My Ideal Comfort Place - Alyssa Burnside

My Ideal Comfort Place

If I were to design my very own studio I would love to be in a warm place on the floor. Plants around me with large windows where I can look outside. A rectangular room with lots of space. Not many tables if at all. I love to work on the floor where I can spread out. I like to see my past art works for inspiration and professional artist's work as well. I want it to be close or connected to my home so that I don't have walk or drive a long distances to get to my studio. I want surround sound speakers around the room so as to be able to listen to my music, play a movie, or listen to an audio book. I don't want it to be open to the public unless I'm displaying my art work for sale or a show.

My Personal Recourse list - Alyssa Burnside

My Personal Recourse List

• Watercolors Paints, Brushes and paper
• Acrylic Paints and brushes
• Violin
• Floor space
• desk
• Chair
• Drawing pad, pencils and large board
• Pinhole Camera
• Black and white camera
• Phone
• Computer and Wocam
• Books
• Close friends and family
• Pens
• paper
• Computer art programs
• Sheet music
• Food
• Fairy lights

chrysalis instructions Jessica Carbine draft 1

Jessica Carbine

Chrysalis Instructions 

Brainstorm your, chrysalis think about all the things you would like to change about your life or yourself, put those things in your chrysalis. Maybe you would like to travel more or be more financially stable or improve your self in some way. How can you symbolize these things in your chrysalis. 

Make your chrysalis, you can draw it or cut it out of a magazine to form a collage or even sculpt it in some way. Think about color meaning in your chrysalis, below are some ideas to get you started. keep in mind color is subjunctive and can mean what ever you want these are just a few common themes colors are associated with, 

•  Red is the color of energy, passion, action, ambition and determination. 
• Orange is the color of social communication and optimism. 
•  yellow is the color of the mind and the intellect. It is optimistic and cheerful. 
•  Green is the color of balance and growth. It can mean both self-reliance.
• Blue is the color of trust and peace. It can suggest loyalty and integrity. 
• Indigo is the color of intuition. In the meaning of colors it can mean idealism.                      
• Purple is the color of the imagination. It can be creative and individual or immature and impractical.
• Turquoise is communication and clarity of mind. It can also be impractical and idealistic.
•  Pink is unconditional love and nurturing..
• Magenta is a color of universal harmony and emotional balance.
• Brown is a friendly yet serious, down-to-earth color that relates to security, protection, comfort 
• Gray is the color of compromise - being neither black nor white, it is the transitional, new
• Silver has a feminine energy; it is related to the moon,it is fluid, emotional, sensitive and mysterious.
• Gold is the color of success, achievement and triumph. Associated with abundance 
• White is color at its most complete and pure, the color of perfection.
• Black is the color of the hidden, the secretive and the unknown, creating an air of mystery. It keeps things bottled up inside, hidden from the world.

Add some background to your chrysalis. Chrysalises are formed by caterpillars and caterpillars need things to eat  and places to keep them safe. You can create a garden or a forest or container to house your chrysalis. Think about plant meanings 

• Aloe: Healing, protection, affection
• Aspen: family 
• Black-eyed Susan: Justice
• Carnation: Alas for my poor heart
• Chrysanthemum: Cheerfulness
• Clover, white: Think of me
• Crocus, spring: Youthful gladness
• Daffodil: Regard
• Daisy: Innocence, hope
• Fern: Sincerity
• Forget-me-not: Forget-me-not
• Geranium, oak-leaved: True friendship
• Holly: Hope
• Hollyhock: Ambition
• Honeysuckle: Bonds of love
• Hyacinth: Constancy of love, fertility
• Iris: A message
• Ivy: Friendship, continuity
• Lavender: Devotion, virtue
• Lilac: Joy of youth
• Lily-of-the-valley: Sweetness
• Mint: Virtue
• Morning glory: Affection
• Oak: Strength
• Pansy: Thoughts
• Pine: Humility
• Poppy, red: Consolation
• Rose, red: Love, desire
• Rosemary: Remembrance
• Sage: Wisdom, immortality
• Sweet pea: Pleasures
• Sweet William: Gallantry
• Tulip, red: Declaration of love
• Violet: Loyalty, devotion, faithfulness
• Willow: Sadness
• Zinnia: Thoughts of absent friends

Do a before and after shot. Draw your Caterpillar before it creates its chrysalis and emerges as a butterfly.  Do some research on caterpillars and their Butterfly/ Moth counter parts, are they common or uncommon? you can do a specific pair or make one up once again think about color symbolism what were you like before and what are you like now. 

