Conclusive reflection

SURFACES AND STRATEGIES – INDIPENDENT REFLECTION

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And here we are, at the end of another Module of this experience at Falmouth and it is time for those consideration about what worked and what did not.

I have been through a lot of things during these weeks, both on a personal and on an educational level, and not all of them have been positive. There are moments in our lives in which everything seems to collapse and we have to use all our energy to find a way out: this has been one of them.

Of course, it must be said that I had the chance to further experiment during Module 3, also thanks to those activities I had the chance to be part of: creating a Magazine in collaboration with my peers made me understand, once more, the importance of working with other photographers in a constructive way; creating a small project avoiding to use the tools I usually work with enhanced my ability to think out of the box; managing a workshop made me understand how much I love discussing about Photography and made me reflect on how I should improve to do it in a more effective way; after printing a dummy publication I better realised what was working and what was not in the way I conceived my project as a book and creating an exhibition made me realise what are my limits in terms of managing an event in unfavourable conditions and with a very small budget.

Focusing on this last point, I wasn’t expecting a great participation. As previously discussed, the central week of August is a moment in which everyone is on vacation, moreover it is a National Holiday in Italy and so not everyone is available to actively be part of a student’s project, but I am grateful to all those people who, with one or more photographs, decided to spend a few minutes to be part of it.  I was hoping to receive about 50 photographs and, with one day yet to come, I received 66 images both on Instagram and via private message on the Facebook event page.

Analysing it under the advertising perspective, many more things could have been done to improve participation, but since I also had to focus on my Assignments, the only things I could do have been creating a small advert on Facebook, an event and sharing information during the whole event on Instagram and Twitter in order to let the widest audience possible knowing about my work and providing them with the chance to become part of it.

Day by day, I had to adjust the language I used: while at the beginning I tried to provide the biggest amount of details possible, then I realised that people on Social Media need brief information to be read in the most easy and fast way possible. I also created a brief video to explain the procedure to follow, but again, I had to face linguistic barriers, with some people asking for a translation (which I provided, of course).

But since my Facebook page has now about 234 followers and my Instagram page 144, since all published images received a decent numbers of likes even without the use of ashtags to promote them, apart from the ones necessary to participate, since, again, the images I created for my projects received a notable appreciation in terms of likes and positive comments (considering I am “Ms No one” in the World Wide Web): why those people did not participate?

I decided to directly ask this question to some of them and, alongside the sentence “I had no time, I am sorry”, many people told me they did not like the idea of showing their emotions with a photo on Social Media, especially because it is something that will remain there. Once more, the starting point of my project , that sense of awkward, emerged and this is why I still believe that my research could be important, even if maybe it might sound selfish. I am doing it for each person who, after those screams I portray, told me or, hopefully, will tell me “It was worth it” or “It helped me”, because my hope is to assist more and more people, creating something that matters. I wished someone did it for me and this is why I decided to do it for others. This does not mean that all comments have been positive, some critiques have been quite heavy and some others simply mean, but only who does nothing never fails and in my life I understood that everything can be useful and generate improvement. Another common opinion shared by those participants I had the chance to talk with about this issue, was that nowadays most of people do nothing for nothing: maybe, then, providing a small prize to the best image shared for this project could have generated a wider participation, but due to the subject matter it would have been simply wrong: I want to enhance empathy among individuals and it is a process that must start with the will to undertake this path.

Thanks to this work-in-progress exhibition on Instagram, now I have more images to integrate into my project, I have more information to process and new elements to analyse in order to decide how to proceed in the future.

I reached the end of this module taking the decision to experiment new routes in my practice, still maintaining its central part, in order to depict different aspects alongside the act of screaming itself. I started with those “Behind a scream” images I decided to insert into my Portfolio after the positive comments of my Professor and Tutors and my intention is to make further attempts in the future, even creating something new and different, always combining diverse forms of Art.

