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Were there any planned changes/measures that were carried out based on feedback from the first reference group meeting? Eg: changes in the structure of the course as it went along? Feedback was actively integrated from the initial reference group meeting, adapting our approach to align with student input while ensuring the course's structural integrity and learning objectives remained intact, as an example the students requested to have more course reading materials and homework and the adjustments were made to meet their inquisitive minds and ambitious attitudes. The teaching and learning activities in the subject: How are the teaching and learning activities laid out in the course?All teaching and learning activities were laid out per week on the <a href="https://www.researchcatalogue.net/view/2248001/2248002" target="_blank">Research Catalogue as an exposition</a>, which was added to and built upon as the course progressed. From the start, students could view each week’s plan ahead of time, aware of what to expect. On the teacher’s end, weekly preparation meetings were held to discuss the effectiveness of the class session, what to improve on and what to plan for the next class session. Week 3712.09 Course Introduction<ul><li>A History: Music videos &amp; co-making</li><li>Strategy: Makeup &amp; Prosthetics</li><li>Critical: Fashionable Costumes</li><li>It's all about teamwork</li><li>Method: Pt. 1 Non-linear scripting in real-time</li></ul>Week 3819.09 Ideation 1: Lyrics Creation &amp; Live Vocalising<ul><li>Pt. 2 Non-linear scripting in real-time</li><li>How a song, lyrics &amp; form is created</li><li>Lyrics building using various methods </li><li>- Real-time nonlinear vocalising</li><li>- Inclusion of non-dominant languages (form, meaning, message)</li><li>- Q&amp;A method</li><li>Students (in twins) to start thinking of lyrics/vocals</li><li>Groups start to record vocals</li></ul>Week 3926.09 Ideation 2: Clip Concept<ul><li>Groups continue to record vocals</li><li>Individual: Moodboard creation and presentation of initial ideas</li><li>Group work: Development of moodboard, concept creation</li></ul>Week 4324.10 Pre-production 1: Lyrics, Scripting &amp; Recording<ul><li>Refinement: Listening to takes and cleaning up edits</li><li>Makeup &amp; Prosthetics by Ania</li><li>Dramaturgy: Create a storyboard</li><li>Role Assignment with Team</li><li>Directing and Breakdown forms</li></ul>Week 4431.10 Pre-production 2: Set &amp; Crew<ul><li>Design: Set, props, costumes</li><li>Dramaturgy: Continue storyboards</li><li>Assemble: Crew &amp; equipment &amp; determine how to use the KiT studio</li><li>Demonstration of a production day based on the storyboards</li><li>Learning Skills: camera work, lighting, live editing &amp; directing</li></ul>Week 457.11 Shoot DayGroups shoot<ul><li>Crew &amp; talent arrive as per call sheet</li><li>Scenes are shot as per call sheet </li></ul>Week 4614.11Post-Production<ul><li>Editing and post production of clips</li></ul>Open Academy1.12Showcase<ul><li>Showcase videos in Galleri KiT during Open Academy</li></ul> What is the purpose of the chosen learning activities? To systematically provide a history for and use-cases for the introduction of context-relevant new media formats, such as the music video in this course and learning how to learn different skills and methods. How do the learning activities contribute to the students achieving the learning outcomes for the course? Each lesson and associated learning activities builds on the other, helping the students achieve the learning outcomes in a step-by-step manner. Each lesson is dedicated to a specific learning activity, for example non-linear scripting in real-time, followed by non-linear lyric and song-creation, where the “non-linear” concept is already introduced by the next lesson and for when they will need to know how to utilise it for another learning activity.What feedback do the students give on the learning activities in the course? While a brief introduction to the history of the music video as an artistic format was presented in the first lesson, students feel that they would like even more theoretical background information and critical theory. While basic video editing skills were also taught as part of the course, students felt that editing their music videos was the most rewarding part where they also had the most freedom to express themselves, and thus would like more time spent on this learning activity, while also delving deeper into this skillset. Students have also expressed that because music video making is the proposed learning output, that perhaps less emphasis should be put on song creation and instead they should start off with an already made song or be able to use a license-free song of their choice. This also applies to the genre of the song - they’d like to have more say in this, as it affects the style of the music video. Have you had sufficient support functions/resources to carry out the learning activities in the way you planned? Yes, however, available time will always be a challenge in a multifaceted course like this. As students would like more time spent on video editing in particular, a “bootcamp for video editing” could be presented before the course start date or the break in between to satisfy this need, but also keep the course structure and momentum going in the way it was intended to flow from one lesson to the other. What has worked well, and what could possibly be improved for the next implementation of the subject?  The general structure of the course has worked well, where one lesson builds on another and feeds into the next, with the involvement of different teachers to convey different, specific skill sets.  Students also appreciated clear, frequent communication and being up to date all along the way - this needs to continue with one main communicator from the teacher’s side. What also worked well was that the music video shoot took place on one, single day where different student groups shot their music video at different times. A suggestion for next time is that each student group assists the one who is to shoot after them in terms of camera operation, for example - this way students are always occupied on shoot day and are also learning a skill at the same time which will help them to improve their own work. As mentioned above, the introduction of a video editing bootcamp could be introduced as a way to satisfy the needs of students who wish to learn this skill in more depth. This has been the overall student feedback with regards to the naming of the “Electronic Media” course and who wish to have the course have more of an explicit focus on this aspect. So, for example, they were able to learn how to use the KiT video studio and its equipment but wished to also learn how to use Ableton Live and Adobe Premiere Pro - while the latter was taught in a brief session, they would have liked more time spent on learning these tools. The course can benefit from a project-based schedule where students work together during a designated project week after completing weekly schedules.

