Final Project: Quantum Tour

Quantum Time Tours

Create a walking tour or site-specific performance that invites your audience to simultaneously experience two different times or places.

Use narration as well as either audio, video, projected images, or other technological enhancement to overlay images or sounds onto your site that invoke another time period or a different place so that your audience can in some way feel that they are in both times or places at once.

Choose a route or location on or near campus to host your audience that will anchor your piece and figure out what other place or time period you will conjure onto being in that site.

Through your narration lead your audience though both your real and virtual site. These walking tours or performances should take between 5-10 minutes. 

Some options for where to start:

    •    Choose a site that has some interesting history and use projected images or audio to bring that history back to life so that your audience experiences both what happened in that place in the past and what is there now. (Similar to the Secret Life of Bridges project by Tim DuRoche & Ed Purver or the dance reenactment app created by Adam Weinert.)

    •    Choose a site that could be a good setting for a fictional story. Create audio and/or video that leads your audience through that place using what is really there as a backdrop for your story so that  people feel like they are inside of your story. (Like Janet Cardiff’s tour of Central Park, called Her Long Black Hair or her cellphone video tour of that train station called Alter Bahnhof Video Walk.)

    •    Choose a place that you’ve been in your life that people would be difficult or impossible for other people to experience - because it is far away or a private experience. Find a site on campus that can stand in for that place is some way. Project still images or video, or create audio that invokes the distant place onto the place on campus and lead people through the campus site as if they are in your distant/special place. (Sorta like Khris Soden’s tour of Tilburg, Netherlands that he conducted in Portland.)

Reading for Week 8

Atemporality for the Creative Artist by Bruce Sterling

Post 3 Questions & 3 Quotes in the comments below.

Walidah Imarisha Reading

Please post comments on the Walidah Imarisha here.

Readings For DIY Futures

Scott McCloud, Blood in the Gutter.


Dunne & Raby, Between Reality & The Impossible
(Optional read about Speculative Design)

3 Act Storytelling in Comics

How to Use 3-Act Story Structure in Comic Strips 

by Tim Stout

https://timstout.wordpress.com/2011/09/03/how-to-use-3-act-story-structure-in-comic-strips/

In just three to four comic panels, you can utilize three-act structure to tell a story. If there’s conflict and a character reacting to that conflict then you’ve got a story and that can easily fit within three or four comic panels.
Here’s the breakdown I used to discuss three-act story structure in the lecture:
Act 1 is the “Beginning”, where information is setup to provide CONTEXT for the story.
Act 2 is the “Middle”, where characters attempt to achieve GOALS and encounter CONFLICT.
Act 3 is the “End”, where there is a RESOLUTION to the CONFLICT and our character’s character is revealed.
Panel 1 (yellow) is Act 1. It provides the CONTEXT for the strip, answering the 5W’s: Where, When, Who, What and Why.
In this example (Calvin & Hobbes by Bill Watterson), the CONTEXT (5W’s) for the strip is:

• Where are we? A white space. We may be inside or we may be outside, it doesn’t matter. The rest of the strip should make sense without that information. (If it doesn’t make sense, then Bill should have clarified).
• When are we? Day or night is not specified, so it shouldn’t matter for the rest of the strip to make sense. (But it is set post-1932. How do we know that? The character is playing Superman, who was created in 1932.)
• Who is involved? A kid. We know his name is Calvin from the title of the strip, Calvin & Hobbes, but within the CONTEXT of Panel 1, it doesn’t matter. All we really need to know is that the character is a kid who plays pretend.
• What are they doing (their GOAL)? Playing Superman. And we know that by the use of Superman’s trademark line “Up, up and away!” along with the cape.
• & Why are they doing that? Probably because playing Superman is fun.