To conclude, if I would have to define this Module with a single word, I would say “hard”, but I must admit that, it provided me with many useful data and information that will perfectly work as a starting point for future considerations.

 

References:

Marconi Dayana, I can hear you now, Instagram profile, https://www.instagram.com/icanhearyounow/

Oral PPT: how it evolved after the received feedbacks

SURFACES AND STRATEGIES – ORAL PRESENTATION

After I participated to the Webinar dedicated to the creation and improvement of our Oral Presentations and to the last one-to-one Tutorial, I could understand how my starting perspective was wrong. From the comments received during previous webinars, I erroneously assumed that I had to avoid talking about those information like describing the project in a general way or discussing those references that were evident (while I have been simply asked not to concentrate my attention exclusively on that point), focusing only on new perspectives. My Tutor David made me understand that what I had to do was presenting my project as a whole: proceeding from generic to more detailed information.

This is why, in its creation, I started by briefly describing it, discussing its reasons and aims and how it evolved in time, both visually and conceptually. I discussed the interaction and participation I want to enhance in the audience and what techniques I used to do so, why I opted for an inclusive and experimental approach and why I decided to collaborate with other artists operating in different fields. In its central part, I insert a selection of photographers who worked as visual references in the evolution of my practice, while most of the quotes have been insert by images instead than into my speech, this also to have the time to focus more on the influence those authors had on my work, rather than simply verbally quote them.

I briefly analysed my work also discussing how the activities I completed during this module and how all received feedbacks helped me stimulating progression in my work, to conclude talking about what are my future plans for “I can hear you now”.

One of the first exercises we had to do during this “Surfaces and Strategies” Module, the creation of a trailer, influenced the style I used to create this presentation and, since my work is a combination of moving and still images, I decided to recreate a similar path for this Assignment, too.

Anxiety and dyslexia are something definitely not helpful in creating an oral presentation and its ten-minute duration always generates difficulties to me, since I always have the sense of leaving something behind. This is why, before starting to write down my speech for this video, I went back reading those evaluations received during the previous Modules and those shared details about Falmouth’s Learning Outcomes in order to avoid the same mistakes made in the past. Of course, rules are rules and must respected by everyone with or without disorders, and hard tasks are something that help us improving as practitioners and in learning how to discuss about Photography.

In spite of technical difficulties I encountered and video-making skills that still must be improved, I hope that the effort I have done and a sense of progression will be noticeable in my practice.

Managing a low-budget exhibition

SURFACES ANS STRATEGIES – EXIBITION MANAGEMENT

Tomorrow, August 11th it will start our one-week Work in Progress Exhibition “Landings 2017: SEARCHING FOR MEANINGS” and I have to admit that, not having experience (and money) it has been a difficult task for me. Moreover, I usually don’t use Facebook to share my work but, since my Art Performance experiment will be online-based, I had to learn how to create an effective page for my project, how to properly create an event and how to advert contents. I opted to use this Social Media since now it is connected with Instagram, the one in which my exhibition will be located.

I started sharing a post with a brief description of my project two days before the opening and I created a 10,00€ advert to reach the wider audience possible in two days. This was basically a test for me: as addressees, I included some Countries in each Continent and I am now starting to analyse who positively responded to that post. Thanks to that post and to the invitations I sent to my contacts, I currently joined a 200-likes level, which is far more that what expected, to be honest! From time to time, I am adjusting my contents following the indications that Facebook provides me to improve how users recognise shared images and information. I selected some features related to the target audience based on interests and highlighted in keywords like photography, art and psychology.

Today I created two separate events for my Exhibition at Falmouth. The first one was dedicated to my contacts and created from my personal page and the second one it was Public and created on “I can hear you now” page. The first one has been created for free and, so far, obtained about 100 visualizations but only 27 participants. As demonstration that only a small percentage of people on Facebook read written information, some people told me they could not participate and they were absolutely surprised when I told them that it was online and so a smartphone and Instagram would have been more than enough.

