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Rituals for Online Artist Events

A talk I gave for a client in Sept 2020, on ways to expand what is possible during the whole experience of online artist events.

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Rituals for Online Artist Events

  1. 1. Rituals for Online Artist Events Christy Dena for (undisclosed client) 8th Sept, 2020 Commissioned illustrations by Marigold Bartlett
  2. 2. ”Nothing could be worse than a return to normality. Historically, pandemics have forced humans to break with the past and imagine their world anew. This one is no different. It is a portal, a gateway between one world and the next. We can choose to walk through it, dragging the carcasses of our prejudice and hatred, our avarice, our data banks and dead ideas, our dead rivers and smoky skies behind us. Or we can walk through lightly, with little luggage, ready to imagine another world. And ready to fight for it.” Arundhati Roy, 2020
  3. 3. Doing Things Differently Joel Lehman and Kenneth O. Stanley (2011) “Abandoning Objectives: Evolution through the Search for Novelty Alone,” Evolutionary Computation Journal, (19): 2, pages 189-223, Cambridge, MA: MIT Press.
  4. 4. Objective-Driven Approach (you check your design against your objective)
  5. 5. Objective-Driven Approach (you check your design against your objective) Novelty-Driven Approach (sought things that have not been done before)
  6. 6. Usual: How to Run the Actual Event Event
  7. 7. Touchpoints
  8. 8. Traversal Design Opportunities v5 Call to Self Before the connection with artist begins in your project, there is something within them they feel called to. What are you called to in this project? What is it out there in the world that meets them? Meets their interest in their journey? How do they find out about your project? What are the touch points where you and them meet? Journey Signals Your artists need information to help them consider if this is right for them at this point in time. What could help with that process? Evaluation Your artist may need to commit in some way, to actualise their decision to participate. How and where can this happen? Commit If there is travel to your event/project, what could you provide to guide that experience and build up to the main event? Journey To What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry During the main work, what elements can be brought in to augment & provide or encourage different ways of experiencing? During If there is travel from the work, what could you provide that guides and assists this journey from? Journey From How are you attending to what your artist needs to think, feel, do at this time? How can they connect & share? What are you giving them? Exit Build Up Are there ways the work can be then applied to the artists’ life? What could be ways you encourage that? How do you enable self-action & community-action? Application What can happen during breaks? Intervals Christy Dena End You may give your artist materials or assistance that allow them to prepare for, test, or to sample in a way? How are you attending to what your audience needs to think, feel, do at this time? How can you facilitate their enfoldment with their lives?
  9. 9. Call to Self Before the connection with someone (audience, player…) begins in your project, there is something within them they feel called to. What are you called to in this project? “It doesn’t matter how powerful the experience is inside the room if most people cannot or choose not to enter.” “The more you start to matter to people, the more they will desire opportunities to go deeper into the room of what you offer. They will come back and ask for more.” Simon, Nina (2014) The Art of Relevance, Santa Cruz, CA: Museum 2.0.
  10. 10. Call to Self Before the connection with someone (audience, player…) begins in your project, there is something within them they feel called to. What are you called to in this project? What are things that you have not done before?
  11. 11. What is it out there in the world that meets their interest in their journey? How do they find out about your project? What are the discovery points where you and them meet? Journey Signal
  12. 12. What is it out there in the world that meets their interest in their journey? How do they find out about your project? What are the discovery points where you and them meet? Journey Signal What are things that you have not done before?
  13. 13. Framing the Journey https://www.conflicttransformationsummit.org/ https://www.presencing.org/gaia What is it out there in the world that meets their interest in their journey? How do they find out about your project? What are the discovery points where you and them meet? Journey Signal
  14. 14. Evaluation Your artists need information to help them consider if this is right for them at this point in time. What could help with that process?
  15. 15. Evaluation Your artists need information to help them consider if this is right for them at this point in time. What could help with that process?
  16. 16. Evaluation dotdot.london What are things that you have not done before? Your artists need information to help them consider if this is right for them at this point in time. What could help with that process?
