(MP3003) Enterprise project - group meeting video 05/01/09

A clip from our first meeting of the new year...

(MP3004) Creative Writing Log 16/01/09

Right then, this will be my last blog entry for a couple of weeks as I'm off to india to recharge my batteries. Paul Dodgson (radio expert) came to Artswork to give us a lecture on producing radio plays.We record on the 19-20th of Jan. I will be away when the group record but as my role is that of Editor so my absence is not an issue. In fact it can be an advantage to come on to a project with a fresh pair of ears. Paul gave us these tips when considering radio plays:
90% of the success of a radio play can be dependent upon casting
There various ways to record effects. Lots like to record as many spot effects as possible during recording with actors or production staff or record totally dry and add effects in post.
Radio drama sounds at its best when there’s physicality to the acting in a play. It makes it more believable.
Try to record chronologically record over two days and keep actors on hand during these times.
The first thing to do is to read through script with actors just before we go into production.
Allocate an hour for the read through at start of day 1 and let them read through with out any direction.
It helps to have the writer on hand to answer questions that may arise. They can be a useful sounding board.
Map out a schedule for recording scenes perhaps even two hours per scene. In order to deal with the page turning noise decide if you want to record whole scene or break it in to chunks. Also actors only hold script from the scene they’re recording. Thicker paper can also cut down on noise as its less rustley.
It can be beneficial not to rehearse in advance as a read through can act as the same thing. Try not to have pre-conceived ideas as to what the play should sound like. Keep an open mind and let the actors do their thing. It is advantageous to schedule a break after a read though but bear in mind actors find it difficult to take direction from more than one person.
Team involved in recording are studio manager, broadcast assistant, Director / Producer. When spot effecting use same mic as actor and when monitoring do a dry take as well as a wet take. The voice though is very different when it’s behind a loud sound. Actors need to pitch up or adapt to location or environment.

(MP3002) individual Project Log 14 12/01/09

Here is a link to an interview with Louis Theroux and Michael Palin discussing some of the issues I have faced during the filming of my documentary including Moral, ethical and technical dilemmas....

Have a look

(MP3004) Creative Writing Log 12/01/09

Today I called Paul Dodgson, a radio guru that Steve May put us in touch with to guide us with our radio production module. The phone call was to confirm with Paul the time and location of his lecture but we also discussed its content. Paul questioned me on what we hoped to learn from him. I told him that we needed advice on which kit to use, location recording and guidance on taking a directorial role. His feeling was that the best approach would be a general overview on radio production. He also asked for some background information on us. The type of software we use to edit and our previous recording experience. Paul favours Pro Tools and Logic Pro and thought that our grounding in music technology would be a huge advantage.

(MP3001) Enterprise project - group meeting 12/01/09

This mornings minutes.

Group Meeting at Artswork Media 12/01/09

Present
Mike Huck, Dan Hooper, Jona Melton, Kirsty emery, Elana Rose, Kat Davis, Adam Boyce.
Apologies
Freddy Ritchie, Ariel Moreton.
Agenda for meeting:
• Group Meeting
• Steve Crenshaw from Bristol council here to talk about brief.
• Documentary over view.
• Individual Project update
• Group project update
Nic ran over requirements for the modules taken by some of the students here at Artswork Media.
Nic also mentioned involving business link and others who work in the industry in our personal development module. They would help us learn how to manage projects in a business sense.
It was also mentioned that we ought to begin looking for work in publications like Mandy. Working title is looking for applicants for their training program.
Steve Crenshaw from Bristol council involved in CitizenScape funded by e-participation stand. He is currently working on noise map for Bristol city. He requires video’s for their website. His hopes for the video are that it be left field to provoke interest in the project.
• Possibly similar to viral adverts.
• Flash games
• Layers
• 90-second bytes.
http://www.bristol.gov.uk
One of the goals of project is to create interest in community from the more deprived areas in Bristol particularly south of the city.
Deadline for project ASAP!
Jona mentioned the need for a brainstorm of ideas!
Action points for next week are to plan a schedule for this brief but unfortunately the group will have to do with out me as I will be on holiday in india!

