Persona 1: Jean Kim, eager and engaged...

Persona 1: Jean Kim, eager and engaged student

After researching and interviewing college students, I developed this persona to determine product requirements:

• New York University, 20 yrs. old

• She says: “When I read for class, I want to understand the big picture, so I can determine which parts of the content are technical, so I can look them up later.”

• What this behavior means for mobile device use: “I don’t really read on my phone. I skim often and let visual cues lead me.”

• Other behaviors when using classroom material: content filtering; multi-tasking; copying and pasting

Janelle Gatchalian, page 1


Jean Kim’s Journey Map

Jean Kim’s Storyboard Jean Kim, first-time browser scenario



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THE SCORE:

Avant-Garde Composit ion in the Visual and Performing Arts

after John Cage,

eds. Michael James, Rose McGowan, and Jen Myers

Tuning you in…Tuning you in…

Wire flow path, part 1


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Sylvano Bussotti: Five Pieces for David Tudor (1959)

Listening Room

Animation of Sylvano Bussotti: Five Pieces for David Tudor (1959)


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Listening Room



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Now is the time to put your headphones (or speakers) on...

Now is the time to put your headphones (or speakers) on...

Listening Room



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Introduction to Sylvano Bussotti: Five Pieces for David Tudor (1959)

About the Score

Italian composer Sylvano Bussotti’s score, Five Pieces for David Tudor: No. 4 (1959), may be best known not for the sound of its performance, but instead for its visual appearance in a printed publication. The central image of the score of No. 4 appears at the front of the introduction “Rhizome” to Gilles Deleuze and Félix Guattari’s encyclopedic book Milles Plateaux (1980) without explanation or commentary. Its visual appearance is wild, striking and highly memorable. It is a musical score of five staves whose usual rules and parameters have been turned into scrambled eggs. Ink pools inexplicably in various holes created by a tangle of curved staff lines. While some explanatory words appear on the far left in front of several bracketed staves (which can be read in English translation with commentary by clicking on each), a puzzling gap separates these indications from the central staff (bracketed with the number “6”). With so much called into question, by what rules and expectations might this composition be adequately performed?

Bussotti was a precocious young composer when he devised this score in 1959, and, like many European enthusiasts of contemporary music, was struck profoundly by the spectacle of John Cage and David Tudor at the Darmstadt Summer Courses in 1958. Eschewing the high modernist formalism then in vogue that tended to sideline intentionality and subjective expression (whether via twelve-tone composition, serial techniques, chance procedures, or other systematic methods), Bussotti instead allowed the inky density of the avant-garde score to explode in expressionistic directions in a way that upended the usual rules of interpreting a score. Among many of his eccentric uses of notation, Bussotti recast note heads, grace notes, accidentals, fermatas, and a handful of unconventional musical signs into freely designed assemblages. Some of his compositions even aggregated the musical symbols into faces, images, and letters of the alphabet. The resultant graphic scores rendered the conventional transparency of musical notation opaque, and spurred the performer to experiment on their own to find an acceptable method of execution.




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Citation Information

Chicago

Michael James, Rose McGowan, Jen Myers, eds. The Score: Avant-Garde Composition in the Visual and Performing Arts after John Cage. Los Angeles: Getty Publications, 2017. http://www.getty.edu/publications/scoresapp

MLA

Michael Gallope, Natilee Harren, John Hicks, eds. The Score:. Avant-Garde Composition in the Visual and Performing Arts after John Cage. Los Angeles: Getty P, 2017. 19 May. 2016 <http://www.getty.edu/publications/scoresapp>.

Citation

Back ObjectObject Timeline Reading

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Citation Information

Chicago

Michael James, Rose McGowan, Jen Myers, eds. The Score: Avant-Garde Composition in the Visual and Performing Arts after John Cage. Los Angeles: Getty Publications, 2017. http://www.getty.edu/publications/scoresapp

MLA

Michael James, Rose McGowan, Jen Myers, eds. The Score: Avant-Garde Composition in the Visual and Performing Arts after John Cage. Los Angeles: Getty P, 2017. 19 May. 2016 <http://www.getty.edu/publications/scoresapp>.

Citation


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Fluxus Timeline of Artworks

195910.10KAPROW:18 Happenings in 6 parts with Montague, Pendergast, Samaras, Weinberger, Francis, Grooms, Higgins, Johnson, Leslie, Segal etc.

08.01–11.01KAPROW: the Big Laugh196002.29 THE RAY GUN SPEX Judson Gal.DINE: the Smiling WorkmanGROOMS: Big Leap, HANSEN: ProjectionsHIGGINS: Cabarets, Contributions, EinschuszOLDENBURG: Snapshots for the cityWHITMAN: Small Smell

03.14 at Living Theatre: Concert of New MusicKAPROW: Sound Piece 1958BRECHT: card & candle piecesRAUSCHENBERG: phone misicR. JOHNSON: stuttering recordsMAXFIELD: pastoral symph.CAGE: toy piano, imaginary 1.5HANSEN: bibbe’s tao

Timeline


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Listening Room


3:023:02 42:3142:31



Next steps

1. Prototype and test other chapters

• How does other content fit in the current interface?

2. Prototype other use cases based on other storyboards and personas

3. A/B test split-screen view vs. single-screen view on tablets and desktops


Sketches for Web iOS mobile, tabletJanelle Gatchalian, page 8

Sketches for other devices Android phone app, iPad appJanelle Gatchalian, page 9

Persona 1: Jean Kim, eager and engaged...

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