Ideas for heavy pencil

We don't have long before heavy pencil. We're lucky to have the opportunity. If we all pull together and work hard it could be great. I we don't it will be another flop like the reading room opening and it will just be a bit embarassing....

I like how he skips the boring bits (like colouring in) and swaps to an already done one. This would save people getting bored but then we also have 4 hours to kill so perhaps we could do with killing some time?
I also like how it looks like a dick and balls.



It annoyed me how Anthea Turner always had everything pre made and it all work perfectly In such a short ammount of time. Me and my mum slaved away for days to get mine made and I'll admit it there were points when I felt like giving up. Especially when my mate Richard Eastick had his bought from Totally Toys on Gloucester Road the same day he said he wanted it. He didn't evven have to wait for his birthday. In retrospect I'm grateful to my Mum but at the time I certainly felt I was getting a hard deal. It all payed off in both the long and short term; me and my Mum made a pretty penny making Tracey Islands for other kids in my school who loved thunderbirds, and I'd also like to think that the skills I learnt all those years back are the same ones that got me into art school.I hope I'm not showing my age.


This animation is by Johnny Kelly is obviously way beyond our grasp, but the idea of collage, moving objects within a larger framework, combining collage and drawing are all things worth thinking about.

what was our budget for it again? this could get expensive real fast. £1.48 for paper? wow. 

so the plan is to go up to london graphics on tuesday afternoon, pick our colours, get them cut in the workshops at the ica and start work i guess? 

Coloured Paper

Loads of colours here in A1(which will be too big to crop on the machine in college....);
http://www.londongraphics.co.uk/acatalog/Online_Catalogue_Canford_A1_Paper_370.html

sound for show

This is what Raine and I had spoken about the day before but I couldn’t work out how to explain. The idea was to have the conversations on an audio loop following the visual transcribed spoken word. To try and have the conversations following the viewer as they walk around the room. So the speakers would be on loops, by each transcribe, the timing based on how long it takes to walk around the room or maybe just the one wall where there will be the only complete transcribed word on that night? I think this is probably more like it INIT? Just one wall with the spoken word on loop. Yea?

No comments.

For some reason I can't comment. Anyone care to explain?
However, Tom, I think the speed-dating is an excellent idea. Putting everyone in the same awkward situation always seems to warm people to one another, it forces everyone to be a whole lot more open than they'd like. If we're going to do this then we should come up with a list of recommended conversation topics that we can leave at the entrance, one for each guest. On one side it could have the conversation topics and then on the other some kind of manifesto about us and why we're here. Make it a proper nice document, something for people to take home.

One of my english a level english language/literature a level questions....

what on earth shall we do chaps?

okay, so, our piece we gots to do...

right, we got to show ourselves off, we have to invite people in, to introduce ourselves to others, to make ourselves known. how do we do this? normally at a private view its pretty awkward, no one is really talking to each other, no one that they dont know anyway. we basically have to force people to talk to us. okay, so first idea....

http://en.wikipedia.org/wiki/Speed_dating

hmmm,,,,

Idea for private view

I started thinking about it yesterday with thread but realised we could make use of the walls by using coloured card.....we take conversations(overheard, found, ones from films...) and transcribe them  and then count words per utterance, duration of utterance etc. and also group each utterance into a certain colour depending on I don't know what(maybe tone of whats being said).

Boring conversations on one theme wouldn't look as exciting as one that was jumping around from one subject to another with lots of interupting. We could have 5 different conversations up next to each other and look at how different interactions between people can be. We could for example have; the conversation between people who vaguely know each other and have run into eachother in the street, the awkward conversation between two shy people who have just met for the first time, two people trying to impress eachother by boasting about how much their jewellery cost, two people brainstorming ideas for an exhibition they want to put on,a couple in bed...it could perhaps make people think about how wasteful they are with their words when they are capable of such creativity, inspiration and emotional engagement.

Does that make any sense?

