Follow us and like our posts
- Joan Jonas: My first thought when I stepped from sculpture into performance was that now I can make something with sound. Initially, I made sound in abstract ways—clapping blocks of wood, for instance, like in Not theater—to sound out a space, or silence. I was also interested in sound delay and in creating situations where you saw a sound being made before you heard it.
- From “Conversation with Joan Jonas” by Ingrid Schaffner in Ha, Paul, et al. Joan Jonas: They Come to Us Without a Word. Cambridge, MA: MIT List Visual Arts Center, 2015. ISBN 9781941366073
PDF Project 1 Statement
Assigned: Friday 20 January 2017
Due: Wednesday 1 March 2017
Prompt - ANALYTICAL ACTION (soundcheck)
Design an analytical action or process, a game, to record and create embodied forms of measuring that map perceptual characteristics of the FIELD CONDITIONS. The game should focus on the interaction between people and place including recordings or mapping of (at a minimum) time, texture, temperature, light, sound, and scale. Recording processes must produce synthesized physical evidence to be incorporated into and produced in conjunction with Project 2.
Six weeks operating concurrently with Project 2 & 3.
Objectives - ANALYTICAL ACTION (soundcheck)
- To understand and make legible site conditions, limits and histories with embodied experience.
- To realize actions difficult or impossible to perform as lone individuals.
- To discover unanticipated knowledge of place and each other.
Process / Sequence
- Ground truth and identify site boundaries.
- Work in troupes of 5 to be determined by studio faculty.
- Design analytical action / game as an evidence producing event to unfold on site.
- Create script / score for the game. Note: witnesses recording the event are as important as actors.
- Create costumes, props, jigs or templates for the game. Note: no permanent marks or debris can remain on site after the game, leave no trace.
- Develop recording processes by any means necessary to collect data from enactment of action / game.
- Perform game. If needed engage additional volunteer actors from within the studio to insure legibility.
- Process findings revealed by game to be incorporated into Project 2.
- Refine parameters of action / game. Revisit details. Re-stage action to produce precise findings / documentation.
- Synthesize findings through written notes, drawings, image collages and/or recordings.
- Organize findings with print and PDF folio on common studio template (17” x 11”).
Any materials may be used for fabrication as long as no trace is left on site. Consider materials that can withstand the interaction of the game such as common lumber, fabric, plastic sheeting, paper, cord, survey flagging, light. . .
Presentation REQUIREMENTS (MINIMUM)
- Written statement of analytical objectives (printed).
- Written notes and sketches of analytical findings (from sketchbook).
- Drawings and image collages of analytical process and findings.
- Props, tools, and apparatus constructed for analysis.
- Recorded evidence of analytical process and findings.
- Printed folio in studio format with PDF posted to wiki.
- Art 21, Episode #219. Joan Jonas: New York Performances. 6 May 2015. https://www.youtube.com/watch?v=E6wI33GTnf0 and http://www.art21.org/artists/joan-jonas
- Acconci, Vito. “Following Piece” 1969. https://www.moma.org/collection/works/146947 and https://www.moma.org/artists/53
- Bravo, Doris. “Up Up and Away” blog entry. 17 October 2013. https://dorisbravo.com/2013/10/17/up-up-and-away/#more-1185
- Carrasco, Manuel Casanueva. Libros de Torneos. Valparaíso, Chile: Ediciones Universitarias de Valparaíso, 2009. ISBN 9789561704510
- Ha, Paul, et al. Joan Jonas: They Come to Us Without a Word. Cambridge, MA: MIT List Visual Arts Center, 2015. ISBN 9781941366073
2017 ARCH 2402 Home