Author Archives: neralt

TouchAble 3 日本語マニュアル

TouchAbleはiPadとiPhone上で動作する、Ableton Liveをコントロールするためのアプリケーションで、トラックメイクやライブをする際に活躍します。このアプリケーションをつかうことで、クリップの録音や再生といった作業のためにマウスを使う必要がなくなります。またミディコントローラーよりも視認性が高いので、トラック数が多いプロジェクトでもストレスがありません。

今回は、このアプリケーションのマニュアルの一部を非公式に翻訳・解説しましたので、公開します。

設定画面

「設定画面」はアプリ右上にあるアイコンをクリックすることで表示されます。

Show Connection Page

「iPad上のTouchAbleアプリケーション」と「パソコン上のTouchAbleアプリケーション」の接続に関する設定画面です。USBケーブルによる有線接続とWi-Fi接続の2つから選ぶことができます。また複数台のiOSを接続することができます。

Show Option Page

設定画面です。

次の項目をオンにすることをおすすめします。「Prevent the iPad from going to Sleep」(iPadがスリープモードに入るのを防ぐ)

MIDI Mapping Page

iPad上のtouchAbleアプリケーションが受信したMIDI信号に対して機能を割り当てることができます。

ただしiPadだけで使用する場合にはこれらの設定は必要ありません。高度な設定です。

Show Quick User Guide

英語版のマニュアルが表示されます。

Show Store Page

Ableton Liveに最適化されたヴィジュアルになるテンプレートパックを購入できます。

購入しなくても全ての機能を使うことができます。touchAbleに愛着が湧いてきてから購入するといいのではないでしょうか。

Transport Bar

Ableton Liveの以下の領域に対応する機能です。

Global Play

全体の再生ボタンです。

Global Stop

全体の停止ボタンです。

Arrangement Record

アレンジメントビューに、セッションビューの再生内容が記録されます。

Metronome

メトロノームのオンオフを選択します。

Cue Volume

Cueのボリュームを設定します。

Quantization Menu

Clip Launch Quantization

グローバルクオンタイズの設定です。クリップを再生するタイミングがクオンタイズされます。

Snap Length

詳細不明。

MIDI Rec Quantization

ミディレコーディング時に自動的に掛かるクオンタイズの設定です。通常はNoneにすることをおすすめします。

Undo / Redo

アンドゥーとリドゥです。

MIDI Arrangement Overdub

アレンジメントビューへのMIDI情報がオーバーダブされます。(ただしF10を押してアレンジメントの内容に戻している必要があります。)

Automation Arm

オートメーションアームをオンにします。(詳細はAbletonのマニュアルを参照してください。ただし、録音アームをオンにしていれば通常オートメーションは記録されます。)

Re-enable Automation

例えばミキサーのボリュームのオートメーションをクリップに記録した場合、ボリュームが自動で動きますが、その際にボリュームフェーダーを自分で動かすと、オートメーションの再生が一旦停止します。この状態から戻すためのの機能です。

Session Record

セッションビューでのミディクリックとオーディオクリップへのオーバーダブを開始するボタンです。

New

録音アームがオンになっているトラックのクリップ再生が停止し、録音可能なシーンまで移動します。

Tap to show the library

ブラウザが開きます。

Add Track

長押ししながら使用します。

  • 何もないクリップをタッチすると新規クリップが作成されます。
  • 既存のクリップをタッチすると、そのクリップを複製し、すぐ下にコピーします。(そこにクリップがある場合は、上書きされてしまうので注意してください。)
  • トラックをタッチすると、トラックの複製、もしくは新規トラックを作成できます。
  • シーンをクリックすると、シーンの複製、もしくは新規シーンを作成できます。

Delete Track

削除します。

  • クリップの場合はタッチしたらすぐに削除されます。
  • トラック、シーンの場合は、一旦赤くなるので、確認のために再度タッチすると削除されます。

Setting Menu

設定画面に移行します。

General

全体のモードを通して常に表示されているメニューに関しての説明です。

  1. 一番下に出るメニューバーの表示非表示の切り替えボタンです。
  2. サイドメニューの表示非表示切替のボタンです。
  3. トランスポートバーの表示非表示ボタンです。