(MP3002) Individual Project Log 19 07/01/09 - Shoot Journal

Now some people might think I've become slightly obsessed when it comes to my project and i'll be the first to admit I write a lot of blog entries, but I find it helps me clarify my thinking. Armed with our kit and a load of contributor forms Paul and I went to the Mitre Pub in glastonbury to film Brian's Moot (pagan for meeting). I wasn't sure what to expect, i didn't know whether there would be many people there or not. Brian hadn't said too much about it to me. It was suggested to me to place a notice at the entrance stating that we were filming the event and giving a brief synopsis of the project. The room in which the meeting was held was long and narrow. Not everyone is as comfortable in front of the camera as Brian so in order to be as unobtrusive as possible we set up the camera in the far corner of the room and placed the boom mic on a chair. There were five people at the meeting they all signed contributer forms but I could sense they didn't trust me. Brian hadn't at first it took time to build up. Nick, Brian's apprentice bought to the meeting an item that affected the project. He said he'd been in contact with the coven from Stanton Drew and that they didn't want us filming there! There ensued a lively debate between everyone on where we should have the ceremony if not at stanton drew. I got drawn in. I realize now that I was being quite stubborn about it, i was angry at Nick though as I felt he was hijacking the project. In my stubbornness and anger I couldn't see how genuinely uncomfortable they were at the prospect of filming at Stanton Drew. My behavior led them to believe that I wasn't taking them seriously as I found out when I watched back part of the tape where paul and I had left the room! This got me thinking. What did I think of their way of life, what was I hoping to find out, was I looking to ridicule them or present their beliefs in a balanced way? Add to this my fondness for Brian and I'm left with an ethical dilemma. I'm inclined to stick with my original treatment "an affectionate human interest film on Brian". He is a lovable eccentric, which is how i'll portray him. After all when a contributer signs a consent form what are they really consenting to and what are my responsibilities as a film maker to my contributors? And who would want to see a film where someone was ridiculed for half an hour. It would get pretty boring and I expect the viewer would draw the conclusion that I'm a bit of an asshole! That is not what I want. I called Brian to tell him I took his views and beliefs seriously and that I was happy for him and his friends to hold ceremony wherever they want, i don't want them to feel uncomfortable. After all if they pulled out i'd have no program.

(MP3004) Creative Writing Log 10/01/09

Last wednesday I was on a shoot for my group project and couldn't attend the meeting with Lloyd and Chris Jury. Having spoke with Steve May I was under the impression that we would record on the 15th of Jan, thus allowing me to take part in the project before leaving for my holiday. However due to previous commitments Chris Jury cannot make the 15th so Lloyd has arranged to record on the 19th or 20th. This leaves me in a difficult position, I need to find out exactly what is expected of me in order that I pass this module. If I'm required to be there for recording then we will need to ask Chris Jury to re arrange so we can record when I return from my holiday on the 1st of Feb. I will meet with the group tomorrow to discuss our options. Here is the email Lloyd sent to Chris Jury.

Hi Cris

It would be good to know your thoughts about this up and coming, group, radio drama.

Here are our suggestions for actors that we prefer thus far.

We would like to utilise your directorial experience and expertise in the selection process so if there are any actors that you think would be best served on the project then we would wish for them to be involved.

Here are our choices.

I hope you don’t mind me using a scale for 1-10 as an aid for the selection process.

If a 1-10 scoring system were allowed, I would score as follows-

Mark Hutchby 10
Kieran Haggerty 8/9
Cat Sparks 7
Melody Ashman7/8

All these actors are subject to your final selections and suggestions.

There is also an additional space in Tim Hufferdines script for another actor.
I’m still waiting for a version of the script in a word doc format to send via email.

