Meredith's Rough Proposal

I. Title: Artistic Collaboration in Live Performance
II. Abstract:
From Pink Floyd laser light shows to John Cage’s high-concept, multimedia project, HPSCHD, the range of live collaboration has only expanded throughout the twentieth century. While these collaborations nearly always supply the audience with a uniquely visceral experience, they also raise many questions. Why collaborate to begin with, and, more importantly, why live? What does an audience receive from observing multiple artists’ work simultaneously? How does the juxtaposition of works and collaborative presence change the respective artists’ works? Who is the author in such a situation?
Ultimately, the only way to answer these questions is to personally delve into the collaborative world, and explore the possibilities of creation with a diverse group of artists.
III. Description
1. Definition of Project:
The project is both a documentary of past works, as well as an essayistic approach to my findings on the dilemmas and questions raised in artistic collaboration. I plan to research many past types of live artistic collaboration, from the high art world to the arena of pop music. Once the historical research is completed, I will complete the most personal form of original research, where I will create three different collaborations with three types of artists, and document my experience via a blog. Thus, I will be able to answer my own predetermined questions, as well as take notes of any new dilemmas that arise. The final product will consist of two parts, the performances themselves, as well as a website that provides an archive of my research, a blog of my experience in the performance process, as well as a forum for artists to discuss ideas, and possibly plan future collaborations.
2. Project Goals:
Ideally, the project will give insight into the collaborative process, as well as provide a resource for artists’ to see past examples of this process, as well as my own experiences. The audience for the live performances may differ from the viewers of the website, although both should take away an informative and thoughtful exploration of the artistic process from multiple perspectives. Because of the unpredictable nature of the collaboration, as well as the use of hybrid mediums, it is only possible to realize this project through a website, as well as the use of multimedia and video art in the live performances.
3. Project Significance:
The project would most likely be more useful to the artist than in a classroom environment. However, the project does address and extremely important and often debated issue in new media and film production: the authorship dilemma. Scholars, artists, and students alike may use the project as an example, as well as commentary, on the collaborative process and the questions that arrive in who is the author of the final project. Just as any film requires collaboration and cooperation from multiple people in various fields of expertise, collaborative live performance also requires the interaction of multiple artists in different fields. Scholars in many different fields may use the project as an example of working in a collaborative environment, which is necessary in every field.

4. Progress/Plans to date
Currently, I have completely preliminary research on past collaborations, as well as designed a basic wireframe layout for the website. While I have not made decisions regarding who I will be collaborating yet, I have begun to plan the logistics, such as venue, my planned role in the collaborations, as well as my goals for the performances.

IV. Timeline
August 2008: Complete historical research on the topic.
October 2008: First collaborative performance with Artist 1, have research organized and ready to place in website
December 2008: Basic website setup, Second collaborative performance with Artist 2
February 2008: Third collaborative performance with Artist 3, have archive aspect of website ready
April 2008: Have complete website, including analysis of my experience completed.

V. Budget
Minimal funds needed, as I need enough to pay for promotion of performances and any possible small production costs. Because I plan to use a non-profit venue, fees to use the performance space will be minimal. Any costs will hopefully be covered by suggested donations at the performance.

VI. Confirmed advisors
Pablo Frasconi, Cinema-Television Production
Virgina Kuhn, Institute for Multimedia Literacy

VII. Presentation and/or distribution plans/venues
Performances will take place at Zero Point Space in Los Angeles, CA, or in the Echo Curio, in Echo Park.
Final project will be displayed online as a website.

VIII. Production Resources
For the performance, I will need to find 3 artists in 3 different mediums (music, painting, etc.), and ideally, from different artistic backgrounds. I will need a digital video camera, a 35 mm still camera, and editing software in order to create photography or video art used in the performances, although I have access to these resources. I will also need resources for promotion of performances, such as postcards and fliers.
For the website, I will need basic HTML software, such as Dreamweaver.

IX. Prior Related Work
Many artists have experimented in collaboration, and examples of past collaborations is a large part of the project itself.
The Digital Performance Institute helps to support collaborative multimedia performances.


X. Research Bibliography
Digital Performance Institute
http://www.digitalperformance.org/