Names project ryan smith

peep it, I'll write about it after class
https://soundcloud.com/ryansmithraps/names-project-wav

sensory Depveoation Project

So I had some ideas about blind contour recently and i have been doing a lot of drawing in my sketch book for my 2D Surface class but i wanted to push this idea further. I wanted to try drawing for diffenrt subjects in profile. With

instruction project - ben sang

My initial aim with this instruction artwork was to create something that would function as a sort of mirror for those that participated in its creation. I wanted to show people something about themselves that they wouldn't expect, or at the very least, show them something about themselves in a way they wouldn't expect.

Mankind has always been fascinated with their own image and throughout history have created innumerable works depicting human beings in both ideal and grotesque forms. Some highlight the purity of the human form while others have aimed to show emotion and individuality. My project consisted of three-ply butcher paper, water, and a simple set of instructions: Wet the paper and adhere it to yourself. You may fold, tear, crumple, or alter the paper in any way so long as the paper remains in one piece. 

Each participant molded the wet paper to their own form, in whatever way they desired, and then held that form in place as the paper was dried with a blow drier so that it would better hold its form. After documentation, the paper was reused by the next participant in a similar fashion, but without reference to the specific actions of the participant before them. I did not know what the final product would look like, but I was interested in the idea of these different, very specific patterns formed by the body of participants and what they might look like combined together as a single artwork. The moisture condensed in the creases of the paper and created a marble-like pattern that in a way references ancient traditional sculpture. Another unforeseen byproduct of the process was that the paper became more and more flimsy and fabric-like until it was no longer able to hold its form after removed from the participant's body.

After the paper couldn't hold three-dimensional form any longer, it was spread out so the patterns could all be seen together. The veiny patterns show the evidence of some of the physical features of the participants who wore the paper, but remain largely abstract. However, the folds are physical evidence of the convergence of the form of each individual who wore the paper, completely blending their similarities and differences into one natural abstraction.

UPDATE 3/9/18

After thinking for some time about what I want this project to look like in its final form in a gallery space, I decided that I wanted to augment two factors to make it more interesting and impactful to a viewer that would not have the immediate context of the piece and would perhaps lead them to understand how the piece was created and what it truly is or maybe lead them to another conclusion altogether:

1. My first and biggest issue with the piece is that after completely drying, the folds and creases created by the faces and shoulders of my subjects become almost invisible unless closely inspected. I want the piece to be one that draws the viewer nearer, but also one that gives the viewer a reason to come closer in the first place. I knew that I could use watered-down gouache to give the entire piece a colored tint. In doing so the moisture would pool around the creases, accentuating them. At first I was planning on using a grey or very watered-down black but came to the conclusion to use color after some thought. These lines on the paper are very universal. At once they represent river systems, veins, animal paths, cracks in a surface, etc. I wanted to tie them into the idea of the subjects that they are the collective evidence of and elected to use a red tint, giving it a somewhat fleshy feel, and more closely referencing vein systems that thrive just under the layers of skin of the subjects whose faces created the work.

2. The work is (in my opinion) immediately read as an abstract two dimensional pattern. However, I consider this piece to be a sculpture. I was immediately opposed to the idea of framing the piece because it would further solidify the idea of it being flat. However, I ran into a fascinating artist in some of my research who builds frames that, in addition to traditionally framing the piece, stretch out away from it, creating a compelling three dimensional space in front of areas of the two dimensional artwork. I have begun construction on a three dimensional frame like that for this piece that creates a perfect square space that frames the space of the sculpture where most subjects placed their face. Doing this, I am using a frame that traditionally accentuates the two dimensional nature of an artwork, and implementing it in a way that gives attention to the sculptural aspect of the piece. I really like that contradiction a lot. (I still want to add more and extent the square frame further from the traditional frame, but this is the piece's current state.)

A Set of Instructions // Jackson Jenkins

For my project I wanted somebody to create a sound on my Nord Lead A1 synthesizer based on a set of instructions made by me. To someone who doesn't know anything about synthesis, a synthesizer can be seen as very confusing and overwhelming. But with a little bit of practice it is pretty easy to get the hang of. Ben Sang demonstrates this very well as he created a beautiful synth sound with this set of instructions that I gave him:

