Who I am……

David L Page logo.20141231.v2_resize4

(Page 2017a)

Me, myself, I – the multi-facetted/multi-dimensional practitioner

As described in my blog Research Practitioner Part 16 (Page 2017b), I am a multi-facetted/multi-dimensional practitioner – a practitioner across multiple practices of education & learning, research study commitments, creative practice, professional consulting practice and family responsibilities. I concluded that:
“All of my practice informs my self; and my self informs my practice – irrespective of the industry, the field, the discipline, or the site”(Page 2017c).

~DLP Pro Image Fun 5b small.20141020

(Page 2017g)

A broad definition of me, myself, I – the creative practitioner

You will note that in terms of creative practice, I refer to my self as a creative practitioner. I consciously choose to use this broad term, not specific to any particular discipline – as I see  my self as a creative being who likes to engage in a broad range – a very broad range – of creative practice. Whilst I love to engage in what I would classify as the primary focus of my creative practice – music and sound; listening, creating and performing –  music and sound alone does not define me. Being passionate about music and sound does not mean that I am not also passionate about other forms of creative practice. I am a multi-facetted person, with many diverse dimensions to who I am as a being, and in what I love to engage in. I engage in visual arts, in design, in film and animation.

Engagement with particular creative media platforms for particular purposes

I also engage in web, but I see this as not so much as a creative process where I am creating,  I see my engagement with web as a creative process in terms of function; curation for gathering resources to use as a practitioner; curation of resources to source inspiration; resources of others practice and/or viewpoints that assist me in the reflection process; to create a sense of identity – for my self, and for others; and, to market and distribute my creative practice.
As I indicated in my blog Media Identity & Curation Part 2 (Page 2014), I apply a diverse media strategy to include my media sites of:  about.me, gravatar.com, wordpress.com, tumblr.com, twitter.com, linked-in.com, myspace.com, facebook.com, pinterest.com, you-tube.com, soundcloud.com, instagram.com, lastfm.com, slideshare.com, googlescholar.com, academia.com and google.com. I use these media sites for quite specific purposes.
  • For example, David L Page wordpress.com (Page 2017d) allows me to communicate detail of my professional practice – as a creative practitioner/subject, as a education & learner practitioner, as a reflective practitioner, as a management practitioner, and as a a researcher/observer in any or all of these areas.

    wordpress-site-20160129

    (Page 2017d)
  • I use David L Page Pinterest.com (Page 2017e) to provide a curated static visual view of my multi-facetted self. I am a professional practitioner who loves diversity. I love culture, having been blessed to live across three diverse cultures to date – European Australian, Japanese, Indian. I have experienced many more cultures in my global travels. I love all things music and sound – audio, in terms of production (tracking), post-production, live and theory. I believe in the access of education for everyone (referred to as community education). I love performance. I love fast fun things. I love the environment. .. I love… I love…. I love… I love…..
    Pinterest Board Categories.20160306.P1b
(Page 2017e)
  • I use David L Page you-tube.com (Page 2017f) to provide a curated audio-visual view of my multi-facetted self. As indicated above, I am a professional practitioner who loves diversity, culture, all things music and sound, education for everyone, performance, comedy, or fast fun things.. I love diversity…. 
David L Page You-tube channel.201706011
(Page 2017f)

Engagement with particular creative media mediums dictates what cultural productions I engage in

How I engage in media depends upon what cultural production – what cultural artifact – I will engage in at any particular time. Depending upon the medium I choose to listen to music or soundtracks will depend upon what I choose to listen to. Am I going to use the internet to stream; an iPod; a CD player – in a house, or a CD player in a car; a car radio; a portable tape player; a cheap record player; a high-end stereo system; or a high end 5.1 surround sound hi-fi system?
It is the same situation for visual arts and design. Depending upon the medium I choose to view visual arts and design will depend upon what I choose to view. on a small screen device such as an iPhone; via a static image platform such as Pinterest.com; via an audio-visual dynamic image platform such as you-tube.com; in a small art gallery with physical visual art or graphic displays; in a large National art gallery with physical visual art or graphic displays?
It is the same situation for film. Depending upon the medium I choose to watch film will depend upon what I choose to watch: on a portable small screen device such as an iPhone; a portable smallish screen device such as a laptop; on a small screen TV; on a large screen TV with a hi-fi 5.1 surround system; in a local suburban cinema; in a surround sound movie theatre equipped with dolby; or an outdoor drive in movie theatre with a window mono speaker system?
As a creative practitioner, I have listed examples below of media across four (4) disciplines and how I view them. Providing examples of four (4) different creative media disciplines I believe enables me to make my point of how engagement with particular creative media mediums very much dictates what cultural productions I actually engage in at any point in time.