Clip View

クリップの再生や編集をするモードです。

メガネの±マーク

横幅を調整します。

四角の±マーク

縦幅を調整します。

Show Hide Session View

セッションビュー全体からどの部分をみるか選択できるモードに移行します。タッチしながら表示する範囲を選択します。

Select Clip

タップした後にクリップを選択すると、クリップをより詳細に編集するモードに移行します。

Fixed On

これをオンにすると、新規作成したクリップ、および録音を開始して新たにできたクリップの長さが、トランスポートバーのグローバルクオンタイズと同じ長さになります。

通常は外したほうがいいでしょう。

Loop SectionとBeat Jump Section

LoopもしくはBeat Jumpのどちらかしか表示されません。

Loopモード

Loopボタンは現在再生されているクリップのLoopのオンオフを設定します。<</>>ボタンを押すと、ループの長さが半分/二倍に変更されます。

Beat Jump モード

ビートジャンプ(左右)のボタンを押すと、決められた長さ分だけ再生位置が移動します。この長さはビートジャンプ(左右)ボタンの上にある<<>>ボタンで決定します。

Lock Navigation

これをオンにするとクリップビューのスクロールができなくなり、タッチした瞬間にクリップが再生されます。

オフの場合には、クリップビューをスクロールでき、クリップを再生するには素早くタッチします。

MIDI Clip Editor

Mixer View

Devices View

Keys & Drum Pad

XY Pad

Template Editor

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Ableton Liveでネイティブで動くMIDIコントローラーをRemotifyで作成する

Resident Adviserが2016年のエレクトロニックミュージック・ライブアクトのTop40を発表しましたが、1位は2015年も1位だった「KINK」でした。彼はAbleton LiveとMIDIコントローラー、それからTR-8等、いくつかのハードウェアを使ってライブをします。その中心的機材はAbleton Liveで、Novation Launchpadで録音するクリップを選択し、MIDIキーボードでMIDIを録音してVstを鳴らし、さらにエフェクトをかけます。

今回は、彼のようにAbletonを使ってライブパフォーマンスをする上で有効な、MIDIコントローラーの設定について解説します。特にAPC40mk2のように何の設定もせずともAbleton Liveに最適化さているコントローラー(=これをネイティブ対応のコントローラーと呼ぶことにします)と同様の挙動をさせるための設定です。

ネイティブ・コントローラーと普通のMIDIコントローラーは何が違うのか?

APC40MK2のように、何の設定しなくともAbleton Liveに最適化されたコントローラーをネイティブ・コントローラーと呼ぶことにしますが、ネイティブ・コントローラーと普通のMIDIコントローラーは何が違うのでしょうか。

まず大きな違いとして、ネイティブコントローラー使用時には、以下の画像のように、色付きの枠が表示されます。これは通常のMIDIコントローラー使用時には発生しません。

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またMIDIマッピングモードでアサインをしなくとも接続しただけで、クリップのラウンチや、ミキサーのコントロールが行なえます。

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非常に便利なネイティブコントローラーですが、これらはネイティブコントローラーだけの特権であって、通常のMIDIマッピングでは設定できないものです。

ネイティブコントローラーを自分で作ることは可能か?

非常に便利なネイティブコントローラーは、実はどんなMIDIコントローラーであっても設定をすることで同等の挙動を実装することが可能です。

また、既存のネイティブコントローラーの設定ファイルも、以下のフォルダに揃っています。この中にpyc拡張子のファイルがありますが、これらがネイティブコントローラーの設定ファイルです。これはPythonというプログラム言語のソースのバイトコンパイルされたもので、デコンパイルして中を見れば、abletonコントローラーの設定ファイルであることがよくわかります。

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つまりネイティブコントローラーを作るためには、設定ファイルをPythonで書いてあげればいい、ということになります。

Pythonが書けないと、ネイティブコントローラーは作成できないのか?