The second event has been created a few minutes ago, and I decided to create, again, a target audience but avoiding to highlight any specific interest and making slight adjustments to the selection of those Countries that represent my project’s destinations: I avoided to include again those Countries who provided an absent or poor feedback, like Romania, Serbia and Croatia and I Included Australia and Canada to understand if the event might result interesting there.

The subject matter might be a bit difficult to “digest”, this is why I provided only minimal information about it. Furthermore, I asked some friends to translate the instructions in those different Languages I usually do not speak and, so far, I could provide specific information about how to proceed in Italian, English, Russian, French, German and Spanish: the availability of these Languages, also helped me in deciding what Countries to involve in my research.

I also posted an image related to the exhibition on Instagram, but I received a very small feedback, this is also why I am having technical problems in connecting the two profiles. Anyway, I will do my best, during the next days, to share more materials and to support all those people who will put themselves into play.

To conclude, my intention is to monitor my post and events on Facebook and to continue to share information on Instagram and Twitter. I have also downloaded the Regram App, that will allow me to repost on my page all those images created participants: this might allow me also not to have problems in terms of references of copyright.

 

TOTAL BUDGET: 35,00€

Narrate, display, revise

SURFACES AND STRATEGIES – INDIPENDENT REFLECTION

Preparing my lecture for the workshop I have made into Costigliole’s Castle, Italy, on July 29th, I decided to prepare my dummy publication in order to present it to its participants.

“I can hear you now. Dummy Publication”, Milan, 2017. © Dayana Marconi 2017.
Copyright for this video belongs solely to Dayana Marconi. Images may not be downloaded without her permission.  
 

To create it, I opted to build a path that readers can follow using different images in an attempt of reaching different types of audience’s attention, because while some viewers might be more intrigued by the visual effect of long-exposure images that communicates them more than triptychs, some others might be more interested in the route itself and in deeper understanding those emotions behind my photographs. This second approach is the one I am actually focus on, since my aim was to create a deeper comprehension of the subject matter to generate a deeper sense of empathy between sitters and viewers. The fact is that I wanted to clearly represent a human condition and the portrayed people are its representatives, while who is observing my images can finally understand that the negativity inside them is something shared, that must be deeper investigated to be solved.

I divided the represented path in different chapters, each one trying to represent not only those photographed individuals, but also those questions and thought that might be in the audience’s minds.

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“I can hear you now. Dummy Publication”, Selection of images – Slideshow, Milan, 2017. © Dayana Marconi 2017.
Copyright for this photos belongs solely to Dayana Marconi. Images may not be downloaded without her permission.  
 

The first chapter is titled “YOU ARE LOOKING FOR MEANING” . In this section, viewers are still looking for those meanings behind what they feel and the insert images of the videos I created for my project are “obscure” because they want to represent the fact that they did not fully understand them yet. I wanted to include video parts as images of an installation inspired by the work done by Marie José Burki in the book titled with her name, which is a collection “of exhibitions which accompany it show a ten-year accumulation of Burki’s observations and ideas” (Lomax, Pohlen, Burkard, Hentschel, 1998). The texts insert in this one-page chapter are written in four different languages and they are “extracted” from the dialogues of my “I can hear you now – Introductive video – Four ‘Characters’ empathizing with the Author” in which I wanted to represent the state of non communication that is behind the lack of empathy among individuals. I used three different videos in this image to make viewers start wondering what the contents will be about.

In “YOU CAN’T HEAR ME YET”, I insert a sequence of four, again obscure, images of my self-portrait video playing with transparencies: from a 50% for the first one to the 100% full fourth photograph, this has been done to create the sense of a topic defined by progression. Small images are followed by another installation of screens portraying three different moments of my emotional path not in sequence, since the topic is still unclear at this stage.