The process was very fun and I think it was a very cool learning experience for both me and Ben. The final product was surprisingly beautiful
 https://soundcloud.com/jackson-jenkins-339927642/nord-lead-a1

instruction group exercise

My Manifesto
don't Be afraid to let yourself and your style change as you grow and learn things
Do NOT be afraid to use color even though you are blind to it
Don't take things to sirously " dOnt get in your own way"
be comfortable with constantly learning there is always more you can learn
Respect all other forms of art
Don"t be afraid to show your work
When you can do your work for yourself and what makes you happy
never stop consuming other people's art
learn from history
Some how find away to grow your creative confidences
Have other interest to stay balanced
always remember to   take breaks "especially food breaks "
 Read as much as you can
Remember you can handle anything
also remember you don't know everything and that's okay
its okay to screw up on your work EVERYONE dose
Rember creating art is not a competition
Do your best to not be intimidated by other artist we are all learning
Do Not compare your work to other peoples
Its okay to be eccentric and create work that is extremely unique an audience will find you
BRING IT you have good ideas and you are extremely capable to create
Have the most fun, everyday remember why you create and you create to have fun and give others fun

My Ideal Creative Space

What I like to have in my work space
A Window with some good natural light
A Shelf or shelves of reference books and other object i find inspiring or odd
having a sort of cozy but slightly organized space overall
Having all of my supplies close to me "either on my desk or next to it
I need at least one flat surface to work on
I really like having art "either others or my own but usually other people's" on the walls in front, behind, next to and even above me.
I like having a way to listen to things like pod casts or music either on my phone or speaker
I like having a closed door I like feeling alone when I create but it also helps to distract myself with sound to stay focused
I like having access to the internet
also I love when there a cat in my workspace that always nice
I really like having acess to the outside world but I like my solotude

Resource LIst

My Current Rescources:

Wacom Drawing Tablet                                 

Ipad Pro 

Apple Pencil

Sketchbookpro6"Frist drawing program" 

Adobe Photoshop

Adobe Illustrtor

Adobe Suite 

Adobe Sketch 

Procreate 

my Iphone

Social Media 

Portofolio sites 

the internet 

my natural rescourfulness 

Acrylic Paint 

Brushes 

Drawing Board 

Large Drawing Pad 

Drawing Penicls 

Micron Pens 'Brush pens 

Alcohol Markers 

My Laptop 

Tracing Paper 

Bristol Board 

Watercolors 

airbrush 

some canvases 

Pallet Knife 'Exacto plus blades 

a college degree 

being a student 

a small army of awesome art professors iIhave met while at snow 

Sensory Derivation Ryan Smith

For my project I wanted to explore the relationship between my own perception and recorded satellite tracking. I've become obsessed with apps like Google Maps that track your route when you go on a trip, as the path is distorted due to connection interruptions, accuracy limitations, and my own movement. For this experiment I went to a safe space of my own; a wide open field blanketed with snow in the middle of the night. I pulled my beanie over my eyes and let myself wander, taking in the silence created by the miles of fresh snowfall. In my hands I had my sketchbook and a pen and drew out my perceived path as I walked. I then compared the images from the digital tracking and my drawings. 

This turned out to be a profound experience for me personally. The silence and the cold and the dark made me especially aware of my body and my thoughts, yet it was easy to allow myself to wander in both body and mind. I felt like the whole world had receded away and that the field I was in spread out for miles in which I felt minuscule. The lines I drew trembled more and more on the page as I walked and as my fingertips grew numb. Once I couldn't feel anything, I uncovered my eyes, oriented myself, and went back to my car. 

Sensory Deprivation - Nathan Adair

In my experiment I wanted to take away the ability to hear yourself while playing. I could hear Jackson, and Jackson could hear me, but neither of us could hear ourselves.

This was really fun to try and mess around with, but it failed to produce anything that actually sounded good. It made it clear to us that it's really important to hear yourself when playing and how me and Jackson needed to look at each other more to even have sense of direction and connectivity. It was interesting to see how much the time and feel suffered when we attempted this though because it was very inconsistent.

Here is the recording of what we played : https://www.youtube.com/watch?v=U2eruqm9F-g

Jackson Jenkins - sensory deprivation experiment

For my experiment I wanted to see what it would be like to take away sight in I live performance situation. So I decided to get a group of players together and perform the popular jazz standard 'Bye Bye Blackbird' blindfolded. Sebastian on bass, Ashton on guitar, Nathan on drums, and I am on piano.

The obvious risk involved with this is the inability to see what you are playing, and missing notes as a result. But to me the bigger worry was the inability to make eye contact with the other players which is important for locking in the time ( especially with the drums and bass ) and giving each other cues.

I did not expect the results of this experiment to be so overwhelmingly positive. I was blown away at the fact that my muscle memory and familiarity with a piano carried me through the song so well. It actually ended up being more of a positive thing rather than a drawback. All of the sudden the form was easier for me to think about, and I was able to be more intentional with what I was playing and interact more with the other players. I only remember missing notes on two occasions. The other players all had similar very positive experiences.





