Citizen Artist

Creative Knot: GoPro: Hero Project

Creative Sandbox:

  • Opening: We will arrive together.

  • I will deliver a short content re-cap of the project, questions, and an overview of our time together.

  • We will move through some specific instruction (tasks, love rituals, experiments) in pairs and groups to establish some groundwork.

  • Then we will move into a more creative, play, open space for curiosity and input.

  • Sharing feedback and ideas around using the GoPro through interactions.

  • Closing Ritual.

“…everyone who loved sports and adventure wanted a GoPro, and from a niche brand, it moved to being a household name. With GoPro, anyone can be a star. In a context where everyone is self-obsessed and “selfie-obsessed” GoPro’s success was certain. Gopro BE A HERO. Their slogan, and their focus during their entire journey.”(Berardinetti 2015, 32)

When we think of the self during this time of recurring narcissism we begin to see how disconnected we are from the community. This, of course, is not new and has come in waves in the past like during the 70s when our society experienced what is known as the “me generation” and once again as the world wide web has embedded our way of life with the millennial generations oversaturation of technology. While my research is not grounded in psychological studies of this content it is apart of the research to our current situation in a state of “glorified self-personas.” Leading me to curiosity about GoPro’s mission to BE A HERO or BE A STAR when these captures are the majority of individual experiences.

What I find interesting, is the need to capture the extremes of one’s life and showcase these events in a digital public space. I see how this is beneficial for humans who will not have an opportunity or lack the skill to do what some of the professionals do on these films, but seems disconnected to the being a hero of only one. Now don’t get me wrong some of these captures are breathtaking and beautiful, but this leaves me questioning the purpose behind “be a hero” or “be a star” in context to individuality and “selfism” vs. community and “other”.

  • Here watch this and think about what clip grabs your attention the most?

  • Hang on to your answer for Tuesday.

GoPro is a billion dollar company and was specifically designed for the athlete and adventure seekers to capture their extreme experiences. GoPro has since expanded to include different genre to capture that include, music, animals, nature, short films, and so on. This product was the innovation of the video camera and re-centered the person’s perspective into the film, while also providing selfie stick, Karma, or Drone to include everyone back into the picture. However, I am most interested in using the GoPro Hero model to capture community interactions around qualities of care, tenderness, peacefulness, and ethics. Mostly thinking about these questions:

What makes these people heroes compared to everyday heroes? 

What is relevant about filming the interactions of everyday heroes that exist daily vs. the radical interactions of athleticism?

What is it like to be a hero for a day and have your experience captured?

How do peacefulness and tenderness translate on film? What does tenderness look like in actions form?

Redirecting back to Mr. Rogers, I find that his method for approaching his television mission for finding “peacefulness” on the television was in the way he delivered his programming. In reading an article by Buczinsky he says, “We have come through the initial rush of constant information, the euphoria of video screen magic, and the tingle of social media connectivity, and on the other side, we have found its hollowness”(Buczinsky 11). Finding the relevance of wanting to connect back to the community, to be seen face to face, or to engage in human interaction is a goal that I believe serves this research under Norah Zuniga-Shaw’s Humane Technology Research. This project also incorporates the use and approach with technology to include tenderness Mr. Rogers provided its viewers.

I am interested in capturing community through interactions that need attention to be showcased and held to equal standards of the GoPro mission. I am also still debating how I will edit the film, cinematic or video art style since this requires some thoughts on how the approach is delivered, and the material is being captured. We will experiment with the headgear and harness straps for the GoPro since each provides different perspectives. I am interested in making art with the community – co-authorship.

Here are two videos to browse from GoPro for a Cause category, there are some interesting aspects to the perspectives used to capture different movements, children, and emotion:

https://gopro.com/channel/gopro-for-a-cause/gopro-cause-building-homes-for-children-in-africa

https://gopro.com/channel/gopro-for-a-cause/a-blind-man-and-his-armless-friend-plant-a-forest-in-china

****These films are professionally from GoPro and have use of all GoPro products in order to create along with documentary filming/production.

With Care. See you soon.

The Internal | Connecting | Creative Process

Date: October 26, 2017

Two levels in Creative process v.210

Mapping out a creative process to connect two parts of my research resonating with Inside the room and Outside the room branches. Inside the room’s design is led by the Experiment thread, while Outside the room reflects the Research thread. I was compiling this information from a word bank created in Grad Composition class with Professor Susan Van Pelt Petry and peers. We then each took the word bank and made a visual map of our own individual creative process.

