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/

Update on Lydia's Provost Fellowship

Dear Lydia,

I'm writing to congratulate you on the approval of your application for a
Summer Research Fellowship. You will receive a $3000 stipend to support
full-time research for a period of not less than eight weeks during the period May 20 through
August 20, 2008.

Gene Bickers
Vice Provost for Undergraduate Programs

Lydia's Provost Fellowship Application (one-page limit)

Linguists face two particularly significant problems when doing research: many languages are spoken in remote locations and many are becoming extinct (i.e., they are no longer being spoken by younger generations, and will eventually not be spoken at all). The first problem makes it difficult to acquire primary source data, as doing so requires that the researcher travel to the remote location where the language is spoken. The second problem makes it crucial that linguistic data be collected efficiently and immediately, before there is permanent loss of the data.[1] I feel that the current models that seek to address these problems are inadequate.

I propose a two-part research project that will result in a proof-of-concept research tool that makes linguistic data, such as video footage, transcriptions, etc., more accessible to researchers. The first part of this proposed project, namely data collection, will be conducted this summer. The second part will be conducted later as part of my senior thesis for the Honors in Multimedia Scholarship and will use the data collected this summer to create a model for a more effective research tool.[2]

For the data collection, I will spend approximately one month living in Alaska in the Bristol Bay region where Central Alaskan Yup’ik is spoken. Central Alaskan Yup’ik is still being learned by children in only 17 of 68 Yup’ik villages, according to the Alaska Native Language Center of the University of Alaska, Fairbanks.[3] Although it is not the most critically endangered language spoken in Alaska, it is one which I have access to through family members living in that area.

Using my Sony DCR-HC96 video camera and a high quality lavalier microphone, I will record at least four different native speakers of Yup’ik to gather as much linguistic data as possible from their speech. It is important that there be both audio and video documentation in order to reduce the ambiguity of certain sounds that would otherwise be difficult to distinguish through audio alone.

I will then spend approximately one month back in Los Angeles using the Institute for Multimedia Literacy’s lab to perform post-production work on the recordings. This will involve editing and organizing of the video clips, as well as transcription of the speech using a linguistic annotation program known as ELAN[4], developed by the Max-Planck-Institute for Psycholinguistics at Nijmegen.

This organized and annotated data will not only be useful for my senior thesis project, but will have immediate intrinsic value. There are graduate students at USC with whom I have been in contact who are doing academic research on the Yup’ik language who would benefit greatly from access to this primary source data. I have also contacted the University of Alaska, Fairbanks, to find out how they may find this data useful. The Native American Languages Act of 1990 makes clear that the languages of Native Americans have cultural and linguistic value. [5] It also states that preservation of these languages is crucial. The data I collect this summer will be a lasting and accessible record of Central Alaskan Yup’ik that will aid in the preservation of one of the United States’ diverse indigenous languages and will eventually seed my proof-of-concept research tool.

---

[1]See the Massachusetts Institute of Technology’s Indigenous Language Initiative http://web.mit.edu/linguistics/mitili/language%20loss.html for a brief outline of facts and figures

[2] See Institute for Multimedia Literacy homepage, http://iml.usc.edu/, for more information on the program

[3] http://www.uaf.edu/anlc/langs/cy.html

[4] EUDICO Linguistic Annotator (ELAN), see http://nflrc.hawaii.edu/ldc/December2007/techreviews/berez.html for more information on the program

[5] See http://ourworld.compuserve.com/homepages/jWCRAWFORD/nala.htm

Visualizations

Baby Name Wizard
Tracking popularity of names over time.

Trulia: Maps of Properties Through Time
A real-estate map showing building over time.

MOMA Exhibit: Design and The Elastic Mind
This page is, ironically, almost impossible to navigate,
but try to find the section on MAPPING look at Cabspottin
and take the time to find works and techniques that may relate
to your inquiries.

We Feel Fine
Harvesting blog posts for emotional expression.

Ahmed Omar: Midterm Thesis Proposal (Revised Version)

I. The Story of a Scavenger Boy

II. Abstract:

Since it’s creation in 1946, Pakistan has been severely handicapped by corrupt governance, military dictatorships and regional tension. A country in which an estimated 44% of the population still lives bellows the poverty line. In a country where the literacy rate is just hitting 50% (where you are considered literate If you can read and write your name) I was fortunate to have studied in the most prestigious high school in my country. Having lived in the United States for the past few years, I have come to realize the importance identity, which makes our lives worth living.

