From: francesco gagliardi (email suppressed)
Date: Tue Dec 18 2007 - 05:47:12 PST
I hadn't thought about the issue of actually "identifying" the work,
and I think it's very interesting that you say that sometimes the work
is still not clearly identifiable on the basis of the accompanying
descriptions. I don't necessarily expect that longer descriptions
would work better in this respect, but just to be clear: I was not
suggesting that there should be no descriptions at all; on the
contrary, I was suggesting that artists should be allowed more than 50
words to describe their work.
On Dec 18, 2007 7:05 AM, Ken Bawcom <email suppressed> wrote:
> One reason for asking for a description is to be sure one is viewing
> the piece that the artist intended. You would be surprised how often
> the wrong piece is sent, and a lot of experimental work doesn't have as
> title card on the work. Of course it isn't unusual to still not be
> certain, based on the description. But I should think that the main
> reason for the request, and for brevity, is for use in the program.
> Ken B.
> Quoting francesco gagliardi <email suppressed>:
> > Hi everyone.
> > I was wondering how people feel about those calls for submissions that
> > explicitly ask only for very short (75 or 50-word) synopses of the
> > work. I understand that going through large numbers of submissions is
> > very time consuming, but one page (which seems to be a pretty standard
> > requirement for most festival that impose limits on the length of the
> > work description) doesn't seem to me to be unreasonable, especially if
> > the festival is also asking for a submission fee. I understand that
> > short descriptions may be necessary for programs and other printed
> > material, but that's why some festivals require both a short and a
> > more full description.
> > The very idea of a "synopsis" strikes me as problematic in the realm
> > of experimental work, unless perhaps a festival is explicitly devoted
> > to experimental narratives. The main problem, however, (regardless of
> > whether the requirement is a "synopsis" or, more generically, a
> > "description") is that the imposition of such narrow word limits tends
> > to encourage standardized, formulaic ways of recasting one's own work
> > in terms of established experimental "genres." Aren't there enough
> > "meditations on space", "contemplations of lines" and "painstaking
> > observations of ordinary time" out there? Why encourage people to take
> > those kinds of shortcuts when they think and write about their work?
> > Francesco Gagliardi
> > PS
> > For the record, the first paragraph of this posting has 108 words, the
> > second one 103.
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
> "Those who would give up essential liberty
> to purchase a little temporary safety
> deserve neither liberty, nor safety."
> Benjamin Franklin 1775
> "I know that the hypnotized never lie... Do ya?"
> Pete Townshend 1971
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.