The assessment form(s) in the subject: How have you set up the assessment form(s) in the course? What is the purpose of the selected assessment form(s)? The reference group was our main point of contact for assessment via students and they were in charge of setting up an assessment form in Google Docs which they asked the students to fill in. What feedback do the students give on the assessment form(s) in the course? They were appreciative of the anonymous feedback they were able to provide in a written, logged format so that nothing could be misinterpreted or get lost in conveying to us verbally. To what extent have the students acquired the learning outcomes for the course? If students attended the whole course, they will have acquired a broad set of skills which very much reflects a real-life scenario of music video making and film process; an A-Z of production and how to not only execute on these skills, but how to work in a team to produce a singular vision. One student has noted that this course has prepared her in various arenas of art making and that it’s been a valuable course in a holistic way. Assessment of the learning environment in the subject: By learning environment, we mean "the totality of physical conditions, plans, teaching material, teaching aids, organization of teaching, working methods, assessment methods, social relationships and attitudes towards learning - i.e. all factors that can affect students' learning." (Skaalvik, E.M. &amp; Skaalvik S. (2005) The school as a learning arena: The course took place at Kunstarken, the sound and editing studios, and in the video studio at the Trondheim Academy of Fine Art, which created a dynamic environment which changed a lot and added to a fresh feeling throughout. One student group opted to shoot their music video outside, so perhaps an outside lesson or encouragement of others doing this as well could be something to consider for next time. Self-perception, motivation and learning: Students were highly motivated to engage, which came as a surprise to us as teachers and we believe this had to do with the dynamic content and structure of the course. Students were so motivated, in fact, that they told us in reference group meetings that they would’ve welcomed homework, which we tried to steer clear of based on prior experiences. Based on the students' feedback and your own observations, how do you assess the learning environment in the course? Students have noted that they enjoyed the learning environment and that many were pushed outside of their comfort zones and tried new things. They enjoyed group work, but have noted that some groups were too big and some too small to work 100% effectively, and with that we can agree and will adjust this in following iterations of the course. Students from KiT and exchange programs or other campuses were present, which students felt was a “weird” dynamic at first, but we as teachers believe this was a positive introduction and encourages cross-departmental collaborations. What has worked well, and what could possibly be improved for the next implementation of the subject?  In terms of the learning environment, what could perhaps be communicated to students more clearly is that this course aims to teach a variety of skill sets in a “crash course” format and that this is the mindset with which to approach the course, instead of fixating on a specific element of it, e.g. video editing. If this mindset is adopted, they may walk away with a variety of skills, instead of just this one. Another soft skill which this course teaches quite well is teamwork, negotiation and cooperation with others in a creative way - this is a strength of the course and will be iterated upon to ensure this outcome is also felt in a more pertinent way.