Our recording : https://www.youtube.com/watch?v=wB0kUfm6Scs&t=1s

A recording by Miles Davis : https://www.youtube.com/watch?v=CieM9gurwZ4

sensory deprivation project - ben sang

When I thought back on personal experiences I've had with sensory deprivation, I remembered a late winter night at my cousins' neighbor's house. We were using their hot tub and took dares to jump into the ice cold swimming pool and then get back into the tub. We repeated this over and over again. After a few rotations, the pool's cold seemed to lose its effect and the same thing happened with the hot tub. Neither extreme heat or cold seemed to have an effect on me.

I decided to recreate this experience that hadn't occurred with me since. On January 21st, I visited Baker Hot Springs, near Delta, Utah. It was below freezing outside and had snowed the night before. The springs were scalding hot and I had to slowly acclimate to them. I jumped in and out of the springs over and over again and the effect from my childhood was repeated. The more I switched between the two extremes, the less I felt it. After about seven or eight repetitions I was immune to the shock of going back and forth. The feeling wasn't quite numb, it actually felt really good - kind of like after yoga or a massage. Even when I was out for an extended time to dry off and change in the cold air and wind, I felt completely comfortable. 

To record the experience/performance, I had a friend take a burst of photographs every time I emerged from and returned to the hot water. I did this because I wanted to capture the moment or moments in which my body was transitioning between the different environments and eventually becoming numb to them. I then took these photo bursts and overlaid them in chronological groups with low transparencies so as to show the movement of the action.

sensory deprivation exercise 1 (anticipation)

Personal Manifesto - Alyssa Burnside

• audience
  • Create work based on differing audience and focus on what the audience wants and not really what you want.
  observe
  • Look more at other people's work including God's work
  Work harder
  • Time management and work efficiently
  Grow
  • Spread out into different fields and ideas
  
  
  Make art for yourself
  • Make art work for yourself that you can gain inspiration from
  
  
  Listen to music that is related to the idea you’re trying to create.
  
  
  Ask others for their help and critique.
  
  
  Don’t let negative things get you down
  • No matter what others say don’t take it personally and improve your work.

personal manifesto - ben sang

extremes are cool, but the grey area is cooler most of the time

 - the uncategorizable yet recognizable is where you can most easily spend the most time exploring

expose yourself to everything

 - knowing the surface of something only helps you try to bullshit things

be naive in order to gain experience

 - try things you don't understand and attempt things you know are above you. failure is the best way to quick improvement

be sincere

 - be honest with yourself. not every piece you make needs to be all that important

imitate everything that you like

 - if you like it, you're more likely to do it well

don't be a bitch

 - you just gotta get over it and do/make/become what you envision

never brand yourself

 - visual branding can help, but for now, stay awayyyyyyyy

when weighing options, do what scares you more

 - a kid named Muhammed told me this and he was so right

trust your gut

 - it's almost always right, and when you're used to listening to it, you know when it is

believe in conscious streams

 - the unrelated become very related as our minds drift. use this

steal shit

 - art, supplies, space, time, anything

rely on collective consciousness

 - if you can understand it, someone else can too. if you have an idea, someone else does too

go outside

 - breeeeeeathe baby

be ballsy

 - try things that others won't to learn things that others won't

get into trouble

 - usually a result of the previous point. you learn a lot about the way things really are when you break the rules

be persistent

 - if you stop trying, you'll never get there

flex

 - if people are shitting on you, shit on them through your work. not directly, just purposely do a really good job of subtly pissing them off

be loose and dance

 - be freeeee let gooooooo

push yourself

 - the more often you push yourself, the more you condition yourself to regularly achieve that which beforehand was undoable

make unrelated shit

 - you don't have a brand, you like lots of things, make them regardless of their content in comparison to previous work

read books and speak to people above your own level

 - reading books is like filling your head with a really smart person's thoughts. speaking to smarter people keeps you on your toes and reminds you that your own intellect and creativity are relative

obsess

 - the only way to find things that other people generally don't is to go much deeper than others generally do

move on

 - just a bad day, a weird phase, whatever, it leads to the next great opportunity

save trash

 - seeing the byproducts of your own habits puts things into an interesting perspective and gives an interesting mix of fodder for your work

make lists

 - you'll forget a lot of what you don't write down, so write it down. your brain is like a personal assistant. a list is your personal assistant's personal assistant

make goals 

 - be aware of where you are and push yourself harder. as you make more goals you become more aware of your own power