結論からいえばRemotifyというサービスを使えば、Pythonを習得する必要なしに、ネイティブコントローラーを作成することができます。

(ちなみにこの設定ファイルはAbleton Live MIDI Remote Scriptsというもので、JULIEN BAYLE氏のサイトで解明が勧められています。Abletonはこのスクリプトについては、開発者以外には公開していないようで、リバースハックを氏が独自におこなっています。)

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Remotify」は一部機能を無料で使用することができるブラウザベースのアプリケーションです。

Remotifyの使い方

Remotify」は一部機能を無料で使用することができるブラウザベースのアプリケーションなのでインストールは必要ありません。アカウントを登録したあと「App」から実行していきます。

Script Name:この設定ファイル全体の名前です。必ず付ける必要があります。またここで設定した名前がフォルダ名になります。

Add a New Mapping:コントローラーへのアサインをしていきます。詳細は次ページでおこないます。

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次に、どのような機能を設定するか選びます。今回はMixerからVolumeをアサインすることにします。

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名前をつけて、トラックタイプ = specificにすると特定のトラックのボリュームを変更できるようになります。例えば画像のようにtrac type:specific,track number:1にすると、トラック1のボリュームの変更をアサインできます。その後、MIDI learnをクリックした後、接続したMIDIコントローラーのつまみ等を動かすことで、アサインされます。

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最後にDownload Scriptをクリックして設定ファイルをダウンロードします。

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先程ダウンロードしたフォルダをMIDI Remote Scriptsフォルダに配置します。

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するとこのように「コントロールサーフェス」の中に先程配置したフォルダ名と同じものが見つかるはずです。これを選択しましょう。

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そして「入力」と「出力」に、設定で使用したMIDIコントローラーを設定します。

すると、設定したとおりにライブをコントロールできます。

仕組み

Remotifyで作成したAbleton Live MIDI Remote Scripts (Pythonスクリプト)をAbleton Liveの設定画面の「コントローラーサーフェス」から読み込み、INとOUTにMIDIコントローラーをアサインすると、AbletonライブはそのコントローラーからMIDI情報を受け取り、Ableton Live MIDI Remote Scriptsに書かれた挙動を実行します。その後、Ableton LiveからMIDIコントローラーにMIDI情報を送ります。これによってパッドが点滅したり、インジケーターの点滅がコントロールされます。(ただしこのコントローラーが受け取るMIDI情報に関してはRemotifyでは詳細が設定できないため、コントローラーによっては上手く反応しません。Pythonでは設定できます。)

まとめ

今回はAbleton専用コントローラーと同様に動作するMIDIコントローラーを、Remotifyを使って作成しました。次回は、実際にエレクトロニック・ミュージックのライブをAbleton Liveでおこなうためにベストな設定を紹介したいと思います。

ではまた!

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目次

Contents

Preface: Words Are Powerful

Introduction: Why Visual Artists Need to Write

PART ONE: DEVELOP YOUR ARTIST STATEMENT

Definition of Artist Statement

Connect with Your Audience

Tone and Truth

Three Rules You Won’t Follow

Exercise: The How and the What

Exercise: The Why

How to Reference Another Artist

Exercise: Develop Sentences

Three Ways to Structure Your Statement

Word Coffee

Exercise: Write a First Draft

Three Ways Your Friends Can Help

PART TWO: WRITE TO BUILD AND MARKET YOUR ART CAREER

Exercise: The Handshake Speech

An Artist Art-Writes

Filling Out Forms and Writing Proposals

Bio, Cover Letter, and Resumé

How to Write a Press Release

Look Again

Acknowledgements

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Art Writing

http://neralt.com/title-pre-preface/

http://neralt.com/contents/

http://neralt.com/preface/

http://neralt.com/1-1/

http://neralt.com/1-2/

tone and truth / Three Rules You Won’t Follow 山田さんのevernote

Three Ways to Structure Your Statementから最後まで 山田さんevernote

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1.1 Definition of Artist Statement

PART ONE
DEVELOP YOUR ARTIST STATEMENT

Definition of Artist Statement

YOUR ARTIST STATEMENT WILL BE THE FIRST THING YOU WRITE, and it becomes the foundation for longer or more targeted writing. I will ask you to keep your notes throughout the entire process of crafting your statement. Hold on to the phrases and sentences you edit out of your final statement; they could prove useful for other forms of promotional writing.

What an artist statement IS NOT

An artist statement is not art. It is not a full translation of a visual statement into a verbal statement. The writing does not need to encapsulate all of your creative striving and complexities. It does not need to be entirely original or brilliant, and say everything you want to say to the world.