Assessment of the subject's academic content and learning outcomes: How do you assess the quality of the syllabus/technical literature in the subject (updated and relevant)? Five main technical literature references were utilised in the course, in addition to practical activities based on theory.  These references were: <h2> </h2>Music/Video: Histories, Aesthetics, Media by Gina Arnold, 2017 Video Vortex Reader III: Inside the You Tube Decade by Geert Lovink, Andreas Treske, Institute of Network Cultures, 2020 Interpreting Music Video: Popular Music in the Post-MTV Era by Brad Osborne, 2020 Vimeo Video School - Excerpt from Gina Arnold Ref: Vimeo Killed the Video Star: Burial and the User-Generated Music Video by Daniel Cookney, 2017 Practical activities based on theory included primarily scripting, characterisation and storyboarding. - Young people, new theatre: a practical guide to an intercultural process by Noel Greig, 2008. Students have expressed that they would have liked more of a deep dive into these resources, so an adjustment for the next iteration could be to ask students to read select chapters for homework and reflect on what they read at the start of each session. Is the course's learning outcome description up-to-date and relevant? The course’s outcome description is as follows and up-to-date with what students learned, yes: In this course you will:<ul><li>Create a music video clip, from start to finish</li><li>View and experience how the whole production works</li><li>Use accelerated, non-precious creation as a method</li><li> </li></ul>Learning outcomes<ul><li>Introduction of context-relevant new media formats</li><li>Non-linear scripting (where and how to start), and team engagement.</li><li>Vocal recording techniques in Ableton Live</li><li>Long-term vision &amp; impromptu conceptualisation &amp; design</li><li>Ethical creation</li><li>Production know-how</li><li>Performance attitude/confidence building</li><li>Basic video editing skills</li><li>Cross-discipline inspiration &amp; teamwork</li><li>Learning how to learn skills and implement methods</li></ul> How do you assess the academic progression between this subject and parallel and previous subjects (contextual learning outcomes)? Question not relevant as I wasn't course leader last semester How do the learning activities contribute to the students achieving the learning outcomes for the study programme/programmes in which the subject is included? Question to answer

NTNU:TIA:REST

Kunstakademiet i Trondheim

Trondheim Academy of Fine Art

Engelsk

Norsk

Mer om vurdering

<ul><li>Vurdering av kunstnerisk progresjon ved presentasjon eller innlevering av arbeid produsert i emnet eller dokumentasjon herav.</li><li>Dokumentasjon: Tilstrekkelig visuell, audiovisuell, skriftlig eller annen dokumentasjon av aktiviteter, prosesser og resultater for å representere utviklingen av arbeidet og/eller prosjektet i kurset.</li><li>Utsatt vurdering avholdes i førstkommende semester.</li></ul>

