Overview:
General Instructions for the Prompts
Overview
In Part I, the investigations introduce some initial techniques and establish a common set of concerns and terms.
In Part II, the Time Piece investigation is an intermediate step in a sequence of increasing independence.
In Part III, you may:
A. Continue with weekly or bi-weekly prompts, choosing any that you haven’t previously attempted. These would be completed on a weekly, or bi-weekly basis.
(OR)
B. You may also revisit ANY of the prior Prompts, adapting or extending them into something that results in a highly refined outcome.*
(OR)
C. You may devise your own.*
Instructions
For Part III
If you follow the investigation as written, then you should compose a reflection (250 words) on the work you completed, with text citations and/or documentation of the work as a grounding for your analysis and reflection.
You may also deviate from the prompt. In that case, the writen component would include a formal rewrite of the prompt to reflect the changes you made. This formal process provides (a) a cleaer basis to support discussion in studio and (b) creates new themes and variations for others to attempt or revise for themselves.
If you choose to devise your own investigation, anticipate how that might be structured from the start, writing your own prompt with the template as a basis.
If Rewriting or Conceiving Prompts:
Please follow the model below:
1. Title
2. Overview
3. Instructions
5. Tools and Materials
6. Required Reading
7. Optional Reading
8. Relevant Tutorials
9. Other Resources
See the Template.
Material Clocks
Overview
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.
Instructions
Step 1:
Step 2:
Step 3:
Relevant Tutorials
- Tutorial Link
- Tutorial Link
Required Reading:
Marta Braun, Picturing Time, Chapter 1.
Optional Reading:
Jacques Rancière, The Time of Landscape, 000-000.
Other References:
Marta Braun, Picturing Time, Chapter 1.
Reconstructing Geologies
Overview
After a few hours in Arches National Park, the sublime experience of scale slowly exposes a sublime experience of time. This happens with a shift of focus: moving from the overall figural forms to the striations of texture and color on their surfaces. Slowly, one feels a kind of reverse vertigo, like walking on an ocean floor, as one realizes that the ground plane used to hover hundreds of meters above one’s head, and that the hulking figures and masses of rock that obstruct your passage are continuously falling ever so slowly in a hundreds-of-millions-of-years-long process of weathering and erosion.
Like a puzzle scattered on a table, relations appear that induce visitors to imagine the evidence in their original position.
Examining the elements visible in a contemporary landscape, attempt to reconstruct their primordial positions. You may use photographs, drawings, or another medium of your choice.
Instructions
Step 1:
Step 2:
Step 3:
Relevant Tutorials
- Tutorial Link
- Tutorial Link
Required Reading:
Marta Braun, Picturing Time, Chapter 1.
Optional Reading:
Jacques Rancière, The Time of Landscape, 000-000.
Other References:
Marta Braun, Picturing Time, Chapter 1.
Palace of Memory
Palace of Amnesia
Overview
Structural forces in the city create perpetual churn. The landscape and its edifices churn in a continual process of creation and annihilation.
Consequently the city is both a palace of memory, and a palace of amnesia. Develop a way to represent a region of the city, recovering all of its prior states.
Instructions
Step 1:
Step 2:
Step 3:
Relevant Tutorials
- Tutorial Link
- Tutorial Link
Required Reading:
Marta Braun, Picturing Time, Chapter 1.
Optional Reading:
Jacques Rancière, The Time of Landscape, 000-000.
Other References:
Marta Braun, Picturing Time, Chapter 1.
The Time of Landscape
Overview
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.
Instructions
Step 1:
Step 2:
Step 3:
Relevant Tutorials
- Tutorial Link
- Tutorial Link
Required Reading:
Marta Braun, Picturing Time, Chapter 1.
Optional Reading:
Jacques Rancière, The Time of Landscape, 000-000.
Burridge, Frank. “Jacques Rancière: The Time of Landscape.” Log, no. 49 (2020): 57–62. https://www.jstor.org/stable/27092837.
Other References:
Marta Braun, Picturing Time, Chapter 1.
Whorf-Sapir Hypothesis
Overview
The Hopi-time controversy is a debate about whether, or not, differences in the way English and Hopi languages describe time are an example of linguistic relativity – i.e. that language is entangled with cognition. The debate started when the linguist, Benjamin Whorf, compared standard English to Hopi language references to time, in “words, grammatical forms, construction or expressions.”
Regardless of whether you support a relativist or universalist relationship between language and thought, the invention of new words does help us describe and imagine new trajectories of work. For example, shortly after the photographs were introduce, chrono-photography was developed.
Using the Time-Saving Self-Estranging Concatenation Machine invent a word for an unprecedented time-related branch of thought. Write a new prompt for it. Then complete that prompt.
Instructions
Step 1:
Step 2:
Step 3:
Relevant Tutorials
- Tutorial Link
- Tutorial Link
Required Reading:
Marta Braun, Picturing Time, Chapter 1.
Optional Reading:
Jacques Rancière, The Time of Landscape, 000-000.
Other References:
Marta Braun, Picturing Time, Chapter 1.