Tuesday, October 21, 2014

The Webspina Battle Artist's Statement and Review


Helen Butcher and I had worked together on almost all of the group projects so far this semester, and we both really enjoyed working together. So naturally, if I were to be performing with and playing off of anyone from the class, it was going to be someone with whom I had good collaborative chemistry.
We talked about our resources (namely the internet and a big bird costume) and tried forming a few ideas around that. While we struggled to find a good theme, we eventually decided that we could go more of an elemental route and go for Plants vs. Animals. Before discussing the different tracks we would use to construct this piece we decided that we would have a story arch to the battle that started and ended happily, but had some tension in the middle.

Our execution of the idea twisted and reshaped itself as we tested our links and realized that some tracks that we had our hearts set on were suddenly contextually out of place. We would not have been able to make that discovery had we not worked our idea a few times.

Our greatest struggles in forming such a battle was the mono-thematic nature of the audio tracks that were associated with plants and animals respectively. Songs about animals were usually more aggressive and sexual, while those about plants seemed to be more passive and peaceful. Helen and I were further frustrated when we came to the determination that birds don’t really eat trees, and even if the did, trees couldn’t really do much to fight back. We considered relying solely on the harsh contrast between songs like Welcome to the Jungle and The Green Grass Grew All Around and just had the bird pick on the tree the whole time, but that would have been less dynamic, less interesting.  Much like Phil Hansen was faced with limitation in his Ted Talk “Embrace the Shake”, our creative juices started to stir with the limitations of our theme.

Eventually, we had the idea to bring in a faceless hunter to shoot Helen! Yes, the bird was the aggressor during the battle, and was exerting her dominance over an inanimate tree, but nature is a dog-eat-dog world and to bad so sad for organisms that can’t move or defend themselves. However, there is something harmonious and beautiful about nature.

To first establish sympathy for the shot bird, we decided to play In the Arms of the Angels, a song that is often used in conjunction with abused puppies. Then to show the sad majesty of nature we played the lyrics of a hopeful, yet earth-bound creature (I Believe I Can Fly) as the bird tried to fly with a broken wing. In the end, sad, violent, majestic, and hopeful scenes occur constantly in nature, and is all just part of “the circle of life”.

The final element that Helen and I made was that we had to be fully committed to our performance. I thought of the sad scene from the first season of Community where Brita is sadly performing a tap dance alone on stage. The tides of the performance changed when Troy sprung to her aid in a passionate modern dance. Since I don’t consider myself to be a strong dancer, it helped me to dance away some of my inhibitions before we performed. If we hadn’t been willing look like idiots up on stage, then our insecurities would have shown, and we would have created a self-fulfilled prophecy.

Monday, October 13, 2014

A Girl Left the Building and Cried


As I was wasting time on imgur.com, I came across a seven word sentence with an admonition to read it aloud seven times and emphasize a different word every time: I never said she stole my money. (Try it. It is fun!)


In trying it out, I was impressed by the power to change the readers perception of the same seven words by emphasizing different ones.  Although I used different tools, and changed the original words a little, I found different ways to emphasize certain words in my short literary narrative.

As I pondered what tools I could use to make these emphasises, I figured it was probably best to come up with a working definition of what a literary narrative:

A literary narrative is a written text that tells a story through the use of context and a preconceived language, and needs no assistance from sounds (including a human voice), meters, rhyming schemes, or images (aside from that of the letters) to be considered whole.  

Because the there aren’t any supporting elements required for a literary narrative to be relay its story, and the order of the letters don’t change whether or not they are being observed, one can pause and ponder in between reading words and not risk missing a part of the story.  The space that the letters take up on the canvas is a fixed element of a literary narrative, while the time of consumption is not.

In making “A Girl Left the Building and Cried”, I considered and played with the elements of word image and spacing.  

As Scott McCloud pointed out in Understanding Comics, “Letters are static images...when they’re arranged in a deliberate sequence placed next to each other, we call them words!” The size, font, repetition and slight variations of the images helped me emphasize where I wanted the readers’ attention at certain times of the story.

However, images are not always compilations of positive space.  Often, negative space is used to help draw the eye to where it needs to be.  The decreasing amount of negative space was used with the intention of increasing reading rate, and the breaks after certain phrases were supposed to be cues to the reader to stop and contemplate the words’ meanings.

In speaking to form, content, and objective, they were all trying to help the reader stop and contemplate the complexity of the surface actions of others, and recognize that first judgments are not always accurate.

Tuesday, October 7, 2014

Miner Tragedy. Enduring Love.

In an excerpt from the Salt Lake Tribune May 31st, 1999 we got a glimpse into the setting of the day before the explosion.


“May 1, 1900, was supposed to have been a happy event for the people of Pleasant Valley….Valley residents were planning a big May Day celebration that night, with music, dancing and food from the many ethnic groups that worked the mines.


But the holiday was no occasion for a day off work. An estimated 300-plus men, ages 14 and older, headed for the mines at daybreak.


About 10:15 a.m., an explosion reverberated through the valley. At first, most residents believed the noise to be cannon fire or fireworks, part of the the day's festivities.
Within a few minutes, though, they saw billows of gray smoke and heard the frantic screams of victims and witnesses.”


The line “the holiday was no occasion for a day off of work” seemed to be a good point of conflict. The Father clearly would see the holiday in that light, while the son would see himself being jipped of a day off. Sure, they would be off for the main festivities, but Thomas Jr. knew that other kids would not being going in to work today.


We also read that the grandfather of one Melba Erkkila didn’t go into the mine that day because his wife "’had a premonition that morning and wouldn't let him go to work’".  While we could have incorporated this information into the story as foreshadowing, we decided that such revelations aren’t appreciated as much until after the reason for them is made relevant. Thus, the news of such a premonition was a point of scoffing by the miners and a further annoyance to Thomas Jr.


Researches concluded that the explosion was most likely due to excessive coal dust in the air. It is likely the coal dust was not wet down properly, so when miners lit a stick of dynamite, it ignited all the particles in the air. We decided to use this likelihood as the root of the father’s remorse after he ignores his son’s adamant demand for water and the mine explodes.


Satrapi’s “The Veil” revolves around a woman’s cultural and familial devotion, and we incorporated both of these elements into our script. Because our story predates our memory, we felt we needed to ground our story in familiar values. Tension between father and son, duty to one’s family, and one’s devotion to one’s community are universal sources of conflict. By including these elements, we lent our screenplay’s characters a greater degree of authenticity.

This writing exercise helped us turn a couple of headlines from century-old newspapers into dynamic, breathing stories. Victims in tragedies of this magnitude are often lumped into a literary mass grave when journalists run their stories; there are too many individuals with their own unique stories to give adequate exclusive time to. However, as we seek inspiration from our personal histories, we should pay particular attention to those whose stories we’ve buried with their bodies.


*****

https://docs.google.com/file/d/0B9Dd133eFsPOR2dtQUk4a1JObTA/edit