All the very best

We all await your reply with eagerness and zeal!

Lloyd :0)

(MP3001) Enterprise project - group meeting agenda

Here is the agenda for next mondays meeting

Hi

On Monday we will kick off with a meeting at 10.15 and then break for coffee at 11.30. When we come back we will have Steve Crawshaw Programme Co - ordinator Air Environment Bristol City Council with us. I will ask Steve to lay out the brief in his own words and then we should aim for a general discussion around the subject. Before we break for lunch art 13.00 I would hope we had got to a point where we had a plan of action even if we did not yet know what the content is.

In the afternoon I intend to christen the new projector and look at a few documentaries. This comes out of discussions with a number of people about the filmmakers relationship to the subject, contributor, participant.

Finally I hope those people that have not given me an update on their projects will do so.

Best

Nic

(MP3002) Individual Project - Call Sheet

Here is a call sheet from the shoot.

(MP3002) Individual Project - David Charap

Through some of the contacts I have I was put in touch with a professional editor from NFTS. David Charap's credits include, In the Land of the Free..., Basho, My Summer of Love and Antony Gormley: Making Space. I asked David for some tips on editing documentaries and he went one better by sending me an editing schedule he'd devised complete with notes.

PLAN FOR SIX WEEK DOCUMENTARY EDIT
(Written by David Charap)
WEEK ONE
Digitize and plan
Format DV/Digibeta/film. Ratio 16:9, 14:7, 4:3 Back up, cloning, reasonable risk, Logging, Aroll Broll Language, translation, transcripts
memory 20hrs capacity .
SELECT OUT material
Avid log and batch digitize advantages, disadvantages PREPARE NOTES Bins (characters, themes, locations) and labels Avoid obsession + tiny detail, avoid plunging in blindly, establish cutting room rapport
Target: no more than 20 hours rushes, close relationship in cutting room, understanding of film's themes and characters, lots of talking about strengths and weaknesses NOTES
First of all, do not take the time to subtitle the rushes. I would wait until you have a rough cut or a cut of about twice the length of your film. And, even then, you might just do short, rough translations so that anyone watching the film knows what is going on. My way would be to have a quick scan of the rushes and talk through the film with the director, maybe looking at certain scenes with him translating. Then, if possible, have him select maybe 10 hours to transcribe. Is there a lot of talking? From that transcription make a paper edit. While you do the first assembly, he can get on with transcribing additional material. Hopefully, by the time you get an assembly he will have transcribed everything that might be needed and you can add more scenes to the assembly. At various times during the edit, you might go back and look at material that had been deselected to see if there is anything useful either in terms of voice or image. Or ... don't do anything until he transcribes the whole film. If he really can do it in four days that isn't too long to wait. Then he can do a paper edit in a day and you can get on with the assembly. A rough paper edit should not take too long. And it will have to be rough because you will not make fine cuts for some time; the assembly and further edits will be in chunks until you come to terms with the content. You don't want to get hung up on transcribing a lot of material that has no chance of being in the film. On the other hand, as the editor, you want to know what's in the footage and be aware of every possibility for expanding the ideas the director puts forward.
WEEK TWO
Assemble and structure SELECT IN key elements Bin for leftovers Paper edit, overall feel, include duplicate scenes Beginning and End Refining purpose Avoid getting into editing issues but highlight key visual elements and start considering editing potential Establish Rules of the game, nature of film, necessary info Define cutting room etiquette establish private but open discussion
Target assembly of no more than 4 times anticipated final duration containing all the crucial ingredients, if necessary with a few odd elements tacked on not with a certain place
SCREENING & DISCUSSION What is this film about? What will make it compelling? What does it want the viewer to go away with? How will the film achieve this? What sort of a film is it? (tone, length, how it addresses the viewer) What should be its structure?
WEEK THREE
Towards a rough cut Get the structure right before obsessing about editing details Work systematically sequence by sequence; try to work fast enough to get a momentum and keep the whole film in your heads SELECT OUT superfluous, repetitious or inadequate sequences Start talking about music, rhythm, style only when appropriate
Target an edit that is around twice final length that flows logically but feels bloated, all relevant material should now be included and integrated and the shape of the film be clear
WEEK FOUR
The film is born SELECT IN only the elements of the edit that satisfy what should now be demanding criteria Work through the film considering visual language, rhythm, mood Do not be afraid to experiment with different versions Pay particular attention to opening and ending
Target an edit that might even make sense to an uninitiated viewer, it may still be lumpy but it should bear some resemblance to the final film.
SCREENING AND DISCUSSION Does the film make sense? What elements are missing/superfluous? Is it compelling? How can it be enhanced? What does it feel like to watch it and where are the danger areas? Has the cut fulfilled potential from rushes? What is the suitable duration?
WEEK FIVE
Towards a fine cut Address screening notes where possible and if not decide why not Iron out any structural adjustments Plan outstanding tasks, viewings etc. Discuss music, key sound or visual effects Work through film systematically concentrating on style and technique Erradicate any material that stands in the way of the film no matter how much you like it
Target a cut you can show to a friend, appropriate length, accurate translations if necessary, ideally pause for sleep reflection inspiration etc.
WEEK SIX
Fine cut Discuss post production timetable/requirements Integrate music/ effects Trim and tighten Consider opinions you respect Address technical faults Neaten sound tracks
Target a film that exceeds your own expectations that takes every viewer into an enthralling new world where most can hear what you set out to communicate

