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FemTechNet (FTN) Distributed Open Collaborative Course (DOCC)Exquisite Engendering Video ReMIX, MIXed Reality Art" Project

The FTN DOCC project is a riff on the Dadaist's Exquisite Corpse art process. Our project is "Exquisite Engendering," inspired by Erin Manning's (2007) book, Politics of Touch: Sense, Movement, Sovereignty (University of Minnesota Press). She describes engendering from Latin roots generrare, to generate. "To engender is to undertake a reworking of form. To engender is to potentialize matter. Engendering involves potentiality at its most fertile: it calls forth the link between the incorporeal and the material, between the virtual and the actual" (p. 90).

  • March 26 Penn State Soundcloud responses due (by the end of class)
  • April 5 UNC Soundcloud responses due
  • April 9 Penn State videos due. Send remix URLs to UNC
  • April 15 UNC sends remix URLs to Penn State
  • April 16 Each Penn State student selects 3-5 videos from UNC for a curated set (PSU to include all from UNC), & writes Find Card, curator statement & designs exhibition poser
  • April 28 Penn State (Karen) makes Web page exhibition
  • April 30 Penn State responds on VoiceThread
  • April 29 UNC responds VoiceThread
  • April 30 Penn State responds on VoiceThread
  • May 1, a 4th grade class responds to remix videos on VoiceThread
Watch Comfortable: 50 People 1 Question (4:13 min.) and The Skin We're In (6:13 min., 2013)
Nina Jablonski, distinguished professor of anthropology at Pennsylvania State University, discusses why/how different levels of skin pigmentation evolved. She also talks about the impacts of the concept of race.

and use Soundcloud timeline for commentary.


Optional to view
Skin Deep: Evolution of Skin and Skin Color:
Lecture by Dr. Nina Jablonski, Penn State University & Leakey Foundation Grantee (1 hr & 24 min., 2013)


Table of Contents




Step 1: Content research

Step 2: Groups form & develop concept/atmaking goals

Step 3: Create 75-second video segment as part of exquisite engendering

Step 4: Online exhibition of exquisite engendering project in VoiceThread. Commentary surrounds.

Jessica Fischer: 1 (54 sec. What are You?)
Greg Chaffee: 2 (1:01 min)
Olivia Skoric: 3 (25 sec)
Abbie Enders; 4 (1:29 min.)
Nicole Osborne: 5 (58 sec)
Jennifer Lake and Alex Gold: 6 (1:24 min.)

1. Anna Kamm: https://youtu.be/IDU0bSARkb8
2. Emily Martin: https://www.youtube.com/watch?v=m645bHaMDB4&edit=vd
3. Jessica Baker: https://www.youtube.com/watch?v=LEQMOox2J34
4. Kelsey Golden: https://www.youtube.com/watch?v=NFlPHGM0Y1Y
5. Caitlin Byerly: https://youtu.be/hq1g0C2-Inw
6. Teresa Giddeons: https://youtu.be/8Vsck2u8mSA
7. Jennifer Newman: https://www.youtube.com/watch?v=XaaBYmHHtlo&feature=youtu.be
8. Jena Lipnick: https://www.youtube.com/watch?v=5qa5yAOt0zo&edit=vd
9. Heather Covar: https://www.youtube.com/watch?v=-3KK0s21p_g&edit=vd
10. Lisangela Bowling: https://www.youtube.com/watch?v=A0jhzKr8IAY
11. Melissa Derco: https://www.youtube.com/watch?v=gXjeLS0UtIA
12. Tina Tenhopen: https://youtu.be/W9q_bM_xcZA
13. Bibi Tillery: https://www.youtube.com/watch?edit=vd&v=9hIIY89tR9U
14. Katherine McQuain: https://www.wevideo.com/view/360900277
15. Allison Wolfram: https://youtu.be/10mQpJjtsiE
16. Allison Barnes: https://www.youtube.com/watch?v=QlA73rH8CIM




Working with Sound

1.  Find it online

2.  Create your own sound track


Working in conjunction with several of the FemTechNet DOCC nodes, we will experiment with something akin to the Surrealist Art movement’s “exquisite corpse” and jazz’s practice of riffing and, by way of this, we will collaboratively create a kind of remix project that connects to, and builds from, the remix sent to our class. We will send our video section (of no more than 5 minutes) attached to the all prior sections (each node adding a 5 minute segment), and the next DOCC node will build the next segment responding to a FemTechNet DOCC Video Dialogue. Your exquisite corpse contribution may be created using any type of medium you might imagine - be bold and get creative! The final form of your contribution must, however, somehow be recorded in a video MP4 file so it can be added to the original video segment before being posted online for our collaborators. Toward the end of the semester the finished Exquisite Corpse DOCC Video Dialogues will be posted online using SoundCloud or we could use VoiceThread and you will be asked to add comments directly on the DOCC Exquisite Corpse ReMIX, as well as a written reflection on your contribution to the project and analysis of the project in the form of a blog post.

While each participating DOCC node will select a different FemTechNet DOCC Video from the “Dialogues in Feminism and Technology Series” as a starting point for a five-minute remix video, the 2014 Exquisite Corpse Video ReMIX, MIXed Reality Art Project requires that each additional DOCC node participating in this collaboration, will create a seamless transition from the end of the prior remix received from a node scheduled to send to our node. So, just as the Surrealists had specific rules to respond to each other’s work, this will be our rule: you must begin where the video segment you are responding to leaves off.  This may mean you begin with the same word or sentence that video segment ended with or, it may mean you begin with the same theory, or sets of theories, in any case, you must be thoroughly familiar with the foundational ideas and vocabulary in the original FemNetTech Video Dialogue *before* tackling your exquisite corpse contribution. We will work together in class on developing a clear understanding of these ideas as they are presented in each video segment.