A&A Review

Tuesday night was set to be an evening of unparalleled bad taste. Apes and Androids have something of a reputation for outlandish posturing and baroque histrionics that runs through both their music and live performances. Somewhere between Freddie Mercury and The Mars Volta, if such a middle ground exists. Heartbreak, their warm-up act, were, I was informed, cut from a similar cloth. Needless to say I had built up a certain excitement; the majority of gigs I’ve attended of late have been low-key shoe-gazing affairs. Yet it seemed that my anticipation of an electro-glam orgy of operatic showmanship was not to be the grand event imagined. Initially there were rumours of painfully small ticket sales; rumours that turned into facts upon entering the near-empty auditorium to witness the start of Heartbreak’s set. Coupled with that, Apes and Androids had suffered a ‘wardrobe malfunction’ mistakenly abandoning half of their clothing at their London digs after a laundry session.
But fears of disappointment were quickly put to bed as Heartbreak got into their stride. Feet began to tap and bodies to casually gyrate; the crowd were determined to enjoy the evening in spite of their small number. Heartbreak quickly became something of a guilty pleasure. Their puritanical treatment of 80’s synth produced some painfully catchy tunes, especially their finale ‘We’re Back’, a euro-pop extravaganza that is desperately uncool by any standards but had even the most stoic members of the audience showing signs of movement. Argentine frontman Sebastian Muravchix, clearly not content to simply revive the music of the 80’s took it upon himself to bring back the dance moves too, treating the audience to a wide array of power poses and air punching. This proved mildly disturbing yet endlessly entertaining, the same feeling you get watching your dad’s late-night strutting at a wedding.
After a well-deserved break and some social lubrication, we were back in the auditorium ready for whatever Apes and Androids had decided to throw our way (vast quantities of sparkling confetti, it later emerged). Having managed to locate the rest of their clothing it looked like the remainder of the evening would progress unhindered. In true rock’n’roll style they emerged onto a stage swathed in darkness, a bassy dirge the only sign of their arrival, aside of course from the silhouettes of their waif-like frames prancing to and fro. And then the noise arrived, thick and fast. Lights went up, drums were beaten, guitars and synthesisers tinkled masterfully and an array of operatic vocals spilled into the air. From the word go Apes were determined to impress, visually and musically, pairing fiercely intricate guitar solos with tight shimmering leggings, meticulous beats with vibrant face paints. At times they were reminiscent of At The Drive In, at others Sparks, but all the while they maintained a sound entirely their own, no matter how many times comparisons are made to MGMT. ‘Hot Kathy’, ‘Nights of the Week’ and ‘Radio’ were firm favourites but finale ‘Creepy Girls’ had the crowd punching the air until the last bit of reverb had died from their amps. This is a band that definitely doesn’t disappoint.

Hmmmmm

oh and does anybody know why i can't paste into the box as i'm typing? it just appears below.....

Chomsky

I was interested by alot of what Richard Birkett talked about, especially when he talked about how what was being said and how it was being said being important simultaneously. It made me think of a film piece of Noam Chomsky by Cornelia Parker I'd seen at the Whitechapel about a year ago;

" Parker's recent interview 'Chomskian Abstract' captures the theorist Noam Chomsky urging people to bypass the apathy of legisation, government, major coorporations, institutions and the complicit media and to take responsiblity for global warming in order to engender serious socio-economic change. This edition 'Wake Up!' was produced to coincide with the presentation of 'Chomskian Abstract' at the Whitechapel from February to March 2008, and further reiterates the artists concerns with environmental issues'

I knew that Chomsky was a political activist but i also recently found out that he is a linguist who has developed 'epoch -making theories'. His knowledge and understanding of language is probably what causes him to deliver everything he says in such a calm, engaging and interesting manner so as to appeal to as many people as possible (what is being said as well as how.)

This isn't what I saw at the Whitechapel.....

http://www.youtube.com/watch?v=snYWHd7ziag

Listen in.

i like melanys idea of recording and playing and listening and eavesdropping and messaging and all that jazz.

we get some recording equipment, people can leave their responses to the exhibition, messages, thoughts anything. this is all then added to another machine where people can listen to what people have said or are saying, live, rewind it fast forward. its talking to yourself but other people are listening, then talking about what they have just heard.

Elmgreen & Dragset - Phone home

http://www.ubu.com/film/relational.html

fast forward to 4:22 for what im talking about

Katie Paterson - Vatnajökull (the sound of)
http://www.katiepaterson.org/vatnajokull/vatnajokull-info.html
where you call a number and listen to a microphone placed deep inside a glacier in iceland.

http://en.wikipedia.org/wiki/Voicemail

also, can we go here?

http://en.wikipedia.org/wiki/Speakers

Silence?

http://en.wikipedia.org/wiki/Silent_Film

Silent Films? Only had this idea in response to the body language post. Also sign Language?

the power of silence too, sign language and silent film?

http://www.youtube.com/watch?v=Pbba8fzLPf4&feature=related

(this film is a clip from one of the top grossing silent films its from 1915?)

random ideas.

x

Lets get spiritual!

Has anyone ever tried to pay a bill and has had a fantastic conversation with a very sophisticated automated phone call?
I am endlessly impressed by artificial intelligence.

Redemption has never been so easy.

