8. Close to the Edit

The next day, an engaged attitude in sharing progress of a space now infused with deep rich cohesive colour was met with a collective sigh of relief and the audible applause of group flow Sawyer, K. (2007). Collaborative choices syncopated the group dynamic – a demonstration in the efficacy of true collaboration.  The result, a transformative week of mutual support.  I handed the formative content sequencing to Christine’s offer of producing the presentation and request of collaboration on branding with Damian. Caitlyn and I relayed script editing, learning new audio software . video editing experience to Working with Shinto, Caitlyn used video editing experience to add audio to the rendered walk through. A software incompatibility glitch prevented sharing the video to Christine led to Caitlyn taking on presentation editing. Christine continued the transferal of slide graphics, backed up with the rest of us on call to source, research and develop content.

I requested permissions to use friend/acquaintance profiles as speculative but valid potential stakeholders. Researching businesse, collecting information, imagery and writing slide content.

Aqeel, Olivia and I worked to collate the 360 art/fashion images, colour balancing Jacture, photographing the wired bodice and removing backgrounds to add art content to the amphitheatre. Deciding on appropriate scale to superimpose images on podiums for still frames of the space. Unable to upload as 3D rendered pieces, this was the most effective way to splice imagery into the walk-through video.

Damian and I discussed menu styling and content. Alongside concocting fusion vegan dishes with optional minority meat/dairy, my lyrical vocabulary put art/body reference into punned cocktail names. Finalising the details together further demonstrates the efficacy of inter disciplinary collaboration, a more objective view given from someone outside subject area.

Early on we had a group prescribed aesthetic script, some engaged immediately, others took a little longer. But those that chose to ignore and abscond in preference of a personal scribe, inhibited project progress. Once files were uploaded, Zaki, seemed to disengage even more while others rallied contact to get the job done. In this last week of operation our varied working styles were evident, some methodically dot the I’s and cross the t’s, while others work into the deadline of night. Teams became a virtual office – simultaneously getting our tasks done, sharing progress, break off meets to discuss processes, providing support, and general companiable chat to keep each other going. But when the time came, the bar did not fit in the space; a square peg was trying to be pushed into the round holes of our flowing ergonomic theme. In a phone call, we discussed the disproportionate scale and exasperating clash of colour and textures which led to Zaki giving a difficult go-ahead “do what needs to be done”. Ultimately the disengagement, led to the worst outcome for Zaki. With no time to consult further compromise, a tough choice had to be made. The thought of sacrificial cutting of content misaligned the ethical conscience of participants that had to pick up the pieces. Being on call to Shinto and Caitlyn, as designated leader, I chose to bear the weight of conscience and it was my call to decisively move the project forward for the greater good of the group – the work had to be cut from the presentation entirely.

Close to the edit in the crux of deadline, Shinto flourished an extension of styling to mount the 3D art in the pinnacle of the space. Grow a bar, source flooring, lighting and sympathetic furniture to the sculpted modelled seats. Project presentation displayed a summative finality in unison. Purposefully sequential to the previous monochrome, the ambience was directed into play with the filmic motion through opportunistic creativity across disciplines. A flow of atmosphere spilled into the Create Lab with moving multi coloured light scenes timed to the lyrical vision of script. The objective – viewer engagement in the experiential impact of ethos in bodily immersion in concept; ArtBar.

References

Sawyer, K. (2007). Group Genius. Basic Books

Images

1. Opening Slide Gale, C. Witkos, D. (2023) ArtBar [Presentation Slide]
2. Branded social media, Gale, C. Witkos, D. (2023) ArtBar [Presentation Slide]
3. Press Release Gale, C. (2023) ArtBar  [Presentation Slide}
4. Open Call Art, Gale, C. (2023) ArtBar [Presentation Slide]
5. Open Call Menu, Gale, C. (2023) ArtBar [Presentation Slide]
6. Zine Styling, Witkos, D, Gale, C. (2023).
7. Video Graphics of Rendered Building, Vincent, S. Gale C. Matthews, C. (2023)
8. Potential Stakeholders, Gale, C. Sivinska McCartan, C. (2023)
9. Art/Fashion 360 Sivinska McCartan, Strettle, O. Zadi Batool, A. (2023)
10. Wire Bodice, Sivinska McCartan, C. (2023) [Wire and Filament]
11. Art Fashion Amphitheatre, Sivinska McCartan, C. Vincent, S. Strettle, O. Zadi Batool, A. (2023)
12. Cocktail Menu, Witkos, D. Sivinska McCartan, C. (2023)
13. Food Menu, Witkos, D. Sivinska McCartan, C. (2023)
14. Bar and Immersive Art, Vincent, S. Matthews, C. Zadi Batool, A. (2023).
15. Create Lab Lights 1. Matthews, C. (2023).
16. Create Lab Lights 1. Matthews, C. (2023).
17. Create Lab Lights 2. Matthews, C. (2023).
18. Create Lab Lights 3. Matthews, C. (2023).
19. Create Lab Lights 4. Matthews, C. (2023).
20. Create Lab Lights 5. Matthews, C. (2023).
21. Lounge Area, Vincent, S, Matthews, C. Sivinska McCartan, C. (2023)
22. ArtBar Producers, Gale, C. Vincent, S. Matthews, C. (2023).