Step 1

Listen to the two SoundCloud audio above. Discuss and respond individually on the audio timeline in SoundCloud:

  1. What are the ideas that the speakers communicate, and how are the ideas developed through dialogue to explore the theme of difference?
  2. Why is difference important and for whom?
  3. What troubles you regarding the ideas presented and why?
  4. How does or could the ideas in the video dialogue connect to your life and work?
  5. What ideas did you find particularly significant, powerful, or insightful, and why?
  6. What questions arise from watching the video dialogue that would contribute to class discussion about visual culture and educational technologies?

Step 2

Class discussion of individual responses to video dialogue to form teams and directions for the 5 minute video, and each of the 75 second sections by the team. Discuss what aspect of the video you will be remixing. You might make this choice based on wanting to add to a particular idea; to illustrate a particular idea; to critique a particular idea; to further explore a particular idea; or other motivations.

Step 3

Use strategies and resources for remix video and create your team's 75-second segment. See Course Calendar and REMIX EXAMPLES & TOOLS.
Upload to YouTube with Creative Commons Copyright License.



EXQUISITE CORPSE: Such a method of engagement and creation has a fascinating history in jazz music and also in the visual arts - specifically the early 20th Century Surrealist Art movement, as well as contemporary video art and remix aesthetics. Read about the New York Museum of Modern Art's exhibition on the Surrealist Movement's use of Exquisite Corpse as a creative strategy.

REMIX is the reworking or adaptation of an existing work. In music, film, literature and the visual arts, REMIX is a form of creativity that copies popular culture media/symbols and transforms them through juxtapositions to rewrite the meaning of signs that we have perhaps become too familiar with and no longer question. Remix the messages as well as the media. Mimic or critique mass media forms to create a counter-narrative or to expand on or highlight a particular theme. Expose the unmarked, re-envision how marked, reveal what is absent, critique the prevalent cultural stories in visual culture. Use remix aesthetics: extensions, translations, selections.

VIDEO ART: Use of time-based illusion to question dominant representations of reality. The message, while often implicit and sometimes metaphoric, has tended to be emphasized over formalist aesthetics. Often challenges institutionalized TV and films intended primarily for profit.

"Vidding" is another kind of reMIX!Learn more about vidding here: http://transformativeworks.org/projects/vidding

Surrealists’ Notion of Exquisite Corpse as Collaborative Work of Art:“The basic goal of the Surrealists is to generate a sense of unreality -- not simply of aborted reality, but of the not-real, indeed, the never-to-be-real. Surrealist artists want the viewer to experience unreality through their works, and find in them a clue to his or her own hidden reality. … The epitome of the Surrealist work of art is the so-called "exquisite corpse." … The assumption is that the collective unconscious of the group will produce a sentence that, however technically unintelligible, makes profound emotional sense. One sentence thus produced was "The exquisite corpse will drink the young wine" -- whence the label "exquisite corpse." It's suggestiveness is a function of its contradictoriness. "Corpse" implies death; "young wine," fresh life. Thus the beginning and the end are brought together. It also seems contradictory, not to say perverse, to call a corpse "exquisite." The sentence is absurd, but its details are evocative, separately and in combination. The importance of the exquisite corpse is that it is a collaborative work of art, and as such undermines the traditional idea of the independent author. More subtly, it suggests that each of its authors has something unconscious in common.” (from chapter 3, part 2 of Donald Kuspit’s 2006 book A Critical History of 20th-Century Art published in Artnet Magazine at http://www.artnet.com/magazineus/features/kuspit/kuspit4-25-06.asp )


**NOTE: The following information is applicable to USA contexts only **

Be aware and careful to stay within educational fair use of media to make a point, which is a way to avoid copyright infringement. Fragments, distortion of fragments, or references can be made without using another's intellectual and creative property.


Examples of machinima:

Working with Sound

1.         Find it online

Download the soundtracks that specify that you have permission to copy, distribute, remix and embed it into your project. Usually that means you can use it everywhere except where money is involved as long as you give proper credit to the provider. In order to give proper attribution you need to include the type of license, the artist's name and the title of the track with links and URLs.

Places to look:

2.         Create your own sound track

Remix the music, news or media broadcast and/or record sound effects or voice to overlay on media clips.

Suggestions for tools:

  • Use Audacity, GarageBand or other computer software to record and edit audio (e.g., voice, news and other media broadcasts, music)
  • Find Free Web Applications. There are many options for sound, text, and image editing summarized and linked at http://www.go2web20.net/

More specific tools:

You can use external to computer voice recorders (ipods, cameras, etc.) and record the audio from television or radio, or from shows accessible on the Internet. Note: an external microphone provides better quality for voice recording. Check out from Media & Technology Support Services (MTSS), a division of the University Libraries. MTSS offers for student check-out a full range of portable audiovisual and technology equipment (laptop computers, LCD projectors, digital video cameras, digital still cameras, digital audio recorders, SVGA supported television monitor, 16mm projectors, overhead projectors, etc.).You may check-out equipment at the Media & Technology Services (MTSS) at the Wagner Annex for 24 hours, a weekend, or other specified time periods. Reserve prior to date you need it by calling 865-5400 or emailing UL-MTSSEQ@LISTS.PSU.EDU.