What an artist statement IS

An artist statement is a concise arrangement of words that acts as a bridge to connect your audience to your art.
This definition is important because it helps to clear up the confusion about the many forms an artist statement can take. Statements may describe an entire body of work, a series, or a single art piece. Others are written to impress a jury, win a grant, or land a commission. Art teachers may require a student to write in the context of art theory. Some artists use their statements as expressions of personal belief. Some intend them purely as a sales tool. All these types fit within this definition. Although the form may vary depending on the context, the basic definition remains the same.

An artist statement is a concise arrangement of words that acts as a bridge to connect your audience to your art.

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1.2 Connect with Your Audience

Connect with Your Audience

IF YOU REMEMBER ONLY ONE THING FROM THIS ENTIRE BOOK, remember to keep your audience in mind while you’re writing.
This is more important than you may realize.

Who is your audience?

Your audience is anyone who might buy your art, especially if they understood more about it.
“To buy” means “to purchase.”
“To buy” also means “to accept, believe, or to take seriously.”

Pay attention to the definition of audience in this context; the definition is limited for good reason.

If you like to write, and the audience I describe feels too confining, then find other outlets for your writing. If you want to discuss art theory and politics, communicate with like-minded thinkers, or shred your enemies, go to online forums. Write your rants and manifestos in a blog or journal. Find a place to write in unrestrained prose.

Want a brilliant example? Artist Ai Weiwei’s blog is now published as a book, Ai Weiwei’s Blog: Writings, Interviews and Digital Rants, by Ai Weiwei and Lee Ambrozy.

The more you write, the easier the words will come when it’s time to describe your work. But when you’re writing your artist statement, you’ll need to reign in your self-expression.

To present yourself professionally, concisely, and effectively, address the people who might “buy” your work. It’s easy to get off track if you write without holding on to this definition. All writing that represents you in the light of self-promotion needs to be directed at a defined and well-considered audience. Whoever reads your statement is attempting to understand your artwork. Respect their attempt to learn about you, and you’ll improve your chances of connecting with them.

Remember this key phrase in the definition of an artist statement:

An artist statement is a concise arrangement of words that acts as a bridge to connect your audience to your art.

Let’s examine who your audience is NOT. You are not writing to answer critics, impress your ex-professor or former girlfriend, or amuse yourself and your friends. Here are a few more ways to misfire: You are NOT talking to your therapist Somewhere along the way, you may have picked up the notion that writing about your art means communicating all that’s going on inside your head. You don’t have to do that! In fact, please don’t! Say one thing clearly. Then say another thing clearly. When it starts sounding muddled or self-obsessive, stop writing.

The act of writing about your work will often help you understand your process, clarify ideas, and reveal new insights. But writing your artist statement is not about voicing your every thought. Your inner monologue is a confusing mess of contradictions, a struggle between self-doubt and inflated ego. Of course it may include all kinds of things that you think are fascinating, but probably only your therapist or maybe a patient loved one will agree; anyone other than that will find your inner monologue tiresome. As the child psychiatrist said to his chatty daughter, “Honey, some of your ideas can just be thoughts.” Your task is to communicate your insights and ideas to an audience in a way that they might find interesting. You are NOT writing to argue with a person, group, or ideology If your art is political, or emotionally charged, explain why the issue moves you instead of why the issue should move the audience. Avoid telling other people how they should feel. You must respect your audience enough to let them feel what they feel and think what they think in the presence of your work. There is a difference between being angry and being argumentative. Your audience is reading your statement to learn what you’re about, not to engage in some assumed intellectual conflict. An argumentative tone in your writing will just turn the audience away. Let your art confront and argue your point; let your writing present your message in plain language, or merely introduce the topic of your work. You are NOT writing to impress other artists or art experts Reduce the artspeak in your statement to a minimum. By “artspeak,” I’m referring to the vernacular of visual artists. These specialist terms, so familiar to you, can make non-artists feel uninformed and unconnected. Artspeak tends to describe art in general, yet fails to communicate what is singular and distinctive about your art. Of course you’ll use art vocabulary to describe your work.You’ll have to judge for yourself if your chosen art terms genuinely help to get your point across, or if you’re just stretching out sentences with echoed phrases. You run the risk of distancing your reader and dulling your individuality when you overuse artspeak. The exception: If you’re reading this book while in art school, you have a specialized audience of artists and academics. You probably use lots of artspeak, which is appropriate for your environment. You’re currently surrounded, as you may never be again, by people who communicate using art terminology. Ask your teachers what they think about the following list of bulleted questions. Examine your writing and ask yourself: Do these words truly help to explain what people are seeing? Is there a sentence I could translate from artspeak into plain language? Is this the truth? Do I fully understand what I just wrote? What words might create a better understanding for the reader? Simple consideration for your reader goes a long way toward adopting a tone of directness and truth. Your readers/viewers will perceive your attempt to connect with them through the written word. Connecting your audience to your art is important—very important. Because, in the end, they might just buy it. Your audience is anyone who might buy your art, especially if they understood more about it. “To buy” means “to purchase.” “To buy” also means “to accept, believe, or to take seriously.”