Now that the CONTEXT has been established, we want to see the character attempt to achieve a GOAL and face CONFLICT in Act 2.
Panel 2 (blue) shows the character trying to achieve their GOAL – the WHAT from Panel 1 put into action. It can also be called the PREMISE of the strip.
Using the same example, Calvin’s GOAL is to play Superman, so in Panel 2 we get to see Calvin doing just that: playing Superman.
But there is no story without a problem. So, there must be CONFLICT. Something (a person, a thing, fate, or a force of nature) must CONFLICT with the character’s GOAL.
This CONFLICT brings the potential DEATH OF THE PREMISE.
In Panel 3 (red), gravity prevents Calvin from flying (CONFLICT). Will this be the DEATH of playing Superman?!
NO! Calvin continues to play Superman despite the reality of his situation, thus revealing something about his character.
Character is revealed through conflict and Panel 4 (green) is where we get to see that.
Panel 4 is the RESOLUTION of the CONFLICT, and that RESOLUTION lets the reader know something about your character.
This is where you get to show how your character behaves or thinks. In a well-written comic strip, it results in something funny or unexpected.
Calvin has every reason to give up pretending to be Superman but he refuses and improvs his way back into play. Why? Because play is more fun than reality (and if you’ve read Calvin & Hobbes, you’ll know just how true that is for Calvin).
Here’s another Calvin & Hobbes example:
Panel 1 [Act 1] – CONTEXT (5W’s):

• Where are we? A white space.
• When are we? Day or night is not specified, but it is set after those bubble bottles were created and mass-marketed for kids.
• Who is involved? Calvin.
• What are they doing (their GOAL)? Blowing a bubble.
• & Why are they doing that? Blowing bubbles is fun?

Panel 2 [Act 2.1] – GOAL (WHAT in action. The PREMISE): Calvin blows a bubble.
Panel 3 [Act 2.2] – CONFLICT (DEATH OF THE PREMISE): Calvin is stopped in blowing a bubble. Is this the DEATH of blowing bubbles?
Panel 4 [Act 3] – RESOLUTION: Yes. Calvin’s reaction to what happened reveals his character.
THE END!
The best part about Panel 4 is that different characters can provide a totally different outcome or joke from the same PREMISE.
Here’s an example of a Nancy strip by Ernie Bushmiller (notice how Nancy’s reaction to the DEATH OF THE PREMISE provides an entirely different joke):
Panel 1 [Act 1 and 2.1] – CONTEXT (5W’s) & GOAL:

• Where are we? Outside a store.
• When are we? Daytime.
• Who is involved? Nancy.
• What are they doing (their GOAL)? Blowing a bubble.
• & Why are they doing that? Blowing bubbles is fun?
• GOAL (WHAT in action. The PREMISE): Nancy blows a bubble.

Panel 2 [Act 2.2] – CONFLICT (DEATH OF THE PREMISE): Nancy is stopped in blowing a bubble. Is this the DEATH of blowing bubbles?
Panel 3 [Act 3] – RESOLUTION: Yes. Nancy’s reaction to what happened reveals her character.
THE END!
So, when writing your own comic strips, keep this breakdown in mind and use Panel 4 to show the reader what makes your character interesting, funny or unique.
I hope that helps!

Questions to Consider about your Reenactment

What are the gestures & movements of the original version of your chosen performance? How did you recreate those actions with your body or direct other people's bodies to do them?

What props, costumes, materials were involved in your performance? How did you mimic them?

Where was your piece performed previously? How did the location affect the meaning of the piece? What qualities did you look for in a location to reenact this piece? How did your choice of location impact the work?

Who performed this piece originally and has it been reperformed by other people? How is the meaning of the piece affected by who performs it? How does who you are change or affect the meaning of the piece?

What was the time period in which the piece was first performed? How does the meaning of the piece change by reenacting it in our time? Can you use the shift in time periods as a part of the content of your performance?

What changes to the piece did you make intentionally in your reenactment? What changes had to be made due to shifts in circumstance? How did the meaning of the piece change because of these changes?

What do you feel worked well about your reenactment?

What would you have liked to go differently?

What was surprising, unexpected or satisfying about the experience of this performance reenactment for you?

Event Score Definition & Examples

http://www.aknowles.com/eventscore.html

http://www.deluxxe.com/beat/fluxusworkbook.pdf 

https://monoskop.org/images/2/2a/Ono_Yoko_Grapefruit_A_Book_of_Instructions_and_Drawings_by_Yoko_Ono_S_and_S_edition_excerpt.pdf