share and spread success

 - this one requires being selfless, which is hard for me right now, but giving aid to others historically seems to bring about your own success

do what feels good

 - because it feels good, and if you feel good, you do well usually

make art in any context

 - just don't believe people that say you can't. pushing art into new or exciting realms is a very freeing sensation

vandalize everything

 - leave your mark everywhere. others may not understand it, but you will in time

make things your own

 - don't let your things be curated by someone or something else. they are yours. you are the only you

have more influences than anyone else

 - the secret to being the most "original" is the distillation of the greatest variety of influences

believe in yourself

 - you're you and as far as we know this is your only life. every cell that has ever interacted with your existence and every universal and minute event previous to your birth has led to your existence, you're very special. you can't realize your full potential if you don't believe in it

surround yourself

 - curate your own world to be a personally stimulating one

study

 - be self educated and learn the things you wouldn't otherwise

try new things

 - in my experience, trying new things teaches you a lot more about yourself than that thing

everything is an investment.

Personal Manifesto - Nathan Adair

DON’T SECOND GUESS/OVER ANALYZE
-When I’m playing or writing I sometimes let myself overthink what I am doing which ends up restricting me from letting my ideas come through. Letting myself just play when soloing usually results in more fluid and melodic ideas.
DON’T LET WHAT OTHERS DO DISCOURGE YOU
-I have a habit of when I see other drummers playing, I think about what I would be doing in their situation, or if I even could do what they’re doing and it effects my playing. Same when it comes to writing.
TAKE INSPIRATION FROM EVERYHING
-Using things I like and letting those influence how, and what I play gives me new ways of looking at my solos, and tracks I write.
ALWAYS WORK HARD
-I always think about how there are people doing exactly what I am doing, and they’re working on it right now. I have to work hard to keep improving.
LET OTHERS HELP
-It always helps when I get input on what I’m doing. HONEST, and blunt feedback shows me what I need to improve and change.
HAVE GRATITUDE
-There have been a lot of things that have improved what I do. I feel like it’s good for me to show those things, and people that I’m grateful for those things, and people.
RECORD THINGS I LIKE
-I can record anything from a sound I liked to a part of a song, and to a conversation I’m a fan of. I can use these all later for inspiration in what I’m trying to do.
MAKE MISTAKES
-If I make a mistake, I can then learn from at it and do a better thing next time. Or own the mistake and go for it.

Personal Manifesto-Ryan Smith

Involve everyone (Audience)
-I want my art to be accessible to everyone, while still having depth.

Experiment more
-Every good thing I've made is a result of experimentation

Recognize what works
-Experiment, analyze, draw conclusions

Make bad art
-Gotta flush out the system every now and again

Act on impulse, ask questions later
-If you have an idea, act on it. Then evaluate.

NO STRESS
-Plain and simple, to a certain degree you can choose whats not worth stressing over.

Steal shit
-As an artist, the world is yours

Drop your ego
-A humble mindset helps keep things in perspective; and people tend to enjoy you more.

Observe everything, everywhere
-Take in the world around you, great art comes from observation.

Take photos, write words
-Record what you observe

Enjoy the process
-Think of it as a road trip

HAVE BALANCE
-Practicing balance in your life results in a better one

Listen, watch, read (CONSUME)
-There's so much out there waiting

Have hobbies
-If art is your only passion you'll end up hating it

WORK HARDER

Listen to people who are smarter than you
-It's intimidating, but you'll learn new things

Loosen up
-You'll feel better if you do

Master craft/ involve concept (balance)
-A beautiful work is even more beautiful when you can learn from it

TAKE OPPORTUNITIES

-

Have a sacred space

Be alone/be around others (balance)