“CAN YOU DETECT AN EMOTION?” ask and encourage viewers to make an attempt to recognise two different feelings portrayed and compared in each one of my confrontation sheets. It could be seen as a game to actively engage everyone who’s reading my book and, by participation, to enhance their interest in the topic. I insert written questions with the same handwritten font used on my sheets while shared online. They have been ideated as postcards that people can  handle and observe during potential exhibitions and this is why I opted for an handwritten style. Since this dummy should be seen as a sort of minimal scrapbook, I wanted a very clear layout, but using noted questions I could reinforce the idea of a sort of Zibaldone, influenced by the “notebook” written by Leopardi, that made this term become definition for a collection of loosely connected thoughts. I could write all those things I am wondering about in relation to how my audience might perceive those images and if they can understand them.  This “Zibaldone” approach has been reclaimed even into the chapter related to my triptychs to provide a sense of continuity while browsing its pages.

In “FOLLOW THE TRAIL… GO CLOSER…” I collected a few contact sheets, so viewers could follow the emotional process, that my sitters experienced during the shooting phase, as a whole. As for the confrontation sheets, I used blurred images providing a sense of movement, so who will analyse my book will also have a further information: body language alongside facial expressions. Confronting different contact sheets they can see that the length of the inner trail is not the same for each individual and that they face the camera in different ways if they focus on their poses. They can have a window open on individuality, since each person moves in a different way when he/she is stressed by his emotions and memories.

“CAN YOU HEAR ME NOW?” is the section that wants to investigate if, after all the visual information provided, viewers can interpret and “hear” the persons I portrayed in those triptychs: three selected images, in which the active role of the photographer can be seen in their selection, that freeze in time that inner path. I insert some words, displayed like in triptychs, following a movement from left to right while proceeding from page to page, so I could include some thoughts shared by my subjects. They have been set-up in a random layout because they are the first words that popped in my sitters’ minds after I shot them. I divided the before/during/after-the-scream words in three pages, each one followed by three triptychs to maintain the coherence of the layout created for those photographs: three stages portrayed by images and words together.

At the end of the dummy, I included some articles providing information about my project. In ”Stripped Souls”, I tried to briefly introduce the work done to provide continuity with the one that had to be done during the workshop I created, named “Souls portraits”. The second article is about the exhibition in which I will present this scrapbook as a video to be shared during the creation of the online event to make the audience better understand the subject matter. It contains brief instructions and it is related to what written into my CRJ about it, again, to reinforce that sense of continuity. In “How to scream in public spaces: a few advices”, I provided readers with some tips about how to portray themselves or someone else in a safe way since, due to what is happening around the world right now, it might not be a good idea to suddenly scream in public without taking precautionary decisions: in this way they can participate to my August audience-based experiment avoiding having troubles while shooting.

“I CAN HEAR YOU NOW”. To close this dummy, I decided to insert the title once more, since my hope is that readers can state this at the end of this experience. This sentence could also be used during future exhibitions: I could ask everyone who will participate to write it on a paper and being portrayed while holding it up if they sense that the result has been reached.

Into this publication I insert more women than men because the percentage of men participating to this visual experiment is lower due to those difficulties explained into my CRJ post titled “Are men less open to show their emotions?”, in which I basically explained how those Social norms that, especially in those patriarchal Societies like Italy, influence male individuals asking them to be stronger than women, both physically and emotionally, with the result that it became more and more difficult to find men willing to be portrayed while uttering emotions.

Discussing with my tutor David Ellison, after I submitted my dummy to his attention as he required, I could see that a lot of work must still be done to create a proper publication. He provided me with useful suggestions I can take in account to create my Work in Progress Portfolio too, since the path I am undertaking for this book might be similar to the one I can use to create that document. He also suggested me to decompose elements of my contact sheets to create a wider diversity and avoiding a static result. I think this is a very good idea and makes me wonder if the best solution for a publication about my project might be a series of small books in sequence, each one portraying a phase of my work: in this way I could experiment more with visual solutions and I could provide a wider diversity and a stronger “visual movement” to my work.