Faglig innhold

Dette emnet introduserer studentene til mulighetene for å jobbe i tid og rom gjennom en utforskning av analoge og digitale verktøy. Gjennom et kritisk studium av mediekulturen, fra enkelteksperimenter til den vansligste formen, vanligvis referert til som allestedsnærværende medier. Siden et økende antall delte erfaringer og oppfatninger av verden rundt oss er formet av utviklingen av medie- og kommunikasjonsteknologi, legger dette kurset vekt på digital kompetanse. Elektronisk bilde- og lydbehandlingsteknologi benyttes for å utvikle studentens forståelse av de historiske, estetiske, konseptuelle og tekniske aspektene ved praksis av mediekunst innenfor rammen av kunst og samfunn som helhet. Dette kurset er rettet mot å utvikle en metodikkved hjelp av moderne teori, kunstverk og gjenstander fra visuell kultur, hvor studentene kan reflektere over og beskrive kunstens betydning i forhold til media og digital kultur. Studentene tilegner seg et bredt spekter av praktiske produksjonsferdigheter og utvikler forståelse for valg av innstilling og utstyr. Mens utvikling av teknologier og verktøy vil fortsette, vil studentene bli opplært til å tilpasse og bruke en raffinert forståelse av underliggende konsepter til alle typer medier og teknologi, det være seg for kunstneriske, kommersielle eller personlige formål. Studentene i kurset tilegner seg grunnleggende ferdigheter og kunnskap for å begynne å jobbe selvstendig i studioer og workshops.

Læringsutbytte

Studenten har praktisk og teoretisk kunnskap om elektroniske medier. Studenten har kunnskap om trender og tverrfaglighet innen forskning, samt praksis som sekvens, komposisjon, tilegnelse, transformasjon, interaktivitet, performativitet og fellesskap i elektroniske medier. Studentene har grunnleggende kunnskap om hvordan man kan plassere elektroniske medieaktiviteter i en moderne og historisk sammenheng. Studenten lærer å anvende tekniske metoder i praksis. Studenten er i stand til å planlegge og gjennomføre spesifikke oppgaver og prosjekter som strekker seg over tid, som deltaker i en gruppe, og i samsvar med etiske krav og prinsipper.

Læringsformer og aktiviteter

Studentene blir introdusert for analog og digital video, lydkunst, internett, interaktive medier, performativ kunst og relatert mediesensitiv praksis, for å utforske kunstneriske konsepter i varierte tverrfaglige former for samtidskunst. Praktisk erfaring gjennom øvelser og samarbeidsprosjekter utgjør sentrale elementer i kurset. Lesing og presentasjoner adresserer viktige teorier og støtter en reflektert og kritisk tilnærming til forholdet mellom teknologi og kunst. Spesielle vilkårEmnet undervises ikke dersom for få studenter melder seg til undervisning.Godkjente obligatoriske aktiviteter er gyldige i inneværende semester.

Deltakelse i emneaktiviteter 

Praktisk oppgave  

Presentasjon  

Elektroniske medier

Billedkunst

Arkitektur - masterstudium (5-årig)

Billedkunst - bachelorstudium

Arkitektur - masterstudium (2-årig)

Industriell design - masterstudium (5-årig)

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After last year's cpurse we set the plan, since some students had difficulties to keep up, and some were reluctant to put in the home-work hours, we decided that we wanted more involvement from students.We decide to design a robust program that bridges theory and practice in the creative process of the students and their artistic practice.It also proved difficult to properly assess the developments from the students, hence for better assessment, we introduced sub-assignments and a final presentation as a method to evaluate the students better.

This year's course was differently organised then the previous years. Instead of having the regular 8 sessions on Tuesday's we also introduced a practical workplan to advance the 3D modelling skills of the students. Therefore, we had also Friday afternoon LAB sessions with an extended plan (on BlackBoard). Also with this year's course we introduced sub-assignments additional to the final assignment. This was intended to better track the progress the students made. The evaluation of the course was done on the class as a group (8 form 11 were present) and also reflections on the course were gathered from individual tutorials. The students were very happy with the generosity of the course provider. Below I will sum up in bullet points the positive critique and the points of attention. Positive Developments:<ul><li>The theoretical part of the course connected well to the practical learning</li><li>The material that was presented had high correspondence to the theory and also made more students engaging with the content</li><li>The sessions were very open and </li><li>Students really appreciated with already sending the outline of the course before the summer holidays, so they could do some preparation</li><li>The LAb sessions were very well received and really helped the students with their assignments</li><li>The course was well communicated via blackboard. Assignments were communicated well in advance and also questions from students were promptly answered</li></ul> Points of Attention:<ul><li>To learn the practical content from scratch was experienced difficult for ample students. Suggestions were made to have intenser working periods over shorter time (1 week or 2 weeks) iso spread out over the whole Fall semester</li><li>The theory was for some difficult in combination with all reading material from other courses</li><li>Suggestions were made to also integrate the content with other courses</li></ul>

