Then anywhere along the trajectory, in terms of the contract, in terms of the creative practice, I can define aspirations. And where you posit yourself for this class is not gospel. You can rethink it, you can rewrite it, you can reject the contract afterward. But we need a system for every minute of the time we're together that allows us to be aware of the degree to which we are participating or not participating, we're contributing or not, consciously or unconsciously. It's the lifeforce of the laboratory.
Students start presenting in the first week.
They present their first project. There's an incredible amount of emphasis in my visual continuity class on presentation strategies. The story needs to be as interesting as the object. If there is some baggage about this, then they need to talk that through, not relegate it to a position below the object, the print, the photograph, the painting. I don't expect the story to be conversational and anecdotal.