What worked in this experiment, I think, is that those materials included provide a logical trail that can be easily followed, a “melting pot” of black and white and in colours images with texts coherent with the style used, so far, online to share my photographs. I presented this dummy during my workshop and I could see that people were interested in my work and they made me a lot of questions about it, especially because of language barriers since many people in Italy don’t speak English, even if we are a Country that is one of the most visited touristic destination by people from all the Globe. They told me they were fascinated by the long-exposure images and by the variety of solutions that can be used to portray a topic and so I felt almost satisfied, for once, by my work.

Of course, I also had to ask myself what did not work. I think that I should have created a better conceived publication, dividing it by contents or techniques in different small books, as said, but trying also to create a story that can be told. For instance, a solution could be creating brief written stories that begin but that never end and insert them in each part of the book, like in a diary. Like for Ed Templeton’s “Deformer”, they could be handwritten. Of course they can’t represent what my sitters are screaming for because I think that their privacy must be respected and because I want to avoid that sense of voyeurism related to the pain of others that Susan Sontag discussed in her publications. Of course, this is something I am still planning and so it is just food for thoughts.

I want to improve it to provide viewers with contents they might want to think about and to interiorise: the best solution might be to insert also some articles and an introduction written by professionals and artists related to different fields who collaborated with me, to provide different perspectives and to meet the needs of different types of learners, because not everyone is “a visual” and some people might need or require even a more scientific background to accept the validity of my project. Another thing will be to create a website and to collect further materials there available to all those users who want to deeper explore the subject matter and to provide all the necessary information to visit it into the publication as well.

 

References:

Burki Marie José, Marie José Burki, 1998, Camden Arts Centre, London, UK.

Leopardi Giacomo, Zibaldone di pensieri, first edition published with the title Pensieri di varia filosofia e di bella letteratura, curated by Giosuè Carducci, 1898-1900, Le Monnier/Mondadori, Firenze, Italy.

Lomax Jenni, Pohlen Annelie, Burkard Lene, Hentschel Matin, Foreword to Marie José Burki, 1998, Camden Arts Centre, London, UK, pp.5.

Marconi Dayana, I can hear you now – Introductive video – Four ‘Characters’ empathizing with the Author, released on Vimeo on May 2017 https://vimeo.com/213764162

Marconi Dayana, I can hear you now – Video self-portrait, released on Vimeo on April 2017 https://vimeo.com/208347694

Sontag Susan, Regarding the pain of others, Farrar, Straus and Giroux, NY, USA. https://monoskop.org/images/a/a6/Sontag_Susan_2003_Regarding_the_Pain_of_Others.pdf

Templeton Ed, Deformer, 2008, Alleged Press and Damiani Editore, Bologna, Italy.

Planning my Oral Presentation

SURFACES AND STRATEGIES – INDIPENDENT REFLECTION

This week I am trying to understand what is the best way to plan and create the basic structure of my Oral Presentation, one of the assignments for this Module. The main problem, I think, is to provide clear details while avoiding repetitions in comparison to what presented during the previous two Modules.

My idea was to provide clearly explained contents based on the following structure:

  1. Brief introduction of the project;
  2. Focus on those materials created during this module
  • Comparison with previous ones,
  • What changed,
  • How I developed some ideas,
  • How I used what explained during the module (techniques, exercises done during these weeks, how they influenced my work);
  1. Visual and conceptual references
  • Examples,
  • Why they fit into my project and how;
  1. Compared to previous Modules, what changed in my methodologies and why;
  2. Activities created for this module and how they changed my project (exhibition, workshop, publication);
  3. How these activities influenced my practice and why;
  4. What feedbacks I received during all three stages.

What is important, in my opinion, is to clarify how my work is progressing and how the activities I am completing during these following weeks will enhance my major project in the future, not only in terms of feedbacks I will receive, but also in terms of how I will adjust my practice to adapt it to different media.