It is important to keep the continuity of the development of the course and to maintain a coherent structure that is complicit with the overall structure of NTNU. The sub-assignments worked really well and is definitely something to continue. Also Blackboard is used as a document not only of the content but also the structure. So for the following lecturer, please take a good look at blackboard.

Deltakelse og produksjon vil bli evaluert gjennom presentasjon av prosjekter eller verker.Utsatte eksamener/ nye eksamener vil avholdes i den neste eksamensperioden.

Studentene blir introdusert for analog og digital video, lydkunst, internett, interaktive medier, performativ kunst og relatert mediesensitiv praksis, for å utforske kunstneriske konsepter i varierte tverrfaglige former for samtidskunst. Praktisk erfaring gjennom øvelser og samarbeidsprosjekter utgjør sentrale elementer i kurset. Lesing og presentasjoner adresserer viktige teorier og støtter en reflektert og kritisk tilnærming til forholdet mellom teknologi og kunst. Formell evaluering ved kursets slutt - Utviklingsgjennomgang. Spesielle vilkårEmnet undervises ikke dersom for få studenter melder seg til undervisning

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In general the course added a valuable practical part to KiT's curriculum. It might be good in the future to set entry guidelines for students, or clearly express what and which kind of workload is expected from the student to participate in the course. A large part of the students didn't follow up on their homework and most practice happened in class, which caused a lot of repetition. Although, expressed from the beginning of the course that a project was to be submitted, students were not motivated enough to bring out the best in their projects. Maybe, here one could think of better incentives. Also something like open-office/lab hours seems like a standard addendum to guide the students properly. Again, with exceptions, students were quite reluctant to show up regularly. In the future at the beginning of the course a detailed study plan for the course with expectations should be communicated to the students.

The students were very content with the course in general. They emphasized that it was a welcome learning experience to gain more insider knowledge in 3D modelling software and sound composition. The students also claimed that it was beneficial to their studio practice. However, the course had for some students a very steep learning curve and some students expressed it was a bit overwhelming to learn a software package from scratch. This was already clear from an early stage in the course, and therefore the pace of the course was adjusted. The two guest lectures were very welcome, but also very technical. In the future this could be more focused on someone working in the field to have a look at ones repertoire of work iso technical elements. The learning outcomes were maybe too ambitious for the students and could span a longer period of working. Also, and not optimally profited from by students, the open office hours that were meant to help and counsel students more in their process, were appreciated. Lastly, it was expressed in the evaluation that students when doing their introductory rounds, tehre would be an opportunity to express their pronouns.

Lab hours and open office hours should become a common thing at KiT. This could be collectively or individually. the inventory and repository for Media equipment and software should be expanded (3D printer, sensors, raspberry Pi, etc..) This in order to create a digital mindset amongst the students that should evoke curiosity.