Repent here at:
http://www.titane.ca/igod/

Onomatopoeia

From Wikipedia:
"Onomatopoeia (also spelled onomatopœia, from Greek: ονοματοποιΐα) also called imitative harmony, is a word or a grouping of words that imitates the sound it is describing, such as animal noises like "oink" or "meow", or suggesting its source object, such as "boom", "zoom", "click", "bunk", "clang", "buzz", "zap", or "bang". The word is a synthesis of the Greek words όνομα (onoma, = "name") and ποιέω (poieō, = "I make" or "I create") thus it essentially means "name creation", although it makes more sense combining "name" and "I do", meaning it is named (and spelled) as it sounds (e.g. quack, bang, etc.).Onomatopoeia (also spelled onomatopœia, from Greek: ονοματοποιΐα) also called imitative harmony, is a word or a grouping of words that imitates the sound it is describing, such as animal noises like "oink" or "meow", or suggesting its source object, such as "boom", "zoom", "click", "bunk", "clang", "buzz", "zap", or "bang". The word is a synthesis of the Greek words όνομα (onoma, = "name") and ποιέω (poieō, = "I make" or "I create") thus it essentially means "name creation", although it makes more sense combining "name" and "I do", meaning it is named (and spelled) as it sounds (e.g. quack, bang, etc.)"

On this notion we could imitate the sound of a wave, or an explosion using onomatopoeic words. 'Imitative harmony' sounds lovely.

Aisha

Herbert Read

I was having a look at the ICA website and discovered that Herbert Read was it's co-founder. I have read several essays from his book to 'To Hell with Culture' and I plan to read more. He was a poet, art and literature critic.

From Wikipedia; "Politically Read regarded himself as an anarchist, albeit in the English quitest tradition of Edward Carpenter and William Morris".

From the ICA website; "The ICA's founding principle was emphatically to stimulate dicussion, vitality, daring experiment and provide an alternative to 'another museum' or 'bleak exhibition gallery'. Over the last 60 years the institution has remained true to these ideals and continued to work across the broadest possible range of artistic and intellectual fields to encourage wider, sometimes unorthodox, understanding of art and culture" 

 Being the 'youth panel'  yet taking inspiration from the institutions founder could be an interesting thing to do...

express yourself

Also this might be rubbish but what about going down the interactive line making the space available for anyone to come in and write whatever they want, record whatever they want giving them the ability to express themselves in any way.
Therefore the finished product would be a piece of art so massive full of the visitors thoughts, themselves being individual artists and as a group as a whole a big bunch of words and sound that could mean anything.

heavy and light reading

Here are some books on Curating and the theoretical study of museums and galleries that people might want to look at??

Hooper-Greenhill, E. (1999) ŒMuseum learners as active postmodernists:
contextualizing constructivism¹, in E. Hooper-Greenhill (ed) The educational
role of the museum, London and New York : Routledge, pp.67-72 (handout)

Kirshenblatt-Gimblett, B. (1991) ŒObjects of ethnography¹, in Ivan Karp
and Steven D. Lavine (eds), The poetics and politics of museum display,
Washington and London : Smithsonian Institution Press, pp.386-443

Vergo, P. (ed) (1989) The new museology, Reaktion Books

Schubert, K. (2000) The curator's egg, One-off Press

Also

http://en.wikipedia.org/wiki/Lorna_Simpson

The picture above is from artist Lorna Simpson who plays with text and phrases within her work.If you look at the idea of voice as sound and see what would happen if you fastened up loads of words, ie like Chinese whispers or recorded it, i think it would be quite interesting.

TALKING WITHOUT TALKING

Some body language lessons.

Norman McLaren

Interesing use of image and sound.

Alice in Wonderland

http://www.youtube.com/watch?v=iv-tmqV99U0

Worth checking out

Brion Gysin

http://www.ubu.com/sound/gysin.html


Willliam Burroughs

Henri Chopin-groundbreaking sound poet

Henri Chopin
From Wikipedia, the free encyclopedia
Henri Chopin (June 18, 1922 - January 3, 2008) was an avant-garde poet and musician.
Henri Chopin was a little-known but key figure of the French avant-garde during the second half of the 20th century. Known primarily as a concrete and sound poet, he created a large body of pioneering recordings using early tape recorders, studio technologies and the sounds of the manipulated human voice. His emphasis on sound is a reminder that language stems as much from oral traditions as from classic literature, of the relationship of balance between order and chaos.
Chopin is significant above all for his diverse spread of creative achievement, as well as for his position as a focal point of contact for the international arts. As poet, painter, graphic artist and designer, typographer, independent publisher, film-maker, broadcaster and arts promoter, Chopin's work is a barometer of the shifts in European media between the 1950s and the 1970s.
His publication and design of the classic audio-visual magazines Cinquième Saison and OU between 1958 and 1974, each issue containing recordings as well as texts, images, screenprints and multiples, brought together international contemporary writers and artists such as members of Lettrisme and Fluxus, Jiri Kolar, Ian Hamilton Finlay, Tom Phillips, Brion Gysin, William S. Burroughs and many others, as well as bringing the work of survivors from earlier generations such as Raoul Hausmann and Marcel Janco to a fresh audience.

