Notes On Discourse

Jaquues Lacan On Discourse. Video Number 366.

A kind of social bond, which we will call and agreement. The speaking being that’s a pleoism.
It’s as though the fact he speaks makes him a being.

Thu the speaker. The speaker that you all are believes himself to be.

It’s enough to believe in ones self.

The thing that holds us together is a language which I call Discourse.

This means the social bond between human beings functions.

Your right to believe your going to die, it sustains you. If you didn’t believe it, could you bear life?

Neologism – New Words. Shorthand.

Loui Althusser.

Interpellation – the process by which we are ideologically constructed as subjects.
The feeling of being spoken to. We are being writen by that which we see.
The knowledge inside of you.

We are all skitzopheric

Deleuze + Guattarii

Semiology. – Saussure – Barthes.

Semiotics – Pierce

Judith Williams

Syntagmatic – How a sentence is constructed.

Paradicmatic – How can these words be changed

The +Cat +Sat +On +The+ Mat
The things that have been used

The things that could have been used.

How you have been constructed. Break out who you are re-construct yourself.

A Dog In Basket.

Order of the real / Symbollic Order.

The Powers of Horror – Judith Kristeva

Machiavellian – The Prince

The symbiolics, the iconic and the index.

Oniosm – masturbation

metonym – something that stands in for the whole, red indicates passion.

The Consumer Society – Book!

Micheal Foucu. – Discourse = Power.

Language

Jecain says we are linguistic. The basis of humans.

B207 – 210 Music Marketing Unit Guide

B207-210 Music Marketing Project

This assignment requires you to devise a marketing strategy for a musical act of your choice. While the central focus of this project will be a music video of a single track of your chosen performer(s), you should consider and realise a supporting web presence which will be designed and developed in your Web Production sessions with Matt Collins.

The stages of the production process for the music video component will be as follows:

1) Form production groups of four students, each of whom has a responsibility for a particular aspect of production (i.e. Production Management, Audio Production, Camera and Lighting, Video Editing and Post-Production; (Week One)

2) Identify musicians who will be willing to come to UCF to record a chosen piece of music (Week Two);

3) Work with the performers, as your external clients, to visualise a video from/for the music (Week Three);

4) Develop detailed storyboards, with notes, explaining the process of connotation, through camera/lighting/editing in relation to the visualisation (containing no more than thirty seconds of material showing in the artists) (Weeks Four and Five);

5) Record and mix the music (minimum duration of three minutes, maximum of four) for the video in Media Centre recording studio (Weeks Four to Seven);

6) Shoot the video demonstrating control of the connotative process (Weeks Five and Six);

7) Edit the shot material, with digital video enhancement if appropriate, in terms of the originally conceived outcome (Week Seven);

8) Complete the project within the timeframe and resources allocated/available.

In addition to the learning outcomes in their individual units, students will be asked to demonstrate ability to:

a) Negotiate visual ideas with the external client(s);

b) Convert ideas into images through storyboarding;

c) Create video material that is considered in any way that connotation is achieved, beyond obvious denotation;

d) Develop complex and considered relationships between music and images.

To familiarise you with the creative possibilities of Adobe After Effects, there will be sessions

with Pete Felstead in the Digital Production Suite on Tuesday October 6^th as follows:

Group A – 09.30-12.30; Group B – 13.30-16.30

A further session on using keying within green screen will take place in the DPS on Thursday 15^th October. Group A – 09.30-12.30; Group B – 13.30-16.30

There also will be a series of lectures and seminars from Brendan Byrne to raise critical and historical debates around music marketing. These sessions will take place on Wednesday for the first five weeks of the project (commencing October 7^th) at the following times:

Lecture (all students) 09.00-10.00 DM Seminar M

Seminars (Seminar B) – Group A: 10.00-11.30; Group B: 11.30-13.00

All work relating to units B207-210, i.e. the finished music video artefact on Mini-DV tape and DVD and the additional material relating to your individual roles as detailed in your unit guides, should be submitted on another DVD to the Tremough Academic Office on Friday 27^th November between 1 -2 pm.

B203 Web Design

The issues arising from your considerations of genre and audience in relation to the music video will, necessarily, be reflected in the design and development of the web presence. The web-site will host the video that you produce, alongside other content that you consider suitable.  In doing so, it should deploy marketing techniques and modes of address appropriate to the music’s genre and target audience. This site should seek to engage fans in peer to peer interactions as well as with musicians to create and grow the fan base. This unit will be taught by Matt Collins: sessions will take place in the Media Centre Digital Production Suite on Mondays for 7 weeks starting on October 12^th. Times are as follows:

Group A: 09.00-11.00; Group B: 11.00-13.00

Visual Music Musings

Visual Music

Karen Eliot /Stuart Home

Lev Manowich – The Language of new media

Hans Ricter – Ghosts Before Breakfast [1927]

The beginning of Music Videos

1932 40 percent was American in origin

The Jazz Singer – Al Jolson

The black and white Minstrel Show

Till the clouds roll by.

The Panoram Video Jukebox. Soundie

Spike Jones And His City Slickers – Pass the Biscuits Marandy

Manufacturing Concent