The first steps to create my assignments, anyway, will be to complete the workshop, the publication and the exhibition: being three very different ways to present my work, they might provide me with useful details to understand how to properly adjust my imagery and the way I convey the messages linked to the subject matter.

What worries me the most, in the end, is not being able to effectively explain what is really important avoiding to over-stress some basic concepts behind my current practice: the fact is that the provided guidelines are open to interpretation and this could involve drastic differences in how they are perceived while working on a commitment and while it is evaluated.

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Portray, represent, create

SURFACES AND STRATEGIES – INDIPENDENT REFLECTION

As discussed during this week’s activity, what I am trying to do with my practice is to portray negative emotions and the consequences of a process of releasing them through a scream. The main concern of my project is to portray emotions avoiding any type of cliché. I don’t want to create a series of images like the ones selected by David Horvitz in his 2012 “Sad, Depressed, People”: my sitters do not strike a specific pose and they do not act any facial expression, they must simply show their personalities and to be themselves, whoever they are. It is difficult, then, for me to avoid stereotypes since it is difficult for my subjects to avoid a sense of embarrassment while they are in front of my camera emotionally “stripped”. Even if my sitters are not physically naked like in Spencer Tunick’s human installations, they “undress” their souls in front of my camera and so my role is to guide them  in order to help them being genuine and as natural as they can be in their manifestations.

Due to these difficulties, I opted to create a workshop named “Soul portraits: unconventional representations of emotions in Photography” in collaboration with the Italian Photographic Group “Scatti d’Autore”, in its Asti’s branch.

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Dayana Marconi, Soul portraits: unconventional representations of emotions in Photography, Workshop at Scatti d’Autore Association, Costigliole’s Castle, AT, Italy. ©Dayana Marconi 2017.

Structure of the workshop:

  1. Introduction – What does it mean to portray emotions? Visual examples;
  2. I can hear you now – Presentation of the project;
  3. I can hear you now – The shooting phase, practical demonstration, voluntary participation;
  4. How to create a photographic project based on emotions – All phases, from the idea to its realisation;
  5. Practice, activity 1 – Long-exposure portraits (why they are used, example in Photography, tips, practice);
  6. Practice, activity 2 – Details (why they are used, example in Photography, tips, practice);
  7. Post-production – How to create a contact sheet;
  8. Post-production – Different techniques to create emotional portraits;
  9. Final Discussion – What projects would participants like to create? What type of post-production would they use? Reasons behind their choices and questions.

Duration: about 4h and 30mins, breaks not included (2-hour practice). Please note: Duration can slightly change in accordance with the duration of practical activities.

Location: Costigliole’s Castle, Costigliole d’Asti, AT, Italy.

Date: July 29th, 2017, from 3.00pm to 7.30pm.

Language: Italian.

Participants: from 5 to 12 (both participants and auditors).

What I am trying to do is to create a proper small photographic course enhancing a creative dialogue among practitioners.

The main aim of this workshop is not to focus on technical aspects, but to create a whole photographic background in order to enable participants to use their own creative potential to portray those emotions using different solutions: providing creative references linked to history of Photography, examples of my work and asking them to actively participate both as sitters and practitioners, my hope is to make them feel more free to experiment not only with their cameras but with their imagination, too.

 

References:

Horvitz David, Sad, Depressed, People, 2012, New Documents, Los Angeles, USA.

Marconi Dayana, Soul portraits: unconventional representations of emotions in Photography, workshop at Scatti d’Autore, Costigliole’s Castle, Asti, Italy http://www.scattidautoreat.it/workshop-ritratti-dellanima-rappresentare-le-emozioni-fotografia/

Tunick Spencer, official website http://www.spencertunick.com/

Exhibit, experiment, include

SURFACES AND STRATEGIES – INDIPENDENT REFLECTION

For this Module we have been asked to plan and organise an exhibition during the central week of August 2017. As previously written into another post, that is a difficult moment of the year to organise any type of activity, since it is a week in which there is a Public Holiday in Italy: no one traditionally remains in town and almost everything is closed.