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序文

Preface: Words Are Powerful

序文:言葉は強力である

LANGUAGE AND IMAGE CONNECT IN MYSTERIOUS WAYS.

言葉と表現は神秘的な結びつきをしている。

I first experienced this connection as an art history student. In darkened lecture halls, gazing at detailed slides of art I’d never seen before and listening to a flow of descriptive words, I entered a state of true amazement. To the credit of my professors, at the end of each class I not only knew so much more, but I could see so much more. Somehow, words combined with images had changed my brain. These art history lectures actually increased my ability to see.

I was very fortunate to have Rudolph Arnheim as a professor. His classic text books, Art and Visual Perception and Visual Thinking, are dense with theory, but I can tell you, in person, the man himself always seemed joyous—as if nothing could be better than speaking to this group of students about this subject at this moment in time.

Before you delve into Art-Write, I’d like to simplify and share some of what I learned from Dr. Arnheim. His insights illuminate the path to writing about your art.

The Arnheim Insights

The act of “seeing” or “looking” is not a simple process

Seeing takes time to accomplish

Just as an artist toils with his or her own powers of perception and sense of vision to create a work of art, the viewer toils with his or her own powers of perception and sense of vision to “see” a work of art

Language shapes perception

When you consider these useful ideas, you can begin to understand how your audience approaches your artwork. Truly “seeing” art is an accomplishment. It doesn’t happen quickly. Your viewers need time and they may need some education. Language can help educate them.

You, the artist, talking and writing about your work, are in a position to provide language that shapes perception. Words are powerful, and you can use them to help your audience see.

Introduction: Why Visual Artists Need to Write

THIS BOOK HAS A SINGLE INTENTION: TO TEACH YOU HOW to write about your art.

When you imagined a life in the visual arts, maybe you didn’t consider writing as an important part of the picture. Our current communication and media environment consistently asks artists to write about their work. Today, the worlds of the plugged-in entrepreneur and the working artist have converged, with self-promotion essentially linked to writing. Your own clear writing on the subject of your art is the key to marketing yourself, which can also be the key to making a living as an artist. It’s that important. Art-Write will prepare you to communicate who you are as an artist.

It’s tempting to dismiss the need for writing and claim, “There is no reason to explain my art. Everything I have to say is in the work itself.” That’s a tired and dated refrain. If you want people to find your work, to understand and follow your career, to talk about you, write about you and—yes indeed—buy your art, you need to embrace self-promotion.

And the self-promotion engine is fired on the power of words.

There is a rarified sub-set of wealthy artists who don’t need to write about themselves. They can rely on professional art writers who are able to transform their perceptions into concrete language.

But you, along with the vast majority of artists, will need to take on the task of learning how to do this for yourself.

The writing you do about your work is often used directly—word for word—for these purposes:

Press releases for art shows and events

Invitations to art shows and events

Gallery publications, both online and print

Descriptions displayed on the walls of art booths, galleries, and museums, or placed in the gallery’s “artist book”

Training for gallery staff and museum guides

Media quotes, both online and print

Cover letters

Your personal website

Artist group websites

Content for your blog

Quotes for other people’s blogs

Social media communication

Submissions to juried shows

Submissions for art/craft fair booths

Applications to art schools

Grants

Forms and proposals for:

Artist-residency programs

Foundation awards

Teaching opportunities

Scholarships

Public art commissions

You’ll also find you need to write for a wide variety of reasons, including:

Writing for the different stages of your career: Good writing can aid you no matter where you are in your career. When applying to school, writing can help distinguish your application from hundreds of others. While building a career, you’ll need to communicate with galleries or apply for grants. Sustaining an income often means finding new connections and new streams of revenue, putting yourself out there again and again. As your work develops, you’ll need to describe those developments to collectors. When you’ve achieved recognition and acclaim, art writers and art appreciators clamor to know what you think. And writing is indispensible for the success of your re-invention, a familiar stage to most creative types.

