Urban Individualism Starts Here


On the Road to Project 3

December 8, 2010

Our project should be a compilation of many voices, our different languages, from all discourses of our popcycle

Putting our general attunement into “career mode”

We only have one singular attunement (showcase in our emblem)- “is that me?”

“I’ve reinvented this, and now here it is”

I’ve got this remade concept, now here I am to express it

A dictionary definition- just would not suffice, it’s about assemblage

Express their experiential aspects of our concept

When we enter into our major or career we are leaving out a lot of ourselves- the institution demands we leave ourselves at the door

In order to create figures for the aspects of our concept we need to pull from all parts of our popcycle

No need for repetition, we want the 360 degree view of the complexity of life

I want to covey this quality of this so I am going to use this picture, image, anecdote, quote

We don’t just have brand or logo- we have much more than that


  • What do I want to reinvent?
  • Urban Sociology
  • City as a laboratory
  • City as stimulus
  • Robert Park
  • Chicago School of Sociology

Problem with from Career discourse

  • ideal of value- how has living in urban environments (conglomerations of activity) affect the social world?
  • BUT- urban sociologists want to look at entire culture of a city and miss the beauty of an individuals experience in a city
  • Is it possible to understand that city from a view point that radiates out from the individual, rather than simply looking from a giant magnifying glass in the sky?

Experience of Concept:

  • “The day in the life of an urbanite”
  • BUT it is still important to not get too psychological, focus on individual experiences with people culture
  • What do they think of the graffitti on the side of the side of the railway station?
  • Who do the bump into on the way to work?
  • Does the cab driver smell, if so, what like? (Not to get to graphic)
  • These things come together (get pasted together) to create a composite that is the life of the city dweller
  • Seeing the homeless and destitute changes the individuals stance on poverty, experience as Gay Day Parade may make the person more/less accepting
  • This part should not be difficult, when we are interacting with “the city” the mind and body are constantly at work and being stimulated by hundreds of things
  • Create a narrative?
  • Or is the user the person moving around the city?



  • Those shows that signify the city (Sex and the City, Friends, Frasier, 30 Rock, CSIs)
  • What about those reality shows like The Real Housewives or Top Chef?
  • The Travel Channel


  • Organized chaos
  • Looking for those “important moments” that may seem to others as nothing
  • Music and pictures follow same theme- set the mood
  • Never dull, but intriguing, cause discussion  (art gallery)


  • Transit map
  • Theatre Guide
  • What’s happening in… ????


  • creating “the city dweller”
  • trying to create a character that encapsulates what city life can be for all
  • This is an interesting paradox: worried about individualism, but only showcasing one type of urbanite- may need to explore further


  • Interested in having audience imput their own city experiences
  • home town stories, where are you from, guestbook?
  • Or what they take from the things presented as the city scape
  • Comment boxes
  • how to create fast pace motion and blur that can be city life

An Emblem in Progress…

November 29, 2010

Family: Drives in a car with my dad.

Corvette Symbol

Community: River Raisin

Downtown Bridge

Entertainment: Buffy the Vampire Slayer

Sarah Michelle Gellar

“Once More With Feeling”- Musical Episode

Career: Karl Marx

There are somethings that capitalism can’t buy.


November 12, 2010

Liberal Arts and Sciences – well being

  • being able to follow your passion
  • not focusing on our immediate future (not necessarily career driven)
  • world view
  • open mindedness
  • trying to become a more well rounded person
  • seeing life different angles and aspects
  • being yourself- following what you want to do, your dreams- not working for the career of the future

Ad Ideas

  • Scooby is never on a leash- free to roam
  • Scooby comes at life from a dog’s point of view- he’s the outsider looking in
  • What would the Mystery Inc. be without those “screw-ups” of Shaggy and Scooby


Flashback of Scooby Doo as a pup, other puppies are chasing tennis balls and eating dog food, but Scooby is not happy- clearly not his passion

Lost Dog Poster

Shot of puppy (sad, lost puppy) looking for his place in the world

Finds an earlier version of Mystery Inc. in an alley way with “Bay Watch” slow moments of uniting

Final shot: He is “himself” in the Mystery Inc.

Project 2, Where Are You?

November 5, 2010

For Project 2, Check out this new episode of Scooby Doo that was just released:

Episode 1820: Laterns and Lochness!?!?

It’s better than a pile of Scooby Snack s, trust me.


For Project 2

November 3, 2010

Part II:

Looking for the mood or the atmosphere of a story

Taking the focus off of us and focusing on ficelle

It’s not what you felt, but what was going on around you

Creating an anecdote

Setting, events, atmosphere will create the mood

We are situated within a community

Even if we reject the value of the community it is still there

Things can have value that are not “valuable” to the city government, but are important to the community

rituals, stories that the community tells itself

Locating our “Fats Waller”

Our community tells us “what’s the matter with you- you should want to be a part of this!”

On Thursday, October 22, I sat in on a session entitled “Re-contextualizing Shakespeare” at the English Graduate Organization Conference, University of Florida. I heard two interesting speakers, both speaking about the possible praxis of bring Shakespeare to a modern audience. It’s a tough task. Shakespeare’s an old guy, we’re a modern culture. We have to think of new and exciting ways to present his works if we want to keep him alive.

The first speaker, Jimmy Newlin, presented his work comparing King Lear to a new English production of “Blasted.”

Now a little about Blasted: Many call it “theatre of cruelty” because it’s so grotesque and violent in nature. It’s in your face, it’s not for the light of heart, it’s the farthest thing from Shakespeare, right?


Newlin argued that it’s not about any similarities between the plot an action of the two play (King Lear and Blasted) it about the feelings they can evoke and the similarities between the value of each play.

Even though both plays may involve a character being blinded (the character in Blasted has his eyes sucked out by a soldier… ewww.) but it’s the reasoning behind the blindings and the consequences that blindness has for the character that make them similar. These similarities are things that will please the appetite of a Shakespeare fan, and may even attract the population of younger viewers.

By  pushing the envelope, and putting theatre in the audience’s face, we create new ways to view Shakespeare, and that’s one way to keep him alive.



The second speaker, Kristen Denslow, spoke about Adaption. It’s tricky word. To adapt Shakespeare, which many have done, how much “Shakespeare” really has to be there? She used the production of “Funk if up About Nothin” as an example of adaption that works. There is not much that comes straight from the page, if anything. But again, it’ not about the words- it’s about the feeling, the presentation, the composition of a play that makes it Shakespeare.

Kristen considered “Funk it Up” a good adaption because they used things like puns and fictional words to get their point across, just like Shakespeare did. The essence of Shakespeare is in “Funk it Up about Nothin” and that ghost or specter of Shakespeare that may be hidden to the naive audience is what keeps the show interesting and prudent for today’s audience.

For High Concept Exercise

October 13, 2010

  • Using characters (not necessarily fictional) and create a scene
  • Family member, bands, TV personalities can all be characters
  • You don’t invent the characters, but you do invent interface through setting (mixing of two genres)
  • Choose one character from each part of the popcycle and put them all into one scene (with some associative link between all the characters)
  • We are searching to know what are the “ingredients” which we are blending together
  • Include media