  17. 17. Evaluation https://www.eventbrite.co.uk/e/smoking-gun-tickets-106983169540# What are things that you have not done before? Your artists need information to help them consider if this is right for them at this point in time. What could help with that process?
  18. 18. https://melbournefringe.com.au/event/vcr-fest-art-x-access-is-digital-art-here-to-stay/ Evaluation What are things that you have not done before? Your artists need information to help them consider if this is right for them at this point in time. What could help with that process?
  19. 19. Evaluation https://guildhouse.org.au/project/revision-christy-dena/ https://www.eventbrite.com.au/e/christy-dena-rituals-of-online-artist-processes-tickets-119053705839 Your artists need information to help them consider if this is right for them at this point in time. What could help with that process? What are things that you have not done before?
  20. 20. Languages https://www.eventbrite.com/e/gaia-global-activation-of-intention-and-action-tickets-100264501824# Your artists need information to help them consider if this is right for them at this point in time. What could help with that process? Evaluation What are things that you have not done before?
  21. 21. Your artists need information to help them consider if this is right for them at this point in time. What could help with that process? Evaluation What are things that you have not done before? https://course.bayoakomolafe.net/
  22. 22. Your audience/player may need to commit in some way, to actualise their decision to participate. How and where can this happen? Commit
  23. 23. Your audience/player may need to commit in some way, to actualise their decision to participate. How and where can this happen? Commit https://www.humanitix.com/au/ What are things that you have not done before?
  24. 24. Your audience/player may need to commit in some way, to actualise their decision to participate. How and where can this happen? Commit https://www.trybooking.com/book/event?eid=628786 https://www.diversionary.org/product/boystream/ https://www.eventbrite.com/e/this-immersive-globe-a-virtual- gathering-for-the-global-immersive-industry-tickets-112729488936 https://www.eventbrite.ca/e/creating-tv-story-worlds- timelines-and-episodic-formats-tickets-112858799708
  25. 25. https://thecondorandtheeagle.com/ Your audience/player may need to commit in some way, to actualise their decision to participate. How and where can this happen? Commit
  26. 26. Build Up You may give your artist materials or assistance that allow them to prepare for, test, or to sample in a way?
  27. 27. Build Up Also: “Using Zoom Virtual meetings If You Are Visually Impaired” “Zoom Keyboard Shortcuts” What are things that you have not done before? You may give your artist materials or assistance that allow them to prepare for, test, or to sample in a way?
  28. 28. Build Up What are things that you have not done before? You may give your artist materials or assistance that allow them to prepare for, test, or to sample in a way?
  29. 29. Perhaps make resources opt-in. Those that need it before can have emailed to them, while the rest can have them available during, or after. Build Up What are things that you have not done before? You may give your artist materials or assistance that allow them to prepare for, test, or to sample in a way?
  30. 30. “The Finnish Theatre Museum has published a guideline (Teatterimuseo, 2015) discussing issues like the possible sensory overload on their premises. Other institutions allocate specific timeslots to welcome people on the spectrum. With these measures, the visitors then do not witness the usually crowded environment of the museum.” https://melbournefringe.com.au/common-rooms/access-information/ Build Up Prepare: + Your space + Headphones,earbuds + Lighting + ... What are things that you have not done before? You may give your artist materials or assistance that allow them to prepare for, test, or to sample in a way?
  31. 31. Build Up Prepare self by “composting your shit” Cash Ahenakew advises that it is important to “take responsibility for composting your own shit— your insecurities, projections, fragilities, harmful entitlements, aspirations, and desires for certainty, innocence, authority, protagonism, and validation.” (8) Cash Ahenakew’s Towards Scarring our Collective Soul Wound https://decolonialfutures.net/towardsscarr ing/ What are things that you have not done before? You may give your artist materials or assistance that allow them to prepare for, test, or to sample in a way?
  32. 32. You may give your artist materials or assistance that allow them to prepare for, test, or to sample in a way? Build Up Appointment Tech Check with Attendee(s)? What are things that you have not done before? “Crip Camp FAQ” https://docs.google.com/document/d/e/2PACX- 1vT8bTiLrcVRc0rBqUsIu7TEXehLzPahsQ1PxsAdn8rAnh4s4SFzKFCsdDybIAdtagqsSELZJAAVjnKR/pub#h.xet07wk8ibrv
  33. 33. You may give your audience/player materials that allow them to prepare for, or to sample in a way? Build Up What are things that you have not done before?