Although I don't intent to follow this schedule to the letter, I will use it, and Cross cultural Film making by Barrabash and Taylor as a framework and reference.

(MP3002) Individual Project - Notebook

I've kept a shoot journal in the form of a note book throughout my individual project. It contains things like notes on shots I want, sketches, lists, maps etc... Here are some pictures from it.

(MP3002) individual Project - trouble shooting kit

As you may have gathered sound has been a real issue for me on the shoot, the lapel mic in particular, a real bugbear! On the shoot last week despite my efforts to plan and trouble shoot it the lapel mic wasn't performing correctly. I called Dani Landau and arranged to take the kit into paint works to trouble shoot it with him, I was convinced i'd done everything possible but Dani was sure i'd missed something! When I arrived at paint works Dani and I set the kit up exactly as I had done on the shoot. Dani's suggestion was to work backwards and eliminate each possibility before moving on to the next. We ruled out the boom as the problem then we quickly ruled out interference from mobile devices and frequency issues, which left us with only one thing. Noise from clothes and Brian's beard. I was amazed at how I could have missed it but then I assumed that the mic was built to withstand that type of interference! Once we had sorted out the issues I'd been having with the sound we moved on to talk about logging and capturing and how to manage projects within final cut properly. I am notoriously messy so the information was very helpful to me.

(MP3001) group meeting 08/01/09

Today Kirsty and I met with Kate Cross from the EGG. It was our first meeting, I felt quite nervous. I was glad Kirsty was there to keep me calm! It seemed to be one thing after another, first the sat nav broke and then we had a nightmare parking, but we made it on time to the meeting. We sat down with Kate and discussed the project with her. I led the meeting and kirsty took notes. We asked Kate what she wanted from us in terms of a finished product was it for archival purpose, dvd or web. Kate went on to explain that she wanted a trailer lasting 10 minutes showing the best bits of the play. This would be a promotional tool to show to bookers and would feature cast and crew credits. Kate also wanted a full length version for archival. We agreed to have a rough cut ready for Kate by mid feb which we would watch together so she could choose the clips to include in the trailer. We also discussed the possibility of an ongoing relationship between artswork media and the egg. The projects we take on though are dependent on the whole group being in agreement and of course being signed off by Nic Jeune. As a whole though I felt the meeting went well.