Be honest

Love deeply

Explore

Dick around

Jessica Carbine Artist Manifesto

Jessica Carbine

Artists manifesto 

1. Make your own path and dance to your own beat no one can tell you how to be yourself.
2.  Don't worry about what others think of you, you are your own worst critic and to be honest everyone is to busy judging themselves to judge you.
3. Learn from your own mistakes and the mistakes of others, often we get so caught up in the shame and self pity of making mistakes that we don't learn from them. There is nothing wrong with failure.
4. Don't judge a man until you have walked two moons in his moccasins. Sharon Creech. Always put your self in other peoples shoes so you can see from their point of view.
5. Don't let your freedom of speech become freedom of cruelty. Shane Koyczan 
6. Music is the quickest way to someones soul connect with people sing together.
7. Try new things, you can learn from anything and everything you do so don't be afraid to try new things so you can learn new things. 
8. Keep your sense of wonder. As a kid your sense of wonder is strong, everything is new and beautiful, as you grow life becomes stale and cold, bit by bit we lose that sense of wonder. Don't loose it 
9. Never stop learning there is no such thing as useless knowledge.
10. Don't judge others for doing what they have to and "Growing up" they're just trying to be "realistic" and there's something noble in that. But that doesn't mean you have to be that way. 
11. We accept the love we think we deserve (Stephen Chbosky) Know that you deserve better.
12. Don't be content with the way things are fight to change the status quo always fight.
13. Be Prepared physically and emotionally for whatever comes your way. 
14. Travel. When you can make time, go to new places and see new people the world is a big place and you should explore it.
15. Nature is there for you in a way no one else can be draw from it.
16. Be independent on of the most important things we can learn in this life is how to be on your own. But don't shut others out find people you care about and let them care about you.
17. Don't let people intimidate you, they are just a person just like you, they are not better or worse than you.
18. The world is not black and white, learn how to be an adept fence sitter so you can always see all sides and comprise. 

Personal Manifesto - Jackson Jenkins

In the context of songwriting

Do not create in a negative environment
Often times the place where the studio equipment is set up, can have a very negative vibe because of irrelevant variables, wait until whatever problem is taken care of, and then try go ahead and experiment once the vibe is good. Otherwise whatever you make is probably going to sound forced.

Eliminate Possible Distractions
Turn phone on airplane mode or silent, don't let anything interrupt your process. Prep beforehand by making sure you are physically comfortable by eating, getting warm etc.

Use many references
Their are plenty of great songs out their to get ideas from, be receptive to those great songs and let them give you ideas. It doesn't just have to be music for inspiration, you can get ideas from really dope movie scenes, or art pieces.

Take breaks
It is important not to overload yourself and to keep your mind fresh, otherwise a project can sound forced. You can prevent this by taking short breaks or switching to a different project.

In the context of improvising

Be Intentional with everything you play

If you play something with 100% intention, even if it is out of key, It probably will is going to sound find and know one will notice, because the atmosphere you create when being intentional is going to come across to the audience. 

Be prepared

It's hard to sound good on a tune you aren't completely familiar with!!

Imitate

Every single jazz great in existence spent a great deal of time imitating other great improvisers. It helps you grow. 

Don't vibe other players

Improvising is already terrifying, don't make it worse for other people by judging them or being a jerk, help them grow.

Experiment

Don't let yourself fall into the rut of playing the same thing over and over again. It isn't important to try knew things in order to help yourself grow. 

Groove before notes

Right notes aren't going to sound good if the feel or style is wrong. Stolen from legendary bassist Victor Wooten. 

Creative Space Requirements - Nathan Adair

ISOLATION
-I need a place where i can feel isolated so i can focus on what I’m working on, but can pull in a friend for their opinion  and advice if I feel like I need it.
ORGANIZATION
-When I’m writing a tune, or practicing I need to have a sense of organization so I can stay focus on everything I’m working on at that time. Things can’t be terribly messy, but an organized messy works.
RELAXATION
-I need to feel loose, and absolutely relaxed when I’m working. It helps me feel comfortable when I make mistakes, and it keeps me from getting frustrated from the mistakes I make. I meditate and stretch to help relax myself. Incence helps me relax too.
AGENDA
- I need to have a plan when I start something. Either if that’s something I know I need to practice. or if I’m going to make track of an idea I had in my head, or if I just want to start writing something and just write whatever comes to mind. I need the motivation to make sure I get something done

Jessica Carbine Creative space

Jessica Carbine

Creative Space 

For me a creative space can be anywhere I feel at home whether it be in a studio, at home or outside, I have always been a go with the flow kind of person so my creative space is quite versatile. As a kid my dad use to take my family and I on a lot of  trips we would just spend the day and drive to all sorts of places and I still draw inspiration from a lot of these places. Most the time we would go to more remote areas like, out in the desert or up in the mountains away from people, we also went to a lot of old (a lot of times abandon) towns.  When we went to these places we would often just sit in a nice place like a lake shore or forest and relax, during this time I would draw, take pictures or even play the guitar with my dad.

 These places taught me that you can create anywhere because your creativity isn't rooted in one place its in you so as long as you have that with you can create anywhere. 

Some days I'll fill a pack with a few things I need, water, sketchbook, camera etc... then I'll hop in my car and drive until I find a place that's interesting, sometimes its a familiar place sometimes its not, I'll hike for a bit then I'll sit down and draw or what ever I feel like. 