John Cooper Clarke

blah blah blah blah blah blah...

http://www.youtube.com/watch?v=u6VWFt81w1I

http://www.tate.org.uk/modern/exhibitions/nauman/about.shtm

http://www.youtube.com/watch?v=VjnygQ02aW4


plus, is it sound or specifically speech?

http://www.ginsburgh.net/engl/welcome.html?http%3A//www.ginsburgh.net/Recordings/engl/Erratum_Musical_Duchamp.html

http://en.wikipedia.org/wiki/Yasunao_Tone

http://www.youtube.com/watch?v=hUJagb7hL0E


and, this my friends, is art...
http://www.youtube.com/watch?v=FqtIlaHIqrs

----

Did anyone get the chance to see this at the ICA? It was centered around linguistics, oration, phonetics and pronunciation. Seemed quite relevant to the Talk Show season...

Phonoaesthetics

http://en.wikipedia.org/wiki/Phonoaesthetics

And more....

Just a few more images that we thought were pretty cool.

More Images...

These images are examples of what we are possibly aiming to achieve. We want an installation where alot of people can be involved.

IMAGES

Visual ways of creating an atmosphere.

Ways we can translate sounds into visual imagery.

'Sound Art' Wikipedia definition

Sound art is a diverse group of art practices that considers wide notions of sound, listening and hearing as its predominant focus. There are often distinct relationships forged between the visual and aural domains of art and perception by sound artists.
Like many genres of contemporary art, sound art is interdisciplinary in nature, or takes on hybrid forms. Sound art often engages with the subjects of acoustics, psychoacoustics, electronics, noise music, audio media and technology (both analog and digital), found or environmental sound, explorations of the human body, sculpture, film or video and an ever-expanding set of subjects that are part of the current discourse of contemporary art.
From the Western art historical tradition early examples include Luigi Russolo's Intonarumori or noise intoners, and subsequent experiments by Dadaists, Surrealists, the Situationist International, and in Fluxus happenings. Because of the diversity of sound art, there is often debate about whether sound art falls inside and/or outside of both the visual art and experimental music categories.
Other artistic lineages from which sound art emerges are conceptual art, minimalism, site-specific art, sound poetry, spoken word, avant garde poetry, and experimental theatre. Early practitioners include Tristan Tzara, Kurt Schwitters, Filippo Tommaso Marinetti, Hugo Ball and Henri-Martin Barzun.

TALK SHOW - press release

Talk Show

Institute of Contemporary Arts
6 May – 31 May 2009
The ICA has long been a site for heated exchange through conversation, oration and performative speech, but never before has the speech act been made the main focus of the institution. Through a varied programme that activates the ICA spaces both during the daytime and through evening events, Talk Show addresses speech as a tool and as a medium to produce and negotiate meaning, both within the field of art and across other areas of life such as politics, religion and entertainment.
Talk Show is a month-long season featuring artworks and live events, including an exhibition of speech in the ICA’s galleries, as well as a broad range of events in the institute’s theatre and other spaces. The participants include over thirty international artists, as well as thirty speakers from diverse disciplines who place the speech act at the centre of their practice: including speech therapists, musicians, anthropologists, politicians and philosophers. This chorus will address the primacy of the spoken word, in all its forms, in our social and cultural landscape.
Many artists are currently employing speech as a medium, and the ICA’s galleries will contain a range of interventions: including scripted artworks performed at regular intervals; pre-recorded audio pieces; and video works that emphasise the spoken word. Artists also use speech in the formation and negotiation of their ideas, and the generative nature of speech will be represented by a series of artist residencies, in which participants will use the ICA’s spaces and resources to create new works through public dialogues.
In addition to these events in the galleries, the ICA’s theatre will also play host to a large number of events, including workshops that investigate the utilisation of the voice. The ICA’s new education studio will be another resource, linked with organisations that specialise in the collation, archiving and distribution of audio art and the spoken word. The latter project will be a partnership with ARTonAIR.org, an innovative internet radio station based in New York that will record and transmit Talk Show events.
Talk Show is being curated by Will Holder (artist, writer, designer and editor whose projects include the journal F.R David), Richard Birkett (Assistant Curator, ICA), and Jennifer Thatcher (Director of Talks, ICA).