(MP3002) individual Project Log 19 05/01/09 - Shoot Journal

Today Paul and I returned to Glastonbury for the first shoot of the new year. I'd had some issues with the sound, especially the clip mic, which had caused me lot of problems - crackle and interference! I decided to trouble shoot the kit so when Paul came over in the morning I pinned the clip mic to his Lapel and tested it out. It appeared to work fine. We checked the camera and, happy the kit all work fine we made our way to Brian's house. We intended to visit Trevor Jones at his shop, the Cats cradle but first we wanted to go back to Wearyall Hill to see if the thorn tree had blossomed.



Paul and I spent half an hour setting up the kit, which seemed to be working ok. I was on the Boom and Paul on Camera. I wore the headphones so I could monitor sound. This meant I had to stay very close to paul as the lead was very short. It worked to our advantage because when I asked a question Brian would look towards the camera rather than off to the left or right of shot. This makes it look as though I'm filming and that he's talking to me. I realized to my horror that I was still having problems with the Clip Mic, I was completely at a loss as i thought I'd fixed the problem and couldn't understand where the problem was coming from. It was demoralizing and added to that that Cats Cradle was shut and Trevor no where to be seen, I decided to wrap up the shoot for the day. I was really disappointed with the sound but luckily I'd recorded two channels of audio one on the clip and the boom on another and the sound from the boom had come out well! This way of working proved to be my saving grace. Had I used only the Clip mic none of the footage would have been usable. This would have been a shame as we had some beautiful shots.

(MP3001) enterprise project - group meeting 05/01/09

First day back after the new year. It was nice to see everyone again. We kicked off the morning by discussing the pro's and con's of the media industry. Why had we chosen follow the career paths that we had. This topic of conversation has come up often since I began my degree. The media industry is notoriously difficult to break into, and often badly paid! That is unless you are Chris Moyles or Jonathan Ross. It took me three years of unpaid work before I got a break in radio. I made tea, photocopied and went on lunch runs for ages before I came anywhere close to getting on air! And if you want to know what the money is like in commercial radio, tough I'm not telling you!



The pro's of working in media are things like contacts, reputation and technology. Technology such as the internet has led to a creative explosion. Websites like youtube give film makers like me the opportunity to showcase work to millions. I personally have made some great contacts through work experience and my job at Star Radio. UKRD have a good reputation as does Bath Spa. I work hard and have some great qualities, I have a good reputation. Of course there are cons to the media industry.Recession, Competition, Relocation. We are in a global economic recession and as a result the industry is shrinking. People are tightening heir belts. Jobs within the industry are notoriously scarce. There's a lot of competition out there. And, the jobs there are seem to be in london, which means relocation.
We also discussed group projects. I gave the group an update on the EGG project. I'm still waiting for Phil Purves to return my call. I emailed him this morning re: our meeting on thursday. Hopefully he'll get back to me soon, i'd like to meet before I go on holiday. We also talked about a new brief for bristol council here's the email detailing the project.

Video introduction to Environmental Noise and Citizenscape

The Brief:

A short (~10 minute) video, formatted for the web to encourage citizens to contribute to a website (online forums, blogs, wiki's) which is focussed on the issue of traffic noise. By using the website and generating content, citizens have an opportunity to help to reduce traffic noise as the website will be used to help develop an action plan. One way of drawing people to the site is to ask them to think about their favourite quiet space and to use put a marker on an online map and then upload multimedia to the map, e.g. a vox pop of them explaining why they like the park. This is being developed at the moment. A similar approach has been used at www.bristolstreets.com for the cycle survey.
The target audience at the moment is "hard to reach" communities in South Bristol, especially around Knowle West.


The video needs to convey the key messages while being engaging and fun.