 I don't necessarily have to be alone but this is often times how I prefer to spend my time when I'm stuck. There are some mediums that really root me, photo developing, sculpture mixed media etc... for these I just need my tools and my music then I can work at home or in the studio depending on my mood. 

Creative Environment - Jonas Christianson

Clean Environment
- Your workspace needs to be clean for multiple reasons. If your environment is clean, it can help clear up your mind, giving you space to work, and organized. If you are organized, your tools/materials will be more available to you, therefore you can get your work done faster and more efficiently.

Smell
- Smell can really effect your environment and mental state as well. Not only can certain smells effect your creative process, but it can also help keep you focused. If your workplace smells terrible, you can never get anything done, and your attitude with be greatly effected.

Minimal distractions
- Who can focus on being creative on a project when you keep getting distracted by your surroundings?

Comfort
- If you are not comfortable, you cannot focus on being creative because you are too focused on being uncomfortable. But if you are too comfortable, it can make you slothful and lazy. You need to balance out your comfort.

You need to be clean
- You look good, you feel good. You feel good, you play good. When you play good, you do great

Resource List - Jonas Christianson

- Demolay
- Masonic Family
- Saxophones
- Piano/ Keyboards
- BSA
- Football
- Rugby
- Paintball
- Cooking
- Military
- Car
- Brother (Chemisty)
- Skyline Friends
- Hunter Friends
- Supportive family
- Social Media
- Minecraft
- Backpacking
- Swimming/ Diving
- ADHD/ ADD
- Skateboarding/ Longboarding
- Dope Roommates
- Snow Squad

Creative Space in the Context of Songwriting - Jackson Jenkins

Tools need to be plentiful and accessible.

By tools i mean musical instruments, music gear such as quarter-inch cables, amps, monitors, stands, speakers, software such as ableton and music plugins, audio interfaces, guitar pedals, synthesizers, everything that I need in order to create. If I want a certain sound I want to have immediate access to a device that can produce that sound, this requires having a lot of different tools with specific features. 

Inspiration at my fingertips

The internet is key for quick access to inspiration. If I want to reference a certain song I need to be able to pull up the song immediately. I also need to be able to pull up scenes from movies as I pull a lot of inspiration from certain scenes and the music from those scenes. A lot of times I will put up a movie that I like for inspiration, but turn the sound off so that it is not distracting. This helps put off a good vibe.

Vibe

I can think a lot more clearly and I am much more effective if I am in an area that I am comfortable in. There is a lot of stuff that can contribute to the vibe, including but not limited to, posters of artists and bands, cool lights, decorations, etc. Putting on a movie also helps out with the vibe. 

Collaborators and Second Opinions

As someone who is primarily a keyboard player, it is vital that I am in contact with people that can play other instruments really well. It is really helpful to not have to make an entire song on my own so it preferable to have other people creating and collaborating with me. Being able to get second opinions is a really good way to have more quality in the finished product.

I need to be warm

It sounds stupid but it can actually be a serious problem, if i get to cold I feel that it negatively effects my focus and productivity.

Nathan Adair Resource List

Drum set
logic pro X
MIDI keyboard
Jackson plays piano
Vibraphone
Practice room access
Recording studio access
Camera
Ashton plays guitar
Tyler plays trumpet
Phones
Chess
Ping Pong
Record Player
Records
Diabetes
Lava lamps
Cars
Ephraim
Utah
Timpini
Dogs
Sebastian plays bass
Thrift
Great Grandpa's Trumpet
Cajon
Past experiences. Good and bad
Marimba
Xylophone

Creative Space Requirements - Ryan Smith

Lots of Space

I need to be able to spread out when I work and have everything I'm doing surround me. Movement helps keep me focused, so if I can move around to different things I won't feel as confined as I would staying at tiny desk. 

Window Light

Natural light is super important for my process. It helps me keep me feeling calm and gives me something else to look at during breaks. 

Plants

Lots of plants would also help me feel calm. Taking care of my plants and watching them grow help keep positive energy in my space. Some plants also detoxify the air, making the space a healthy environment. 

Furniture 

Again, my space needs to be cozy, so couches and tables and the like will be much needed. 

Control of Isolation/Company 

I need my space to be primarily mine, which means it needs to be somewhere I can retreat to and turn off the world. I tend to work well alone, but outside input and collaboration is important to me too, so room for visitors will be needed. 

Control of music and other medias

I love the studios at snow, but the worst part is when people who have bad taste have control of the speakers, i.e. blasting Disney music during finals, ugh.. I consume a lot of media when I work, mostly music and podcasts, so I need to be able to throw on whatever I want without having to worry about other people in the room. 