The Story of a Scavenger Boy is not just a journey of a young boy in search for his true identity. It is the story of my life, a story of all our lives. A story about the struggle every person must go through in order to find his place in this world. This is your story and you tell it.

Project Introduction:

More than 100,000 child scavengers or rag-pickers can be found across Pakistan, according to the International Labour Organisation. They are exposed to scabies, malaria, dysentery, anaemia and muscular problems, as well as to chronic diseases like Tuberculosis, jaundice and liver/kidney disorders. Exposure to cast-off syringes puts them at risk of contracting infections like HIV/AIDS.

Omar is from the gypsy community of Lahore, Pakistan's second largest city. At just ten, Omar has four years experience of "professional" scavenging for 10-12 hours a day. His work returns little so he eats what he finds. He spends three or four nights on the street in various locations and returns 'home' when he can.

Omar doesn't go to school and seldom spends time playing with friends. Tired or sick, Omar works. Time is a precious commodity that he uses to scavenge scrap metal and other goods for his employer. Although he has no fixed salary, Omar says that he has contributed to marginally improved conditions at home. He recounts experiences of physical and verbal abuse by his employer, but scavenging has been his life- he has known no different.

Source: Pakistan: Poverty unveiled (http://meero.worldvision.org/sf_pakistan.php)

Remixing Fact & Fiction:

The Story of a Scavenger Boy is an interactive project and an initiative to raise awareness about a community/world hidden behind a veil of claimed development. As the world waits to see who takes office in Pakistan’s recent elections, a young boy cries hoping for his cries to be heard. But no one’s there. Some stops by and go’s, leaving behind pieces of roti, empty wrappers, and broken chappals.

The young boy searches through this pile of litter left behind, as he see’s the train go by. Hoping to find an item of value he walks along the train tracks scanning either side of the tracks. Finally his face lights up as he spots a small piece of an electronic item half buried in the ground. A broken pair of headphones. The young boys picks it up, safely stores it in his pocket and walks away towards the cabaria hoping to sell the item for a few rupees. After a long days work he goes home, proud of his days work, looking forward to spending time with his family.

III. Description:

Definition of the Project:

• Genre: As discussed earlier this project will blend fact and fiction. The project follows a non-Linear database narrative structure driven by a central character (young scavenger boy) and a fictional story based around the character. However, within this narrative, the user will find factual information in the form of interviews, and data about the discussed issues. This information will be embedded within the narrative to provide a critical and scholarly element to the project. Thus the genre of the project can broadly be categorized as a documentary driven by a narrative.
• Research Methodology: Prior research as well and original research will be used in this project. Data and information collected by organization like UNICEF, World Vision and The Azad Foundation will be re-worked into this project. However large amounts of research will also be done and multiple perspectives will be presented. Interviews will human rights activists, social workers, scholar, and children will be conducted and present in this project to provide arguments from all various sides.
• Delivery Format: The project will be part of a dedicated website. It will be available in both low and high resolution. Also project will be released on DVD format and possibly High Definition. Information presentation, and details about web delivery are discussed later.

Project Goals and Initiatives: The goal of this project is to engross the user in an interactive and dynamic environment where the user is as much apart of the project as the character depicted and the creator of the project. It aims to immerse the user in an environment where he/she feels engaged and empowered and in doing so, allows the user to reflect upon their own life while interacting with the narrative and characters presented. Secondly the project aims to raise awareness about the lives of underprivileged children in Pakistan and the external factors at play that cannot be disregarded when attempting to understand issues related to 3rd world countries in general. This project is part of a larger initiative to improve the lives of underprivileged children all over Pakistan. I plan to get affiliated with organization working on the grassroots level in Pakistan like The Citizens Foundation (TCF). Lastly, this project hopes to be valuable as an academic and scholastic resource for future research about street children, poverty, and the dynamics of a lower class family in Pakistan.

This project must be realized in multimedia as it uses new media technology, and multimedia tools to achieve the outlined goals. The project will be unlike anything done before. It will approach a social issue using a new interactive medium that allows for greater interactivity and flexibility and gives the user control. The experience will be unique and inimitable for every user.