Key messages:

* Traffic noise is widespread, annoying and unhealthy
* People can use the website to help reduce traffic noise in their area
* People can find out about traffic noise issues on the site - legal, health, science and how new developments in Bristol will affect noise
* People can see how noisy it is where they live by looking at the noise map for Bristol
* People can influence decisions that affect their area, especially on green space and transport

My last conversation is that as it is a film that plays on opening the new website it may be more interesting to have three X 90 second films in rotation/

Best

Nic

We threw around some initial ideas and agreed to discuss it at length when more members of the group are present. We also got an update from Nic on the website, which still isn't ready and proberbly wont be for at least another week or two. I filmed the meeting and will post a short clip soon.

(MP3004) Creative Writing Log 05/01/09

Nic is always telling me how important it is to take every opportunity to network. On friday night I was at a wedding reception. We'd just eaten a lovely meal and the entertainment had arrived. An irish dancing band with a caller! I was quite content to sit and watch but the caller asked for more participants. I was paired up with a woman called Tiffany. We danced for a while then out of breath and in need of a drink we sat down and started chatting. Tiffany told me she was a director. She directed dramas for a theatre company based in Devon. I explained the creative writing module and the radio drama I was working on. I asked if she had any tips on how to direct because as a producer I would be called upon to manage and direct the actors in the play. I got her email address and have written some questions for her. Here is the email that i sent.

Hello Tiffany,

It was lovely to meet you the other day. I hope you enjoyed yourself at the wedding. I had a lovely time! I was really interested
to hear about your career and was hoping you'd be able to answer some questions for me as we discussed, which may help me with a project I'm working on at the moment ( producing a radio drama). With your permission I'd like to publish your Q&A interview on my blog. Could you also include your full name and the company you work for.


Q.1 What in your opinion are the most important assets for a successful director to possess?



Q.2 What are the most important things to consider when directing a drama/play?



Q.3 How long have you been a director and what was your career path?



Q.4 What was the single most important piece of advice you were given when you set out to become a director?



Q.5 how do you view the changing face of the industry, what are your thoughts on the current media climate. Is it affecting you?. e.g digital media, internet...


I look forward to hearing from you. Also thanks for the dance the other night, I had a lot of fun!


yours,


Mike

I have chosen questions that I feel will best help us as a group with our task of producing the radio play. As soon as I receive a reply i will post it on my blog! It's funny, you never know when you'll meet someone who can be of assistance to you in some way!

(MP3004) creative Writing Log 06/01/09

After the meeting at Artswork media I met with Adam & Lloyd to discuss the radio play. It seems as though or us there is some confusion as to where we would record, what equipment we'd use, Who our actors would be and which script we would pick to produce. I decided to call Steve May to get some support and guidance. His suggestion, for reasons of practicality was to go ahead and choose the script we wanted to work with and which was most "do-able" or as he called it "the art of the possible". We have chosen "Pedestrians" by Tim Hufferdine. Its set in the UK on a busy road. This is an achievable location an opposed to San- Fransico in the play I had chosen, "suicidal Tendency, which in hindsight would be difficult to produce. Time is in short supply and we need to get organized. Steve gave me the number for Paul Dodgson and recommended that we contact him and give him a brief outline of the script so that he may advise us on where to shoot and what equipment to use. I have left a message with Chris Jury from PLARM asking him to put us in contact with some of his students so we can use them as actors in the play. Unfortunately I'm unable to attend Rachel's Lecture tomorrow as I'm filming my individual project. However, Lloyd and Adam have agreed to chase up Paul and Chris as they will be in university that day.

(MP3004) creative Writing Log 05/01/09

Here is my interview with director Tiffany Strawson, in full.

Q.1 What in your opinion are the most important assets for a successful director to possess?

In my case, a van!
Plus all the usual things any creative professional needs, like an apple mac and a mobile phone!
But these are all tangiable, hand held things and the greatest asset I think actually is more of a personal nature, for example a list of creative colleagues and peers, for stimulus, inspiration and support - and contracts! 'And it helps if they are also friends built up along the way!
In addition to this it certianly helps to have emotional and domestic support and a patient bunch of mates (who you never get to spend enough time with!)

