option 2: Ask for 2 spaces for the show (which is impossible) and do live show twice and show an edited version of the clip on a separate screen (this second option depends on whether there will be other people doing live shows as well, that way we can share the space and the equipments and so on)

Jonathan agreed that a live show in London would be much easier if there were 2 of us, there were last year for example and it worked well as they shared the equipment but not sure that will happen this year... He said that I may feel that showing it in Beirut and then showing a documentation video in London is not as good, but he thinks it would be better.

I thought that playing the live in Beirut places the clips in their context

Jonathan suggested that I show the documentation film and make it very clear that it is from a live performance in Beirut and that could actually be more interesting for people viewing it.

He then asked me where would I do a live performance in Beirut? I had a friend suggesting that I do a live in their collective space that is indoors, but I was thinking more on the street, which might require a lot of paper work: a permit from the municipality and a very good projector, and I will also need to ask surrounding places to turn off their lights during the projection…

Then Jonathan said he was hoping I would suggest outdoors and that he feels this could work really well... however, rather than having to plan a huge thing, I could do it on a very small scale, just a small projector, projected onto a street wall, not very big, even for just a few people...

I then thought of projecting in an outdoor café, located on the street and they have people coming in all the time, they should have a sound system, that way I could just plug my laptop on their system and a lot of the needed kit would be there already.

Jonathan suggested I could film at different cafés; film each one once, projecting onto their exterior walls onto tables from above…

Along the documentation video, I could have an edited version of the video as well running either on the same screen or on a different one for the London show.
Jonathan asked how would this change the work, the work has an intimate feel, a personal feel... he suggested that maybe the small scale is better. He asked about the film called "final bricks clip" on my blog, what would that look like projected even just A4 paper size onto a wall similar to the wall in the film?

For me the layering would work since I use a lot of backgrounds in the clips, the layers of the film and the layers of the projection surface.

Now I have to do my research on that and get approvals, this is also a good way not to ship so much to London. Jonathan suggested I bring a DVD or an HD media player if you I want an HD quality, or make both, as a back up
Jonathan suggested a hard drive media player, there are several like this http://www.amazon.co.uk/Western-Digital-1080i-Media-Player/dp/B002KQ2JKQ/ref=sr_1_2?ie=UTF8&qid=1309873533&sr=8-2
Good quality and small and easy to carry in a bag to London. They have several different output connections, not a projector just a player to connect to a projector or a TV, the Western Digital one should do.

Size wise, I don't mind any size for this show, as a lot of people are showing and I don't mind a reasonable size, so this could depend on division of the space of the show.

Jonathan mentioned him curating a show about 18 months ago and we showed one film projected about A4 size and about only 90 cm up from the floor, very interesting and made people look more closely
Like Mona Hatoum's piece, the throat video, it was projected in a plate on a table
The sound is not going to be played live; I am using the recorded piece.

2- Regarding the clips:

Jonathan thinks I can start refining what I have then show it live in one or more spaces in Beirut.

I asked if the clips look too beginner-ish since it is the first time I animate.
Jonathan thinks the clips have a naivety, which is fitting to the subject matter... The only thing I would say is about the pace and direction of the movement, meaning that the times when the images fade into the background seem to work much better... for example in the bricks clip, when the drawing moves to fit next to the white paint on the walls, it looks like a powerpoint slide movement, but when the image fades into the background, it looks much more interesting, when the skyline moves and foreground move, that is much more effective, so maybe use less movement of single elements, maybe even try with the fading into the background, not go all the way to 100 opacity, what if the images stop at 90%, so you get feel of them actually on the wall, maybe this will look interesting.

MA Degree Show space planning

Jonathan's show space planning and my responses.

What is it?

This show is possibly the most difficult one you will ever be involved in, the main problem is that it is 2 things in a small space. It is firstly, a personal exhibition of your MA work and secondly a joint show of 17 artists. This is almost a contradiction!
Don't worry! You should enjoy the process of planning and thinking through the challenges!
The final show itself makes up a small part of your assessment, the learning outcome is to present a 'resolved body of creative practice' and this will be seen in the blog more than in just the final show.
The temptation in the final show is to try and show everything you have done, the better approach is 'less is more'!

How is it organised?
We would really like this show to be planned and organised by you the students, combining online and face to face. We have successfully done it this way for the last 7 years. The alternative is that I and other members of staff simply curate it and tell you what space you have and how to show your work. This is not ideal as you will miss out and a really important learning experience of planning and delivering the exhibition.

What do I want to show?
Answering the questions below, as clearly as possible, will help you begin to plan the space. Please be flexible, you can and should have big ideas but you also need to be prepared to adapt them to fit the space and the group nature of the show.
There is very limited technical support from the college, but amongst the group there will be enough skills and experience to cover the groups' needs. I may also be able to bring 1 person in (an ex-student) to help for some of the time. Personally, I have vast experience of curating, building and installing exhibitions and I am happy to give advice but if I get too involved you will miss out on the learning experience!