Due to my experimental approach, the experienced problems in organising a classical exhibition and my subject matter, I decided to create, instead of a more classic display of my work, a worldwide live performance in which the audience, the photographer and the artwork coincide.

Using social media, I will ask the bigger amount of people I can reach to actively participate to the exhibition during the whole week, by portraying themselves or someone else while screaming. After this shooting phase, they will have to share those images via Instagram, Twitter or Facebook with the ashtag #Icanhearyounow and, in the first case, to tag my Project’s Instagram page writing @icanhearyounow and their exact location under their image/images. In this way, I will have the chance to analyse not only the participation in terms of numbers, but with geographical references as well, having another indicator to analyse my project and understand its potential audience, if it works and how.

I would like not to create a Facebook page for this project since I had the chance to analyse people’s behaviour on different social media and, while on Instagram people have a more positive attitude, on Facebook they usually have a disruptive behaviour and we can often see a spectacularization of the pain of others, but if I will have to, I will carefully consider what contents to share in that context. I want to protect my sitters from this bad social habits and pay my respect for them and for the strength they had in leaving me to photograph their negative emotions showing everyone their souls: I don’t want to take the risk they can be bullied in any way. I am considering it only because I discussed my idea with some friends and I could see that some of them wanted to participate but they don’t have an Instagram profile.

Social media, in my case, will simply work as a place to advert and support my initiative and to collect those images in order to sensitize as much as I can people about some problems that might affect every single individual and our Society: this is why I will also open the exhibitions to all those people who will decide to privately share their images with me, too. Someone might not want to have a permanent image related to this topic on his/her personal pages, but they might want to participate anyway: in this case they could find a way to privately send me their image with his/her name and location in the world.

This inclusive approach, that involves me into my project, or my potential audience during the exhibition, wants to enhance a positive dialogue around this problems and create a more deep level of empathy among people, even to avoid in the future those negative behaviours I was discussing before. Looking at something and experiencing something in first person take to very different results: in the second case each individual has the chance to better understand what can be observed into the images I usually produce and to have an active role not only into my project, but in doing something to change this situation.

I will provide some specific indications about how to create a portrait that can be included into my exhibition: images should focus on faces, they should be created in black and white or in soft colours, as the ones created for the project itself, in order to be better integrated into it, but my intent is not to create too many limitations to my audience and let them free to interpret the topic as they like, so if something very different in terms of style will be submitted I will include it anyway. What really matters, I think, is that they demonstrate respect not only to the topic itself since it involves many people out there, but to all those people who put themselves into play participating to my project so far.

We have been asked to present a small publication about our project during the exhibition, but, since mine will be a virtual choral live performance, I will create and print my book, I will film it and I will upload it on my Vimeo profile page in order to make it available to everyone who will want to watch it.

Since I might have to create an event on Facebook, I will share the link to that video during that phase. Usually people on that medium do not open a link if they are not really interested in a specific topic and this is why I think that in that case sharing a content might work. Those people who will see it will be the ones who are really interested in participating or in knowing a bit more about this theme. During the exhibition, then, I will share images about it on Twitter and Instagram each one of those seven days.  Some details have to be further analysed, but I think that being part of a bigger group-exhibition at Falmouth and the experimental approach of my specific case will help me in understanding how to proceed in the creation of further contents and in the diversification of my imagery. I will also be able to better understand if this project, exhibited in different forms, will work or not and to examine those reasons behind those results I will obtain.

 

References:

Marconi Dayana, I can hear you now, Instagram profile page https://www.instagram.com/icanhearyounow/

Marconi Dayana, Vimeo profile page https://vimeo.com/dayanamarconi