Dette emnet introduserer studentene til mulighetene for å jobbe i tid og rom gjennom en utforskning av analoge og digitale verktøy. Gjennom et kritisk studium av mediekulturen, fra enkelteksperimenter til den vansligste formen, vanligvis referert til som allestedsnærværende medier. Siden et økende antall delte erfaringer og oppfatninger av verden rundt oss er formet av utviklingen av medie- og kommunikasjonsteknologi, legger dette kurset vekt på digital kompetanse. Elektronisk bilde- og lydbehandlingsteknologi benyttes for å utvikle studentens forståelse av de historiske, estetiske, konseptuelle og tekniske aspektene ved praksis av mediekunst innenfor rammen av kunst og samfunn som helhet. Dette kurset er rettet mot å utvikle en metodikkved hjelp av moderne teori, kunstverk og gjenstander fra visuell kultur, hvor studentene kan reflektere over og beskrive kunstens betydning i forhold til media og digital kultur. Studentene tilegner seg et bredt spekter av praktiske produksjonsferdigheter og utvikler forståelse for valg av innstilling og utstyr. Mens utvikling av  teknologier og verktøy vil fortsette, vil studentene bli opplært til å tilpasse og bruke en raffinert forståelse av underliggende konsepter til alle typer medier og teknologi, det være seg for kunstneriske, kommersielle eller personlige formål. Studentene i kurset tilegner seg grunnleggende ferdigheter og kunnskap for å begynne å jobbe selvstendig i studioer og workshops.

Studentene blir introdusert for analog og digital video, lydkunst, internett, interaktive medier, performativ kunst og relatert mediesensitiv praksis, for å utforske kunstneriske konsepter i varierte tverrfaglige former for samtidskunst. Praktisk erfaring gjennom øvelser og samarbeidsprosjekter utgjør sentrale elementer i kurset. Lesing og presentasjoner adresserer viktige teorier og støtter en reflektert og kritisk tilnærming til forholdet mellom teknologi og kunst. Formell evaluering ved kursets slutt - Utviklingsgjennomgang.

Studenten har praktisk og teoretisk kunnskap om elektroniske medier. Studenten har kunnskap om trender og tverrfaglighet innen forskning, samt praksis som sekvens, komposisjon, tilegnelse, transformasjon, interaktivitet, performativitet og fellesskap i elektroniske medier. Studentene har grunnleggende kunnskap om hvordan man kan plassere elektroniske medieaktiviteter i en moderne og historisk sammenheng. Studenten lærer å anvende tekniske metoder i praksis. Studenten er i stand til å planlegge og gjennomføre spesifikke oppgaver og prosjekter som strekker seg over tid, som deltaker i en gruppe, og i samsvar med etiske krav og prinsipper.

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Course theme: "Your Virtual Self and Others: Telematic Communication Performance and Theatre of Making" The course explored cross-media jam sessions as a new ‘method’ of creating, promoting and stimulating new forms of co-located artistic collaboration, engaging all senses and abilities, synthesizing processes and outcomes into a live, durational, closely knit total work of art. The course work  itself spanned a range of disciplines from audio production to image-making, performance, visualization, choreography, virtual reality masking, graphic scoring, drawing, and writing, contributing to promote reflection and insight. Encouraging participants from across the spectrum of arts practices to contribute inventive techniques from their fields allowing them to negotiate new ways of working and playing together. Doing so the students transformed more than just the meaning of the techniques themselves — they ultimately transformed the frame of ‘art’ itself. Communication digital platforms allow us to interact and work together remotely in a physically distant, pandemic time, when we need each other more than ever. These ports designed for purposes such as video conferencing became a hub for creative interactions and sites of learning. Each week a new task was introduced and experimented with through group work and creating short individual interactions, of which were presented to the whole group and reflected upon, enabling each student to build up a personal language, artistic methods and confidence to perform telematic improv over the duration of the course. These learning outcomes of the 8 sessions were then implemented during the final 2 day public networked performance Theatre of Making 5 in front of local and global audiences.  The course evaluation is based on the following data: student surveys and a student reference group meeting.

