What Is Collaborative Creative Work

Over the years, I have flirted with visual art. It started with pencil drawing, continued as an affair with marker illustration, then a dalliance with lettering, and I now have a relationship with photography. However, my favorite art will never be displayed in museums or galleries. It is not static and immutable. Rather, my chosen medium is fluid, living, volatile. No matter how well rehearsed, it will never be the same again. That’s the beauty of performance art.

The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and

The way in which composers convey their ideas is dependent on their use of distinctive visuals. Amanda Lohrey’s “Vertigo”, Tim Burton’s “Edward Scissorhands” and Bruce Dawe’s “Homecoming” show how the composers use the distinctively visual concept to portray a greater understanding to the audience of the themes and ideas presented in their work.

“The point of theatre is transformation: to make an extraordinary event out of ordinary material right in front of an audience 's eyes. Where the germ of the idea came from is pretty much irrelevant. What matters to every theatre maker, I know, is speaking clearly to the audience 'right now. '” This quote by English playwright and screenwriter, Lee Hall, from an essay he published in the Times of London, is central to the connection between theatre and motion picture technology. Since the rise of film in the early twentieth century, these elements have been influencing each other, and working together, to elevate the storytelling and experience of each medium and, in turn, better connecting them to the modern audience. The collaboration of these two mediums has resulted in a new form of theatre, known as digital theatre, that shows “theatrical entertainment does not have to be either purist (involving only ‘live’ actors on stage), or be consumed by the dominant televisual mass media, but can gain from the strengths of both types of communication.”(Masura). Throughout this paper, the intersection of theatre and motion picture technology will be explored through their effect on each other, in storytelling and experience, and the product of their collaboration—digital theatre.

Bill Henson is one of Australia’s leading contemporary artist. He uses digital photography to develop a powerful and edgy atmosphere thus demonstrating a surrealist quality to each of his pieces. Henson transforms his ordinary subjects to the extraordinary, redefining his ideas with rigor that is inseparable from his practical knowledge, producing beautiful yet confronting images capturing the universal essence that enlivens our senses of being (National Gallery of Victoria, 2005). He touches on the many themes of adolescent, capturing a focus on human growth as his interpretations convey reality and fantasy through his use of digital capability. The focus on adolescents allow his audience to experience the “illusion of proximity even as his images are two-dimension and abstracted” (Tolarno Galleries, 2017). Therefore, Henson’s golden ability to transform the ordinary to the extraordinary is captured through the digital techniques that evoke the reality and fantasy of Henson’s interpretation of the human growth.

Between the use of film or digital photography, film is the more effective method when looking for originality and creativity. With the adoption of digital photography, the younger generations, as well as the older and more current photographers are becoming lazy. These groups must recognize that the art of the photograph is being jeopardized by the digital camera and the camera phone. For the current photographers as well as amateur photographers, this essay will serve as testimony to film as well as other chemical methods, and how they shouldn’t be ignored, but preferred. The digital era has had a massive impact on the art world and all of its mediums, but for photography this impact has resulted in the removal of the human from the photograph making process. This intimate process is what makes it an art form. All of films imperfections and unique qualities, as well as its monetary value and scarcity are just a few factors that have made it so precious. To replace this entire process with a microchip is offensive and undermines the importance of the process that is needed to make a photograph. Anyone can take a picture but you must make a photograph, and this skill is being simplified to a digital camera. The impact of the digital era on photography has hindered the process of making a photograph; painting the art form obsolete in today’s society.

The music video “Magic Position” by Patrick Wolf carries with some sense of romance while at the same time builds hopes for those who feel wretched by the tribulations of life generally. It advises people to stand up against the frustrations and setbacks facing them and take a magical position to focus ahead. As McLuhan put it, hot media is high definition, well filled with data and requires less participation (McLuhan 36), implying that there is no adequate space the audiences would need to fill in to interpret and comprehend the work. For instance, a movie often conquers optical space, gives great amount of visual information and uses chromatic senses to engage its audiences. This type of media favors systematic precision and consecutive ordering, as it often allows less audiences’ participation. Comparatively, cool media are low definition and require high participation by the audiences (McLuhan 36). Thus cool media active involvement among the audiences. Take an example of a cartoon- usually comprising a simple circle to represent the eye, some squiggles to represent the hair, and a curved line to convey a smile- this is low definition. The audiences have to fully comprehend and