  34. 34. If there is travel to your event/project, what could you provide to guide that experience and build up to the main event? Journey To What are things that you have not done before?
  35. 35. What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry
  36. 36. Early Optional Tech Check for Attendees? What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry What are things that you have not done before? Also: “Artists Thrive - Zoom Tips” https://artiststhrive.org/uploads/attachments/cke1iao1y40wwrxnjc8ygdbbk-zoom-guide.pdf - How to turn on the captions (if not automatic) - How to pin the Auslan interpreters, so they remain visible throughout the whole session - How audio description will work throughout the session (e.g. speakers will audio describe presentation materials themselves throughout)
  37. 37. Recording Announcement & Consent What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry What are things that you have not done before? https://support.zoom.us/hc/en-us/articles/360026909191-Enabling-the-recording-disclaimer
  38. 38. Welcome / Acknowledgement of Country What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry https://www.reconciliation.org.au/resources/ https://aiatsis.gov.au/explore/articles/aiatsis-map-indigenous-australia “General: I’d like to begin by acknowledging the Traditional Owners of the land on which we meet today. I would also like to pay my respects to Elders past and present. Specific: I’d like to begin by acknowledging the Traditional Owners of the land on which we meet today, the (people) of the (nation) and pay my respects to Elders past and present.”
  39. 39. https://native-land.ca/ Acknowledgement of Countries What are things that you have not done before? What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry
  40. 40. https://native-land.ca/ Acknowledgement of Countries What are things that you have not done before? What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry
  41. 41. https://native-land.ca/ Acknowledgement of Countries What are things that you have not done before? What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry
  42. 42. Acknowledgement of Countries What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry What are things that you have not done before? “Welcome to Country” - who is hosting, from a cultural Elder “Acknowledgement of Country” - Acknowledgement of the Country of those Organising/Speaking - Acknowledgement of the Countries of those Present, by Host - Acknowledgement of the Countries of those Present, by those Present - Acknowledgement of the Countries of those Not Present - ...
  43. 43. Dedication Alexis De Veaux, “Writing New Worlds”, Allied Media, 25th July, 2020, https://youtu.be/i27YaBjzYqY “Invite you to dedicate your participation in this conversation to someone who is not in realtime part of this conversation that you know of, who is part of why you showed up.” What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry
  44. 44. Safe Space/ Code of Conduct What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry What are things that you have not done before? https://www.kulttuuriloukko.fi/loukko/loukko-in- english/
  45. 45. Personal Check-in https://hellosundaymorning.org/daybreak/ What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry
  46. 46. During the main work, what elements can be brought in to augment & provide or encourage different ways of experiencing? During
  47. 47. https://cripcamp.com/officialvirtualexperience/ During the main work, what elements can be brought in to augment & provide or encourage different ways of experiencing? During
  48. 48. During the main work, what elements can be brought in to augment & provide or encourage different ways of experiencing? During
  49. 49. Audio Description Audio Description for “Fall of Icarus” by Daniel Savage, Platform Screen, Platform Live, https://www.platformriverina.com/live (video: https://vimeo.com/433222095) “A young man, lying on his back on a stretch of grass, seen from an aerial viewpoint as if floating from a few metres above looking directly down on him. His eyes are open, and he stares upwards with a fixed gaze. His arms lying away from his body, his feet slightly apart. He wears a black and white shirt, black jeans…” During the main work, what elements can be brought in to augment & provide or encourage different ways of experiencing? During “This is Christy Dena speaking, I have long brown & blonde hair…”
  50. 50. Rooms For Different Ways Of Experiencing “#NoBodyIsDisposable Film Series: Sins Invalid An Unshamed Claim to Beauty”, Superfest, 14th August, 2020 Documentary site: https://www.sinsinvalid.org/documentary During the main work, what elements can be brought in to augment & provide or encourage different ways of experiencing? During