Q.2 What are the most important things to consider when directing a drama/play?

The exact answer to this would totally depend on the nature of the piece, the venue, the group I was working with including the cast obviously and the theme/ subject/ context. 'A variety of different contexts. So half of the answer is very much about the creative explosions that happen to the individuals and the 'group' and the other half of the answer is about the boring limitations and managemnet of any project; like the time line and the budget, because ultimately the show will go up!

Q.3 How long have you been a director and what was your career path?

I've been directing in combination with performing and workshop facilitation for about 16 years and I came into it quite randomly but quite orgaincally. I graduated from uni having done a theatre degree, and worked festivals and all sorts of other stuff voluntarily for a couple of years gaining real experience of all the stuff they didn't teach me in college. Then at a time when many of my peers were tiring of the sheer bloody hard work of free lancing and the uncertianty of it all and were side stepping into more secure jobs, I seemed to be going deeper into my practice and dedicating myself to not ever earining any real money at all! This included travelling around the world chasing masked theatre traditions and doing an MA along the way and working all over the country chasing the work. However it's all seemed to have balanced itself out now, and whilst I can honestly say I'm not a huge earner, I do make a comfortable living and I'm my own boss and I do the work I love and that's priceless.

Q.4 What was the single most important piece of advice you were given when you set out to become a director?

How I came to arrive at a 'successful' job as a director was pure fluke really and of course is very fragile and could all change tomorrow. Plus I never really 'set out' in an ambitious way to direct, so I was never really advised to do anything specific. In fact, at various times I was encouraged to change track completely and seek something that may be more secure or stable, so perhaps it's better to answer by saying what advise I would give which would be:
to always follow your instincts, and that a feeling is never wrong but there to be explored to the full.
Don't worry about not knowing.
Find out what you enjoy and refine enjoying it better.

Q.5 how do you view the changing face of the industry, what are your thoughts on the current media climate. Is it affecting you?. e.g digital media, internet...

my first love will always be the moving body on stage and live performance, however in terms of other practices digital media is a major part of our cultural and it's very exciting to collaborate with film makers, DJs and VJs in the creation of live performance. Why not? It opens up the potential for really exciting possibilities. I don't see why the two things can't exist in perfect harmony with each other. With the advent of technologie, we just have more toys and resources to play with, so long as there's a balance, this need not compromise the artist integrity of the work and the stage craft and the tools, talents and skills that the performers bring to the performance.

The arts are suffering massively right now because of all the funding restrictions and the advent of the Olympics, so this is a major negative impact on the industry. In other cultures artists are really celebrated and are considered important but here very few artists actually make any significant contribution to the ecconomy so in this air of capitalism, we're not really valued as we should be, or recognised. However with any shift in one direction, there is then a counter shift and I feel that somehow in this vacuum of finances, some brilliantly exciting work will emerge. This is my hope anyway. Although we all need to make a living, I think it's important for artists to not be solely guided by whats available fundingwise and to just make art works regardless and in revolt to the current political climate.

(MP3001) enterprise project - group meeting agenda

Every monday we meet at Artswork media to discuss the week ahead. Tomorrow will be our first meeting of the new year. Here is the email I received from Nic detailing the agenda.

Hi everyone

Looking forward to seeing you all on Monday at 10.15 for a 10.30 start. One of the things I want to go through with everyone is the next few months and check we are all aware of commitments and deadlines so that you all get good final credits!! and get fantastic degrees.

Also have interesting new assignment from Bristol Council on noise videos

Best

Nic

There are several things i'd like to bring to the meeting. I have been studying the module handbook and don't feel i'm receiving
the support needed to meet the criteria for the enterprise module. I havent had any lectures on project managment or how to pitch ideas to clients. One of the other requirements is basic accounting for a budget and again, I've not recieved any guidance on this. I plan to bring these concerns to the meeting and hopefully get some guidance on the matter.