Construction and the environment
For many years, vast quantities of timber and chipboard, and hundreds of hours have been wasted building fake disposable walls for exhibitions, which are dumped in the landfill within days of being installed. This is not a responsible use of resources and we must be more creative in finding solutions to showing work. The space we will be using already has fairly good walls and is being used for the BA shows before us.
All the work you want to show and any construction or building must be agreed by the group and me, as course director, and paid for by the student. There will be some resources we can recycle and there are good options to purchase stuff nearby. Everyone will also have to complete a risk assessment form nearer to the actual exhibition.

Deadline for this form?
Tuesday 5 July 2011
Jonathan Kearney 16.06.11

Your name:
Maya Chami

What do you intend to exhibit?
Please be as specific as you can, for example: how many pieces do you intend to exhibit? What is the size of your proposed work/s? (Include a drawing if this is useful)

Size: Very flexible, depends on how we share the space. If I have to give a figure, probably wall width to vary between 1.20 meters and maximum of 2.40 meters.

First piece:
I will be doing live performances of my end project in outdoor cafés here and Beirut and will ask someone to film these shows. The Filmed material will include people sitting or walking or even reactions, some of the projected material, as well as the setting, sound and ambiance. I will then edit these filmed performances and have them projected in Camberwell.

Second piece:
I will have a version of the original clips edited alone (that is without the cafés setting), and will project this as well, since the showreel will not be showing the clips exclusively.

Both pieces (First and Second, that is the showreel and the edited clips) will be screened either simultaneously (2 screens on top of each other, near each other or facing each other, depending on the space that I get); or both videos will be screened on 1 screen each at a time, following each other.

Do you have any other specific requests?
e.g. power supply, a corner, floor space, or darkened area

OPTION 1:
- A wall
- A darkened area
- Power supply
- Projector
- Screen on a wall (if the wall is in good condition and has got a nice texture, I might get rid of the screen)
- A box to hide the media player and plugs

OR OPTION 2:
- A wall
- A darkened area
- Power supply
- An iMac 27 inch
- A box to hide the plugs

OR OPTION 3:
- A wall
- A darkened area
- Power supply
- A flat screen TV
- A Media Player
- A box to hide the media player and plugs

What are the Health & Safety considerations?
(please note that before the degree show you must complete a UAL Risk Assessment Form, which must be signed off by the course director who can help decide if further action is needed)

I am not familiar with Health & Safety considerations; maybe making sure the equipments don’t heat up risking a fire?

Andreas Gursky's Photographs: Analog or Digital?

According to the White Cube website: http://www.whitecube.com/artists/gursky/
"Andreas Gursky makes large-scale, colour photographs distinctive for their incisive and critical look at the effect of capitalism and globalisation on contemporary life."
My first had just come back from the Sharjah Biennale few months ago, and he was carrying a book about Andreas Gursky. I took a close look at the book and the photographs inside, and at a certain point, I felt that if I had the same book in a digital format, that could have been more interesting, as I strongly felt the urge to zoom in on a lot of his photographs to see whether they were digitally manipulated or whether these were analogue pictures that were really true to the original scene photographed.


Siemens, Karlsruhe, Germany, 1991, Mixed Media, 200x170 cm

Paris, Montparnasse, 1993

H is for House by Peter Greenaway 1976

I was watching the shorts by Greenaway, his early works, and "H is for House" caught my attention, specifically how the narrator enumerates things that start with H: hesitation, hopelessness, hitchcock, hybrid, havana cigars, handle, hoover... Shot in the English countryside, thus the serene atmosphere.

I tried to research further what was the implications of the enumeration, as I am interested in what Greenaway will have to say about indoors and outdoors and houses in general... I learned the following from Greenaway's official website. (http://petergreenaway.org.uk/)

Greenaway on H is for House:
"I'd just married and had a small kid, and we used to spend our holidays in Wardour; we stayed in a magnificent early 19th century house belonging to a friend. It was the most extraordinary area of idealized, romanticized English landscape, very redolent of Roman Catholic history; all sorts of violent tragedies had happened there during the English Civil Wars. It was a rather shutaway countryside, so it had a sense of great drama and romance - in response to which, I made a series of films, of which this is the first. It was couched in the whole business of naming things - as in the late paintings of Magritte, the confusion between nomenclature, ascribing meanings and words... I made this enormous list of every single thing I could find in the domestic rural landscape that began the the letter H, which when juxtaposed gave you all sorts of interesting connotations. My daughter Hannah was learning the alphabet and her voice is on the soundtrack repeating and getting things wrong - the wisdom of the innocent. It was also very much to do with concepts of Heaven and Hell and how those are interchangeable."