Short Commute

I need to be able to be in my space whenever I want. I don't want to have to rearrange my entire schedule for a commute. Being able to walk or bike to my studio would be ideal. 

Everything I need in one place 

My space would need to be well stocked with ample storage for all my crap. I tend to work in a lot of different mediums and experiment plenty so my space would have to allow that. 

Location, location, location

I want to work somewhere I enjoy working in!! Somewhere quiet with pretty surroundings would work perfectly. 

Separate from sleeping space 

I'm not saying I can't have a studio in my home, but not in my bedroom. When I try to work where I sleep I end up not being able to do either. 

No Rules

My space is my space. I should be able to do whatever I want in there.  

Ryan Smith - Resources list

Studio space with access
camera
car
some money
photoshop/premiere knowledge
can swim
loyal friends
can paint, draw, print
car knowledge
dogs
mom
love music
computer
flight benefits
love exploring
secret cabin
bikes
ADD
good at forza
social media following
goes on walks
takes lots of pictures
artistic knowledge
outdoor background
scout knowledge
salt lake connections
music major friends

creative space conditions - ben sang

I used to not think I required much in terms of a studio space. I'm good at improvising and using what's immediately available. I think that being in new spaces and atmospheres is good as a stimulant, so I should always make an effort to get into new situations of creation. However, I have found that certain conditions improve my productivity in major ways. I believe that over time these requirements or preferences will evolve, but that I should definitely try to develop these kind of spaces to work in whenever available.

conditions:

-complete control of audio, visual, and personnel variables.
     -I like to have different things happening in the studio most of the time that I'm working. These include mainly music, podcasts, soundcloud mixes, or movies, and sometimes people. So speakers, a computer, wifi access, and a projector are awesome. I usually work best when alone though. Having complete control of these variables helps a lot.

-ability to close myself off from the external world without unwanted interruptions.
     -locks and personal keys are ideal. I can have who I want visit when I'm open to it and don't have to worry about weird vibes in the studio.

-big space
     -I like to move around a lot and not feel cramped. This also allows me to make a greater variety of pieces

-well-stocked with lots of different things
     -having a versatile storage of different tools, materials, and spaces really helps me in exploring different avenues and combinations of making.

-freedom of space interaction
     -I need to be able to draw on walls and break stuff.

-all hours access

-separate from sleeping place
     -having a bedroom/studio is depressing af

-adderol
     -I've found this helps me with productivity more than anything else.

-whiteboard
     -Sketchbooks or notes are good but whiteboards help in a different way for me.

-outside access
     -I need to feel very separated but be able to get out

-decoration
     -I need to have all my favorite things around me

personal resource list - ben sang

-architecture office + large scale printers
-physical endurance
-musician friends
-ivouries
-friends with cabins
-girl gang
-photographers
-studio/gallery keys and access
-adobe suite
-car
-DJ friends
-lotsa cool clothes
-i love summiting mountains
-garage attic
-connections with hathenbruck (who have connections with nike, actual source, hypebeast)
-owners of clothing lines in SLC (YSK, Tminec, KALOS) (access to spaces)
-Seth (5rabbits) mind
-Jimmy Hadley printmaking and digital
-Micheal Jensen installations and parties
-rapper friends
-past girlfriends
-Guthrie Studios downtown SLC
-Wyatt and his studio + connections in LA and framing company in New Jersey
-internship at granary
-soccer player
-lots of younger siblings
-abandoned research cabin
-camping supplies
-experimental music
-Casey's mixes
-access to alcohol
-clothing production in Middle East (via Scott Stowe)
-good at talking to anyone I want to when I care
-intensity
-discounted flights worldwide
-friends with lots of weed
-I don't got no real job
-love spending money
-thought streams
-philosophy of senior prom

Personal Resource List - Jackson Jenkins

• Synthesizers & keyboards: Nord lead A1, microkorg, yamaha moxf8
• laptop
• Ableton
• Focusrite audio interface
• Porter= Drums, vocals, gear, production
• Isaac= Bass
• Johnny/Ashton= Guitar
• Nathan= Drums
• Ashton= really good with computers
• Honda CRV
• I have a job so I also have money
• sister= cool art stuff
• Cool clothes
• Amazing dog named Betsy
• Somewhat athletic
• Tall
• Lots of shoes
• iPhone
• Caleb Chapman: Book gigs, good at promoting
• Decent Basketball player
• Decent ping-pong player
• Decent chess player
• Reliable jazz pianist
• good at ripsticking
• knows a ton of really great music and artists.