INSTRUCTORS/CURRICULUM

BROAD AGENDA

In VCW, we will focus on conceptual and practical issues of creating and notating performative video pieces.  We will explore ideas, issues and techniques that help artists create more compelling performative video pieces while contributing to the discipline's larger body of knowledge. 

Core to VCW is discovering and organizing personal and universal compositional elements of video and accompanying notational techniques, in turn creating a foundation for works performed with or independently of the composer.
           
We'll maintain a salon environment.  VCW has a specific set of objectives, and some sessions will be structured around specific topics, but the ideas and interests of the participants will direct and inform many of the conversations, with VCW's instructors keeping sessions on-mission.

VCW's goal is to provide participants with extensible systems and strategies for creating and notating performative video pieces, both within the workshop and for future compositions.

OVERVIEW OF THE 6 SESSIONS AND PERFORMANCE

We'll structure the 6 sessions as follows:

Weeks 1, 2 and 3:  Structured evenings in which Adam Kendall or Michael Schumacher present specific topics for discussion.  Kendall or Schumacher will pull from various sources to illustrate the topics and will tie the discussions to the works and ideas of the VCW participants when possible.  Participants are encouraged to begin work on their pieces during this time.  There will be time for free-form conversations and work-critiques tied to the workshop-topics being discussed.

Weeks 4, 5 and 6:  Focus on pieces the participants are working on.  Each evening will have presentations, discussions and critiques of the participants' pieces and ideas as they evolve, as well as general discussions.

Performance:  There will be a public performance approximately 3-6 weeks after the final session.  It will present finished pieces, works-in-progress, or demonstrations of concepts.  It will maintain VCW's salon approach.

LOGISTICS

We hope that people will work with each other.  This doesn't necessarily mean collaboration (but that's good) as much as assisting with ideas and concepts.  e.g., video artist might help others understand what video vocabulary is available to work with; musicians might help others understand how performers expect ideas communicated; etc.

All the participants should have something tangible to present at the performance.  Participants will individually decide what out-of-workshop time they have and whether they're looking for a finished piece, a work-in-progress, or a demo of concepts and techniques.

EQUIPMENT

We'll have a projector and sound system for the workshop.  We suggest everyone start by bringing the minimal amount of equipment/tools they need to demo/prototype ideas.  That might mean a laptop and midi controller; a video-mixer and live camera; paper and pencil and a keyboard; etc.

Please bring a pad of paper, a pen/pencil, etc.  You know, basic stuff you might need to take notes, sketch ideas, etc.

WEEKS AND TOPICS

-- WEEK 1 --

1) Meet each other, give self-intros

2) Video Vocabulary / Taxonomy
-      What types of video concepts (abstract/figurative, 2D/3D, colorfields, lightfields, etc.) can video composers work with
-      What are the "primitives" of video, i.e., most granular vocabulary of video generators, processors, filters, distortions, etc., available for composers to work with
-      What types of gestures and events are available in video for video composers to draw from
-      etc.

3) Begin: Video Performance
-      What defines "performative video"
-      What defines a "video performer"
-      What defines a "video performance instrument"

-- WEEK 2 --

1) End: Video Performance

2) Notation and Scores
-      What types of paradigms exist or can be created to translate a video composer's ideas into printed instructions for video performers -- A key objective being notation that can be interpreted without the composer present
-      Existing paradigms, such as music notation, dance notation, or even technical notation like that used for designing databases and software
-      The role of verbal communication in clarifying non-standard notation and the composers intent for performers

3) Begin: Composition Logic and Structure
-      What defines a composition, e.g.: Where's the line between composition and improvisation, or between composition and installation;
-      What defines a performative composition, e.g.:  Meaningful roles for performers; Esthetics of performance vs. playback; Relationship with a live audience; etc.
-      General concepts of performative compositional logic, structure and techniques unique to video 
-      General concepts of performative compositional logic, structure and techniques derived from other mediums, e.g.: Traditional Western Music - Form, counterpoint, harmonic/tonal centers; Modern/Contemporary disciplines - Stochasticism, serialism, determinism, chance, etc.; General Concepts - Role of improvisation; etc.

-- WEEK 3 --

1) End: Composition Logic and Structure

2) Video Performance Logistics
-      What equipment might be in a typical video-performer's "rig"
-      What infrastructure might be required at venues for performances
-      Impact of performing video in venues that aren't "video-ready"
-      Relatively small pool of video performers
-      Lack of standard video instruments (as there are standard musical instruments)
-      Composer's dependence on video-artists to interpret their printed notation and desired vocabulary

3) Start the "round-robin" discussions of participants' ideas and pieces

-- WEEKS 4, 5 AND 6 --

Focus on pieces the participants are working on.  We'll have a "round-robin" approach of divvying up each evening between the participants for discussions and critiques of their pieces and ideas as they evolve.  We'll also have general discussions.  The conversations are an important way of reinforcing and strengthening the scope of VCW's topics and objectives.