Project's Significance within Contemporary Scholarship: In the past large amounts of research has been done by scholars about street children and poverty in Pakistan. In addition many local television networks and independent documentary filmmakers have produced documentaries about issues concerning lower class families in the slums of Karachi, Pakistan. However this project will be the first attempt to present the data and research using a non-linear database narrative structure. Moreover as discussed earlier the project will be part of a larger initiative that will users to become actively involved with current projects working to improve the lives of street children in Pakistan. Also the information and research present in the project will be completely accessible to scholars and academic units that are working on similar issues in the future. Thus the significant of this project is three fold. Firstly it will serve as a tool to educate. Secondly it will present the information in a way that will enable users to think more constructively and creatively about the content. Lastly, the project will be a tool for reaching people in any city, state, or country. It will be accessible online free of cost.

IV. Timeline:

Spring 2008: Pre Production
Summer 2008: Production (Shooting at location in Karachi, Pakistan)
Fall 2008: Post Production (Editing raw footage, designing interface)
Winter 2008-09: Production (Shooting on location + interviews etc.)
Spring 2009: Post Production (Editing and finalizing footage, website development)

V. Budget:

Pre-Production: A minimal amount of finances will be required during pre-production stage of the project.

Production: The production costs of this project will broadly include camera, lighting, travel, cast and crew, food and catering. The total estimate cost will range between $100 – $500. Production will take place entirely in Pakistan therefore all costs incurred will be in local currency.

Post Production and Distribution: Post-production costs will be minimal. The distribution and development, hosting and domain of website will be a significant. Depending on the size of the project distribution, promotion and the website will cost between $200 - $500.

VI. Advisors:
The following is a list of possible advisors. All the following advisors are aware of the project and have shown interest in the project. I will personally meet with each advisor and make a presentation after which I will officially approach the advisors.

• Professor Jon Taplin: Professor at the Annenberg School for Communication at the University of Southern California. Taplin’s areas of specialization are in international communication management and the field of digital media entertainment.
  
•  Professor Robert Scheer: Professor of Media and Society at the Anneberg School for Communication. Robert Scheer has built a reputation for strong social and political writing over his 30 years as a journalist. He has written extensively about Pakistan.
• Professor Doug Thomas: Douglas Thomas is Associate Professor in the Annenberg School for Communication at the University of Southern California. He is founding editor of Games & Culture: A Journal of Interactive Media, a quarterly international journal that aims to publish innovative theoretical and empirical research about games and culture within the context of interactive media.
• David Barsamian: Award winning founder and director of Alternative Radio, the independent weekly series based in Boulder, Colorado. He is a radio producer, journalist, author and lecturer. He has been working in radio since 1978.
• Steve Anderson/Virginia Kuhn: Professor Steve Anderson and Virginia Kuhn are both, leading practitioners in the field of database narratives, non-linear narratives and new media.

VII. Presentation and Distribution Plans:
The project will be officially released on a dedicated website. Along with this project, the website will host information about the project and other features including the following:

Website:
• Contain the information about the project, and author statement.
• Photo gallery/Behind the Scenes
• Contact Information: How to get involved
• Discussion Forum
• About the Characters: Characters based on real children

I also plan to release my project on DVD and distribute it widely across the United States and Pakistan. In the future I hope to publicly exhibit the project in DIY conventions.

VIII. Production Resources:

Sony PD 170 DVCAM or
Sony VR-Z1U HDCAM
Lavalier Microphones for interviews
Final Cut Pro editing system
Korsakow or other database narrative system
Dreamweaver for website development
The Citizens Foundation TCF (Collaboration)

IX. Prior Related Work:
• A documentary aired on Dawn News TV titled “Equinox: Street Children in Pakistan”
• Research by World Vision about poverty and scavenger children.
• The Azad Foundation: A group dedicated to improving the lives of street children in Karachi, Pakistan

X. Research Bibliography:
World Vision: Pakistan: Poverty unveiled
http://meero.worldvision.org/sf_pakistan.php

World Education Forum: Grassroots stories: Pakistan
http://www.unesco.org/education/wef/en-news/pakistan.shtm

Schedule

Please schedule yourselves (due this weekend) for the rest of the semester. Look hard at the posted outline and break it down into specific tasks. Assign yourself tasks per week:

April 3rd Week 11: Class Period = HTML/CSS Workshop 2
April 10th Week 12 DUE: Show plan/beginnings of prototype or storyboard (begun week 9)
April 17th Week 13 Written Draft due! (posted - it can be rough)
April 24th Week 14 DUE: Show prototype or storyboard
May 1st Week 15: Presentations
TUESDAY MAY 6th: Final Proposal DUE

The Story of a Scavenger Boy - Video

The purpose of this video is to give you a glimpse into the lives of the children I'll be working with for this project. All the photographs complied is this promo were taken in the slums around Karachi, Pakistan.