  51. 51. During - Private Participation Some people are not comfortable with sharing Some are not able to (not a safe environment) Some cannot share (cannot access chat easily, etc) You can have prompts that encourage private participation without sharing Share easy to answer, non-vulnerable/non-revealing stuff. (eg: Writer in Residence - what was your choice?) (eg: Crip Camp Fireside Journaling not necessarily recognised by presenter in zoom; Crip Camp After Party - “a space to gather and discuss the content”) During the main work, what elements can be brought in to augment & provide or encourage different ways of experiencing? During
  52. 52. During the main work, what elements can be brought in to augment & provide or encourage different ways of experiencing? During What can happen during breaks? Intervals
  53. 53. END How are you attending to what your audience needs to think, feel, do at this time? How can you facilitate their enfoldment with their lives? End
  54. 54. END Q&A from original production provided for new online (asynchronous) screening https://www.artscentremelbourne.com.au/community/content-hub/together-with-you/videos/jack-charles-v-the-crown How are you attending to what your audience needs to think, feel, do at this time? How can you facilitate their enfoldment with their lives? End Q&A
  55. 55. Post Talk: Entertainment How are you attending to what your audience needs to think, feel, do at this time? How can you facilitate their enfoldment with their lives? End
  56. 56. Pay the Rent https://paytherent.net.au/ https://overland.org.au/2020/06/being-a-caretaker-a-response-to-jk-rowling/ https://www.eventbrite.co.uk/e/new-rules-for-modelling- tickets-110124308772 How are you attending to what your audience needs to think, feel, do at this time? How can you facilitate their enfoldment with their lives? End
  57. 57. How are you attending to what your artists needs to think, feel, do at this time? How can they connect & share? What are you giving them? Exit
  58. 58. How are you attending to what your artists needs to think, feel, do at this time? How can they connect & share? What are you giving them? Exit Hamilton, Mary (2014) Froth, metamedia, http://maryhamilton.co.uk/tag/froth/, 23rd Feb.
  59. 59. https://peopleshub.org/project/crip-camp-after-party/ How are you attending to what your artists needs to think, feel, do at this time? How can they connect & share? What are you giving them? Exit
  60. 60. If there is travel from the work, what could you provide that guides and assists this journey from? Journey From
  61. 61. Are there ways the work can be then applied to the artists’ life? What could be ways you encourage that? How do you enable self-action & community-action? Application
  62. 62. Are there ways the work can be then applied to the artists’ life? What could be ways you encourage that? How do you enable self-action & community-action? Application
  63. 63. Are there ways the work can be then applied to the artists’ life? What could be ways you encourage that? How do you enable self-action & community-action? Application
  64. 64. Traversal Design Opportunities v5 Call to Self Before the connection with artist begins in your project, there is something within them they feel called to. What are you called to in this project? What is it out there in the world that meets them? Meets their interest in their journey? How do they find out about your project? What are the touch points where you and them meet? Journey Signals Your artists need information to help them consider if this is right for them at this point in time. What could help with that process? Evaluation Your artist may need to commit in some way, to actualise their decision to participate. How and where can this happen? Commit If there is travel to your event/project, what could you provide to guide that experience and build up to the main event? Journey To What frames the experience? How is the artist brought into the experience? Tutorial? Onboarding? Entry During the main work, what elements can be brought in to augment & provide or encourage different ways of experiencing? During If there is travel from the work, what could you provide that guides and assists this journey from? Journey From How are you attending to what your artist needs to think, feel, do at this time? How can they connect & share? What are you giving them? Exit Build Up Are there ways the work can be then applied to the artists’ life? What could be ways you encourage that? How do you enable self-action & community-action? Application What can happen during breaks? Intervals Christy Dena End You may give your artist materials or assistance that allow them to prepare for, test, or to sample in a way? How are you attending to what your audience needs to think, feel, do at this time? How can you facilitate their enfoldment with their lives?

A talk I gave for a client in Sept 2020, on ways to expand what is possible during the whole experience of online artist events.

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