The Teleportation Tent

The Teleportation Tent

http://www.react-hub.org.uk/playsandbox/projects/2014/teleportation-tent/

Work backwards. Pretend you’ve just come up with the idea for this teleportation tent but

• you have no tent
• you have no animation or projectors
• you have no budget to do a making-of video to sell your concept
• even if you had a budget, again, you have no tent
• all you have is an idea of a story and how you see kids interacting with it

How would you come up with the documentation to explain the idea?

WHAT IS IT?

STORY PREMISE (or the synopsis)

PROPS

Tent: Diagrams and drawings! Concept art! Go make a tent and take a photo if you are so inclined.

Enchanted Objects: More concept art! More story details – what do these objects do?

THE MAGIC SPACE

(This is the section on the platform)

USER JOURNEY

I would use diagrams here to map out different user experiences. In the video, the user experience was filmed. We saw the child’s delight as she opened the box and assembled the tent. We saw her interacting with the octopus, we saw her drawing on the enchanted object.

This explained perfectly how this tent operates. Think more abstractly – because you don’t have a tent or even a prototype. How could you explain, the user journey.

Your Story

Your Story

Create a work which explores significant moments in your life

We have all experienced those turning points in our lives. When a decision or event re-defines and shifts the course of our life. Never underestimate the smallest event.

A priest once saved a four year old boy from drowning, that boy was Adolf Hitler ( warhistoryonline.com 2015 )

  The ones we choose are usually exciting and filled with anticipation: a wedding, a new career, a family started, a move made. All change the course of events in our lives from that day on and we step willingly into them.

It’s the other events that haunt us, the life changing events that we are plunged into without choice or warning. Individual crisis that most everyone eventually gets a turn at. The call that a loved one is dying, an accident that changes life forever, a diagnose, a breakup, a job loss all change the course of life from that moment on and we find individuals forging on in places they have not stepped willingly.

We can either keep on cruising on the same old track, or we can veer off path and forge our own trail. We re-define our future and write a brand new script for our life ?

Tenebrism

Tenebrism

Tenebrism, from the Italian, tenebroso (murky), also called dramatic illumination, is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image. The technique was developed to add drama to an image through a spotlight effect, and was popular during the Baroque period of painting.

mementos mori

mementos mori

In art, mementos mori are artistic or symbolic reminders of mortality. In the European Christian art context, "the expression... developed with the growth of Christianity, which emphasized Heaven, Hell, and salvation of the soul in the afterlife."

Memento mori ("remember that you have to die") is a Latin expression, originating from a practice common in Ancient Rome; as a general came back victorious from a battle, and during his parade ("Triumph") received compliments and honors from the crowd of citizens, he ran the risk of falling victim to haughtiness and delusions of grandeur; to avoid it, a slave stationed behind him would say "Respice post te. Hominem te memento" ( "Look after you [to the time after your death] and remember you're [only] a man."). It was then reused during the medieval period, it is also related to the ars moriendi ("The Art of Dying") and related literature. Memento mori has been an important part of ascetic disciplines as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the immortality of the soul and the afterlife.

The Body as Trace.

Project 1: The Body as Trace.

The Body in Contemporary Art is an overwhelming, vast collection of ideas. It has been derived from many different opposing positions, which have developed over the centuries from many different competing branches of knowledge and institutional frameworks. To think about The Body is to also involve one’s mind, since to make art one requires a body and a consciousness to act. If we assume the ‘mind to be the seat of intellect, then the body is our interface with the world and our senses its line of communication’1. The body’s mind is also inextricably linked to such terms as subjectivity, identity or even the self, since it is these historical constructs which define our understanding of consciousness and the ways in which these institutions have shaped and influenced, who we are today.

In order to frame these vast arrays of information, an arbitrary list of parameters have been drawn up for you to research and for you to even add to in your own time, in and out of the studio. The way I have framed this semester lectures is to simply treat The Body in Contemporary Art as the over-arching term used to describe how artists and their use of representation (language), engage with the topics presented over the course of the semester.

These topics have been broken down into six main areas, although through your own research many more may be uncovered. These are The Body as Absence and Presence, The Body as Text, The Body as Action and Transgression, The Body as Spiritual and Immaterial, The Body in Time, Space and Sound, and lastly, The Body as Trace.

The Body in Time, Space and Sound,

Project 1: The Body in Time, Space and Sound,

The Body in Contemporary Art is an overwhelming, vast collection of ideas. It has been derived from many different opposing positions, which have developed over the centuries from many different competing branches of knowledge and institutional frameworks. To think about The Body is to also involve one’s mind, since to make art one requires a body and a consciousness to act. If we assume the ‘mind to be the seat of intellect, then the body is our interface with the world and our senses its line of communication’1. The body’s mind is also inextricably linked to such terms as subjectivity, identity or even the self, since it is these historical constructs which define our understanding of consciousness and the ways in which these institutions have shaped and influenced, who we are today.

In order to frame these vast arrays of information, an arbitrary list of parameters have been drawn up for you to research and for you to even add to in your own time, in and out of the studio. The way I have framed this semester lectures is to simply treat The Body in Contemporary Art as the over-arching term used to describe how artists and their use of representation (language), engage with the topics presented over the course of the semester.

These topics have been broken down into six main areas, although through your own research many more may be uncovered. These are The Body as Absence and Presence, The Body as Text, The Body as Action and Transgression, The Body as Spiritual and Immaterial, The Body in Time, Space and Sound, and lastly, The Body as Trace.

The Body as Spiritual and Immaterial

Project 1: The Body as Spiritual and Immaterial,

The Body in Contemporary Art is an overwhelming, vast collection of ideas. It has been derived from many different opposing positions, which have developed over the centuries from many different competing branches of knowledge and institutional frameworks. To think about The Body is to also involve one’s mind, since to make art one requires a body and a consciousness to act. If we assume the ‘mind to be the seat of intellect, then the body is our interface with the world and our senses its line of communication’1. The body’s mind is also inextricably linked to such terms as subjectivity, identity or even the self, since it is these historical constructs which define our understanding of consciousness and the ways in which these institutions have shaped and influenced, who we are today.

In order to frame these vast arrays of information, an arbitrary list of parameters have been drawn up for you to research and for you to even add to in your own time, in and out of the studio. The way I have framed this semester lectures is to simply treat The Body in Contemporary Art as the over-arching term used to describe how artists and their use of representation (language), engage with the topics presented over the course of the semester.

These topics have been broken down into six main areas, although through your own research many more may be uncovered. These are The Body as Absence and Presence, The Body as Text, The Body as Action and Transgression, The Body as Spiritual and Immaterial, The Body in Time, Space and Sound, and lastly, The Body as Trace.