Writing to connect: In order to launch, improve, or maintain art sales, you will need to reach gallery owners, show jurors, news writers, art writers, bloggers, collectors, dealers, and funders. If you can clearly express yourself, in words, you can get their attention. No one can predict how the Internet, the economy, and other factors will impact the art world in the future, but one thing is fairly certain: if you are not willing or able to communicate in written language, you will greatly reduce the chances of getting your artwork noticed. People form impressions of you based on how you write. This is true whether you’re writing an e-mail, a cover letter, or posting to social media.

Writing to impress the press: What you write about yourself affects what is written about you. Media-relations professionals rely directly on the writing you do! The Internet has altered traditional publishing in ways that continue to unfold. Few news outlets have dedicated art critics and art writers—they never had many to begin with, and the pool is dwindling. The news writers who are left will use any information you can provide. Make their job easier; help them understand your work by describing it well. Give them clear, considered sentences and they might return the favor by putting your name in print.

Writing as a prepared business person: You’ve probably been asked at some point to produce an artist statement or something similar. Did you grab at scraps of advice, frustrate yourself searching for good examples, and then patch together words for a deadline? Avoiding your written communication until it becomes a despised last-minute chore makes no business sense, and you are in the business of art. You don’t need to write lengthy essays or manifestos. Just a small amount of well-crafted text will serve you well. You can learn to sort out your thoughts so you’ll be able to write and speak about your art with clarity. You can learn how to keep a file of art writing that helps calm your writing anxiety and boosts your confidence when you need to present yourself professionally.

Writing to call attention to your art on exhibit: When you’re asked to write about your art, it’s important to act on the opportunity. For example, let’s say you’re accepted in a group show on the merit of images alone. The show organizers want to gather information about artists and they request commentary from you. But it was only a request, so you do not provide any writing. To generate publicity, the show organizers will send out a press release and describe the show online. This leaves the writing you didn’t do in the hands of the show’s default writer/editor, who is most likely doing several other jobs. If another artist has provided a print-ready statement about their work, guess which one of you will get more attention and whose art will be featured in the publicity material? When you provide an artist statement, written in a way that effectively connects with a reader, it will serve to enhance your visual statement wherever you exhibit your work.

Art advocates of all kinds will appreciate the assistance of you providing them with articulate text to accompany your work. It is an art world, after all. We are connected and we can help each other.

How this book can help

You ask yourself, “How do I begin to put this into words? How do I describe this process I go through? What am I supposed to say, anyway? What do you people want from me?” You read about how to include an artist statement in a grant, and it’s like following assembly instructions whose first step is, “Insert the screw into slot A.” You don’t have a screw. So you’re screwed.

I understand your frustration, and I’ve written Art-Write to provide you with solid, practical tools that will break down the job, step-by-step, starting at the beginning. Writing about art is not easy, and writing about your own work is even harder. But you didn’t choose the path of an artist because it would be easy. If “Artist” were a job description, you probably wouldn’t apply—considering the salary, benefits, bonuses, working conditions, and retirement plan. You are an artist because that’s what you are. You already have the job. Following the guidelines in Art-Write just might help you keep it.

Let’s end the cycle of copying weak examples and start writing artist statements that work!

Writing is part of an artist’s job description in the 21st century, and Art-Write will provide some on-the-job training. An artist statement is typically brief, only one paragraph to one page in length. And yet, good examples are hard to come by.

Art-Write will provide the “how-to” for this very particular writing task, even if you consider yourself a non-writer. Throughout the book, I’ll give you definitions, prompts, and advice. We will begin by crafting your artist statement, which is the foundation of writing about your artwork. I’ll help you clarify your thoughts about your process, and then teach you how to turn those ideas into useful prose.

You don’t have to translate into words the entire content of what you’ve already expressed visually! Your task is to give your audience a compelling reason to look closer. Help them look.

I’ll provide exercises that will lead you to find words that feel correct and authentic. I’ll offer advice to help you break through the barriers you may have about expressing yourself in writing. And finally, I’ll show you how to recycle the thoughtful sentences you’ve developed and apply them to a range of career opportunities.