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of

Writing as a digitally networked environment enriches the experience of the reader by allowing them to interact with new technological forms. The ability to engage in multimodal writing spaces exceeds traditional alphabetic text by drawing upon the audience’s sensory responses. New multimodal media explores still and moving images, music, colour and sound that entices and interacts with the responder. Snowfall is an example of this as it discusses the affects an avalanche had on the town of Tunnel Creek. Its interactive form produces an interesting layout, which gives the reader a more active and dynamic experience in contrast to traditional and more restrictive written text. By using a

In today’s society, technology and art go hand in hand. Art has been around for a long time but technology such as computers are still very new. These two mediums have comingled and now evolve and effect the other. Art has changed to reflect the vast improvements technology has contributed to communication and the ability to create using digital space. Technology has also changed with artist pushing the boundaries of what is technical possible in the digital realm. Much of today’s art is created and presented in digital formats. The question of whether digital art is truly art has risen among many critics in the art community.

This paper will explore a range of perspectives on the relationship between the live event and the document within performance practice, specifically focus on in relation to body, time and space. Performance art is commonly known as a performance presented to a viewer within a fine art context. Through performance artists emphasize the body’s role in artistic production. Historically, performance archive has been characterized as an unfaithful representation of the momentary art experience. Yet, in contemporary art the relationship between live performance practices and documentation has progressed towards reconciliation. Whether, the performance is scripted or unscripted, the performer’s body is present or absent. Performance art can happen in any type of venue and for any length of time. Documentation of performance practice documents the actions of an individual or a group at a particular place and in a particular time.

   Abstract: This essay deals with the creative possibilities generated by the influx of inexpensive and easy to use digital recording software, hardware, and digital distribution techniques.  One of the main themes of the essay is the problem of upholding creativity and artistic integrity in an unmediated digital environment.

Nowadays, in the process of creating artworks, the artist uses the help of those who used to be the audiences of the artworks. This cooperation and the involvement of the audience in the artwork is a new phenomenon that leads to indetermination. When there is no scheme between the artist and the audience about the outcome of the work, then the results are unclear. Digital media arts, especially cellphone touch and software arts, give the users a kind of adventurous experience so that they can practice different colors and

Henry Jenkins describes convergence as ‘a situation where multiple media systems coexist and where media content flows fluidly across them’ (2006: 282). An important part of the information transferred across platforms are the techniques utilised in creation. Digital technologies have no doubt had a large impact on moving images and how they are developed and produced in the modern world. There has been the introduction of inexpensive consumer digital recording devices, and the ability to create a video with mobile phones rather than needing a separate dedicated device. This has led to growth in the creation of amateur moving images on platforms such as YouTube in a variety of forms. As well as inspiring the creation of new areas of production, digital advances have enabled further evolution in more traditional areas. Early cinematic pioneers dabbled with in-camera trickery in order to create fantastical scenes and amaze viewers, and this principle carries forward to today. Matt Reeve’s Dawn of the Planet of the Apes (2014) is a good example of the intriguing applications of digital technology in order to achieve these old goals in a potentially better way. As with the introduction of any new way to achieve a goal, the opportunities available to content creators have multiplied with the growth in the variety of digital techniques. The power particular innovations in technology can have in their contribution is perhaps underlined by the impact they have had in less revered

Old media like broadcasting, print, and film created a consumer culture in the public. Participants would consume the media they could find, and that was the extent of their engagement with a piece of media. But during the digital age, participatory culture has exploded. Participatory culture is a concept coined by Henry Jenkins where consumers take part in both the consumption and the production of media. The advent of computers facilitates a low barrier of entry for creation of digital media and its propagation. With the availability of personal computers and consumer level software to manipulate media as well as the popularity of the internet to spread content, fans have become more engaged with the media they consume. In turn, participants can create forms of that media that comment and expand upon the original content. Participants who used to only consume media now have the avenues to become producers of media. In this essay, I will explore participatory culture through the lense of Lev Manovich’s Five Principles of New Media: Numerical Representation, Modularity, Automation, Variability, and Transcoding.