For those of you interested in extra credit, here are some guidelines:
I am open to extra credit options that allow for individual and unique experiences and demonstrate student initiative. From time to time I have and will announce and suggest some options–like creating a flyer for our gallery show in April (details forthcoming) or posting extra comments on Week 8’s Assignment Post. You are also welcome to design and propose your own extra credit ideas. The amount of credit possible will depend on the extent of the project you propose, how relevant it is to class, and how much it incorporates theories and issues we have read about. You can propose a small project or self-assignment, a series of small options for a larger cumulative effect, or one or two larger, extensive projects. Be creative and consider areas of our study that are most useful to you in your personal practice. You can email me your proposal idea or give me a write up in class, and then I will tell you how many points the project would be worth before you start.
Here is what you need to have done by class on March 31:
Email me your proposal for the Being Audience project; read pages 97-113, 177-194, and 203-224 in the Fusco book and section 8 in the library reserve binder: Actuals: A Look into Performance Theory by Richard Schechner; add four links to your del.icio.us site; and post at least two thoughtful comments on the readings for this week (if you choose to post more than 2 comments and if they are well-reasoned, I will give you extra credit.)
Here are some considerations:
- Comment on the usefulness and functionality of some of the alternate labels for work (other than “performance art”) mentioned in the Ramos essay. How might some of these terms better describe your own work? How are they useful in the context of Venezuelan work, or do you find similar problems with all terms?
- Discuss the claim from the 1981 CADA work that “the work of improving the accepted standard of living is the only valid art form/the only exhibition/the only worthwhile works of art.” Pay attention to specific implications of words and how they translate for you and your experience, i.e., if this statement is assumed to be valid, what is really meant by “form” and “exhibition”?
- Are you persuaded by Lotty Rosenfeld’s discussion of her work? Why or why not?
- What are the implications of Felipe Ehrenberg’s designation of the street happenings between the two galleries as art? If these are pieces, is he the artist of the piece because he identified them as such? Or do the pieces have unwitting artists, or no creating artist at all?
- Concerning Schechner’s use of the term “actuals:” what are the implications for performance art specifically? What examples can you think of that fit within/outside of his parameters?
- What examples can you cite relevant to artistic practice that bear out his categories of contemporary (or modern) movements: “wholeness,” “process and organic growth,” “concreteness,” and “religious transcendental experience”?
- Concerning ritual, are you aware of rituals that are examinable and explainable following his model? Elaborate.
For those of you especially concerned with issues of documentation, consider this JSTOR essay: “Presence” in Absentia: Experiencing Performance as Documentation” by Amelia Jones.
Enjoy your Spring Break!
The da Vinci Academy will perform The Lorax by Dr. Suess at Dwire Hall this coming Thursday, January 31 from 10:15 to 10:45 a.m.
This performance is a part of the Focus the Nation Event sponsored by Students for Environmental Awareness and Sustainability (SEAS).
If you want to attend this event for extra credit, I will need you to post an entry to the class blog about your experience. For additional details, please email me.