Only you think what you think and make what you make, so you are the most informed person to write about the work you’ve produced. However, some of you may wind up hiring a professional writer to help you. These writers won’t be magicians; you’ll still have to provide them with the necessary core. Completing the exercises and prompts in this book will give you something to hand over to a hired writer, because the content and the truth come from inside your head.

Writing about your work is an interesting part of the artistic process. It’s worth the effort. You’ll create a valuable record of your development. Writing brings personal insight, it helps you gain perspective and understand yourself better. It also provides a framework for you to speak about your ideas in ways that can be understood. Describing what you do is essential to confident and clear communication, which will make your work accessible to a wider audience. We all want more people to discover more art.

I don’t want to market myself!

Are you approaching the necessity of self-promotion with resentment, wishing for an agent or a gallery to take care of all of this annoying marketing/selling/writing stuff?

Some artists think self-promotion is intrinsically icky. They can grasp the benefits of self-promotion, but they just don’t want to get involved. You may have to set aside resistance, avoidance, and anxiety in order to make this task manageable.

I suggest you embrace the following concepts, which are shared by both art and self-promotion:

communication

expression

message

connection

I collect seashells. While I wrote this book, my husband gave me the shell of a rare paper nautilus. Extremely fragile and weighing next to nothing, it is the egg case from a type of octopus. The female creates the paper nautilus inside her body and pushes it out. After she deposits her eggs inside, she crawls in the paper nautilus and takes shelter there also. The more common chambered nautilus is a creature that propels itself forward, shell first, without the help of forward-facing eyes. So it sometimes smashes its shell on rocks or coral. With the protective shell broken, it dies.

Artists have shells, and some of those shells are more fragile than others. Artists protect the thing that is most precious: our creative inner lives and our ability to make art. We have to protect it because no one else will. Society, school, family, and even close friends can act in a way that devalues the very thing we value most. We become accustomed to defending, guarding, and sometimes hiding our art life. Writing about our work and selling ourselves feels like the nautilus propelling itself forward, shell first, with no idea if the future holds open water or a damaging collision.

The artist who is also a marketing genius is a rare combination. Artists with quiet profiles—those who lack the media savvy of Andy Warhol, Jeff Koons, or Damien Hirst —are in the majority. Most artists wish for someone else to come along and sell their work. This may happen. In the meantime—and I do mean “mean”—the rent is due, the day job eats up all your time, and the needed studio space is unattainable. The shell might break, not because you propelled forward, but because you’re going nowhere and you sink.

If you can begin by completing a few paragraphs—describing what you do and why you do it—you are on your way. The paper nautilus has an air chamber so it can float near the surface. That’s really all an artist’s self-promotion needs to be: floating near the surface. Keep the shell if you want. Write something for the buy and sell culture and go back to your real work.

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タイトル~序文の前まで

ART-WRITE:

THE WRITING GUIDE FOR VISUAL ARTISTS

Crafting Effective Artist Statements and Promotional Materials

by Vicki Krohn Amorose

Art-Write: The Writing Guide for Visual Artists

Copyright © 2013 Vicki Krohn Amorose

All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher, except for the use of brief quotations in a book review.

Dorothea Lange photos, pages 54-56, courtesy of Library of Congress, Prints and Photographs Division

Cover Design: Paul Mavrides eBook Formatting: Maureen Cutajar

Luminare Press

467 W 17th Ave

Eugene, OR 97401

www.luminarepress.com

LCCN: 2013930288

ISBN: 978-1-937303-12-9

This book is dedicated to my dear husband, David Amorose

 

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NIがSTEMSの開発者用キットを発表

http://www.synthtopia.com/content/2016/05/15/native-instruments-releases-free-stems-software-developer-kit/?utm_source=rss&utm_medium=rss&utm_campaign=native-instruments-releases-free-stems-software-developer-kit

Native Instrument社がSTEMSの開発者用キットを発表した。これによりSTEMSフォーマットのファイルを再生できるソフトウェアやハードウェアを開発できるようになる。

スクリーンショット 2016-05-17 21.54.12

個人的にはTraktorのSDKキットを公開して欲しいと思う。Traktor自体がMIDI信号しか受け付けないため、他アプリケーションとの連携が困難であるからだ。せめてOSCの送受信に対応してくれればかなり可能性が広がる。期待したい。

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