The learning outcomes were communicated to the students via the course description and course syllabus in blackboard and in the first introductory course session altogether. The range of skills the students built up were technical, conceptual and social including:The student knows practical and theoretical knowledge about electronic media in relation to telematic real-time audiovisual improvisationThe student has knowledge of the tendencies and interdisciplinary forms of research and practice, such as: grafic scoring, deep listening techniques, appropriation, transformation, interactivity, performativity and collaboration in electronic media.The students has basic knowledge about how to place electronic media activities within a contemporary and historical context.The student learns to apply technical methods in practice.The student is able to perform reflection on action, reflection in action in the form of daily journaling in reflective diaries The student is able to plan and carry out specific assignments and projects that extend over time, as a participant in a group, and in accordance with ethical requirements and principles.

The course was delivered in tandem with local and international guest teachers from multidisciplinary fields, who i co-taught with for the duration of the 8 sessions of the course and the final Theatre of Making 5 - 2 day public AV improv event online. I performed co-teaching with: Unnur Andrea Einartsdottir, Melissa E. Logan, Jeremiah Day, Anat Ben-David, Ximena Alarcon, Panja Goebel and Tina Frank (who are experts from the fields including: visualisation, augmented reality, dance and grafic scoring). The structure of the course was built on the ideals of student centred and experiential learning; we began altogether by identifying what digital tools we should learn, build and use in order to collaborate in co-located space - this enabled students to get into a progressive telematic activity and gave them a confidence to steadily define their own personal artistic methods (at times building on those of predecessors and in relation to the literature), tools and languages of audiovisual expression in this digital real-time environment (zoom conferencing platform). The course:implemented a carefully designed sequence of multidisciplinary improvisational sessions in order to elicit, identify, reflect on and apply these techniques; andconducting a broad-based survey of improvisational techniques across the arts to develop a provisional survey of the relevant scholarly, artistic, and practical literature. Practical experience through methodological exercises and collaborative projects made up the core elements of the course including: <ul><li>Plenary discussions, lectures and readings (background literature)</li><li>Learning and testing audiovisual improvisation techniques and asking questions</li><li>Joint/participative activity with other students in a networked context:</li><li>how this activity functions</li><li>how individuals gain both for personal development/as artist practitioners.</li><li>Examine how one´s personal artistic method develops and re-work it in response to the group´s activities and discussions and personal reflections.</li><li>Can we experience profound connection remotely? and what other health and mental benefits might we extract from such an activity. </li><li>Identify how to experience connectivity- through immersive rhythmic patterns in order to disconnect from self-awareness.</li><li>Develop personal artistic methods:</li><li>how does individual awareness shift over time?</li><li>Does such a shift lead to new processes?</li><li>How conscious and unconscious decision making in a real-time improv session allow for exchange with student peers and change ones position and state of mind.</li></ul>·      Repetition: playing rhythmic sequences, students join in with simple movement or vocalising words, committing to the rhythmic form- by simply repeating movement or a sound we notice repetition leads into change. ·      Grafic scoring/automatic drawing as real-time-scoring and simultaneously real-time response. Using existing artistic methods of improvisation across the arts including:Deep Listening: (using Pauline Oliveros practice of Deep Listening® method) taught by certified deep listening expert Ximena AlarconSimone Forti's practice of Logomotion, which was taught by Jeremiah Day, a long time collaborator of Simone Forti and part of the second generation of the new dance movement.  The students applied the above methods during the Theatre of Making (TOM) 5 public event. TOM 5 abstract: Even before Covid-19, remote collaboration was an everyday fact; as it became more prominent, the need to work across boundaries of every kind grew. The central role of technology meant our vocabulary for describing this was dominated by our tools. As a result, spheres of activity devoted to exploring improvisational collaboration — mainly the performing arts — have become even more relevant than ever. This series of TOM lectures &amp; workshops explores multi-methods of Real-time Telematic Audiovisual Improvisation, by creating frameworks &amp; methods for exploring how diverse artistic practices can facilitate inventive interactions across disciplinary divides in remote collaboration with students and practicing artists.

Collective participation in the final Theatre of Making 5 - 2 day public event applying what students learnt throughout the course days

Elektroniske medier 1

Bildediagnostikk

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Elektroniske medier - BK1164