For my own challenge, I only used each word one time and practiced this assignment utilizing a present moment embodiment. Meaning, I only allowed myself one piece of paper with no option to have a do-over. Utilizing this assignment as a challenge I was aware of my devising boundaries. This project created a meditative space for me to sit with my pen to the paper, and process my process. Which usually feels meta, however, this project was calming while being informative. Most of my reflections have happened through a stream of consciousness or analytical essay, so it felt good to move towards a tangible medium to flush out information.

Further noting the attention and weight of each word resonating within my body and I continue to let these words reconfigure inside my body. A digital roadway on the frontier of inter-connectivity pulsing, sparking and transferring connections that re-wires and retracts information before surging it back out again.

The system is operating. 

I recognize these maps are abundant within my body, mind and are the containers to hold, organize, connect information used to make co-creative spaces. They are roadways of information. Living knowledge intrigues me as I delve into the internal self of producing art. Maybe the cyborg self is emerging underneath the surface below my skin and responds to the familiarity of the motherboard. While the image below relates to this emerging, I examine the depths and intricacies that are possible in overriding.

Cyborg Self Reflection | Awakening

In trying to navigate my own cyborg self-relationship I am drawn to this quote by Donna Haraway a professor, consciousness, and feminist scholar, “Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other” (Haraway 2016, 55). My journey over the past five years has sent me plunging into words, writing, and language – preparing me for my conversations, arguments, and discourse today. Sometimes my consciousness rejects my impulse to respond, and my unconsciousness delivers connectors to reconnect broken bridges of thought. Tracing the map above throughout my creative process enables me to redirect how I am thinking, feeling, and exploring the material.

Responding to a recent visit by Vida Midgelow who presented at the DSA inaugural Scholarly Conference and is a Professor in Dance and Choreographic Studies at Middlesex University London says, “Coming into language is a significant process through which experiential, material and emergent forms of knowledge can be foregrounded, processed and shared” (Midgelow 1994). Previously, I rarely spoke my stance or dared to share the perspectives that ran rampant in my mind.

The information comes to me as this digital space allows me to write about these developing curiosities that are awakening. Identifying as an “other,” I do claim the tools to unearth my potential as a choreographic researcher, scholar, and free-thinker to engage in practices that move humanity towards change. Structures, rules, and traditions can be broken and reconfigured to make manifest new ways of operating that enhance artistic ability, connect technology and humanity, and revolutionize the central core of art making.

Free Motherboard Vector Art

The above image is how I imagine the framework for my discourse of choreographic research operating. The motherboard vector art is part – object – abstract – micro-processing –  unit –  internet integrated – modern – binary that projects future technological advances – or human.

 

Works Cited

Haraway, Donna J. and Cary Wolfe. 2016. Manifestly Haraway. Minneapolis: University of Minnesota Press. https://muse.jhu.edu/ (accessed October 25, 2017).

Midgelow, Vida. and Jane Bacon. 2014. “Creative Articulation Practice (CAP).”                                      Forthcoming in Choreographic Practices. 5[2]                                                                                  https://www.academia.edu/9956868/Creative_Articulations_Process_CAP_  (accessed October 25, 2017)

Home Alter: Living Forward

Home Alter: Dedicated to mi abuela Martinez y mi Tio Rubio
Design: LROD + Becky Rubio
Lighting: Meg Fox
Photo: Devin Marie Munoz

What does it mean to remember someone when they have passed on. To hold onto the memories in order to keep them alive means so much to those who celebrate Dia de Los Muertos and invest in a joyous death culture. My home alter has developed from my desire to connect with my loved ones. Home alters are still huge focal points of homes in southern Mexico. These spaces are the heartbeat of the home usually consuming up to half or sometimes a full room. The alters have different components to help the loved ones make their way back to the living on special occasions such as marigolds, fire, food, and candles. Symbolic meanings and religious meanings entangle in what is pagan and what is holy. Some might find this joining of spiritual and corporal morbid. However, in order to grieve one must celebrate the life lost by having a moment each year to share the stories of loved ones with younger generations is important and keeps the ancestry in tacked.

The work here makes visible the deep connection and importance to those we have lost. My small daily moments with loved ones whom I can no longer visit or call helps me move life itself forward. I am my mother, my grandmother, my great grandmother and so on. I am my father, my grandfather, my great grandfather and so on. Branches of love, care, and family are the ones I desire most as my lineage expands and decays.