~Music_staff Blue

(AE 2015a)
1. 4 different listening behaviours I exhibit:
  • eg 1: Pink Floyd’s “Dark Side of the Moon” for me, is best listened in the medium of an album, played on a HiFi record player system, in one sitting, in a comfortable chair, with ambient/subdued lighting (lava lamps etc), at the end of a day. Strict rule – no talking during each side… Flipping the album from side 1 to side 2 is the opportunity to have a break if one needs;

Dark Side of the Moon_Pink Floyd.1973

(Pink Floyd 1973)
  • eg 2: Tim Buckley’s “Greetings from LA” must be played as a full album, in sequence , in one go. I do not mind what medium I listen to it on (album on stereo, cassette tape, on itunes in car system, studio system, or on laptop/desktop/ipod/iphone via studio quality headphones) BUT MUST be listened to in sequence, at one time! (not negotiable);

Greetings From LA_Tim_Buckley.1972

(Buckley 1972)
  • eg 3: Where I did not buy the artist’s songs as an album, or I did, but I have never or have infrequently listened to it as a continuous complete album, I am happy to play the songs randomly in a multi-artist, multi-genre playlist via any medium (generally on itunes in car system, studio system, or on laptop/desktop/ipod/iphone via studio quality headphones);
  • eg 4: ambient music, or dance music for me is about a soundtrack to my life at that moment in time, supporting my emotional or physical state at that time, or my desired emotional or physical state at that time. I am happy to play the songs randomly in a multi-artist, signle-genre playlist via any medium (generally on itunes in car system, studio system, or on laptop/desktop/ipod/iphone via studio quality headphones).
    John Olsen_Sydney Sun [or King Sun] 1965, National Gallery of Australia © John Olsen.jpg(Olsen 2017)
2. 4 different visual arts and design viewing behaviours I exhibit:
  • eg 1: traditional art – physical paintings, etc – I do like to see in an art gallery, particularly a curated art gallery with a theme, or an artist’s works.. I like taking time to wander around in a relaxed stated;
  • eg 2: In saying that, I usually also like to have copies of my favourite works electronically (desktop pictures, pinterest, etc) to see and remind myself of that experience in the art gallery;
  • eg 3: I do view traditional art – physical paintings, etc – in coffee table books, but generally to see and remind myself of that experience in the art gallery…. eg 4: virtual design is ok on most modern mediums (laptop, desktop, etc). However in saying this, I tend not to view on smaller virtual devices such as iphones, as images gets lost/loses visual impact for me being so small, etc;
  • eg 4: Functional design, such as promotional or marketing brochures for me are best in a physical tactile state. i like to pour over them, digest them, turn the page, revisit the previous page, perhaps circle or add notes around the borders of the text that I may be attracted to, and have further questions about. I tend to want to engage physically with these mediums;
  • eg 5: virtual creative, artistic design is ok on most modern mediums (laptop, desktop, etc). However in saying this, I tend not to view on smaller virtual devices such as iphones, as images gets lost/loses visual impact for me being so small, etc.
3.4 different film viewing behaviours I exhibit:
  • eg 1: I most like watching feature movies on a movie theatre wide screen and sound system. However, I mostly watch them on my 65″ home TV with sound system – for convenience. For me, watching movies is a shared experience, watching with someone. I do not like watching animation movies on laptops or small screen for both the limited visual and audio experience, but mainly for the lack of watching in a relaxed shared experience environment. An example of a movie that i have seen in these conditions would be “Shawshank Redemption”;

Shawshank Redemption_CastleRockEntertainment.1994.jpg

(Entertainment, Castle Rock. 1994)
  • eg 2: Certain movies eg (original) “Point Break”, “Star Wars” are a cinematic experience, and lose a great detail of impact for me when not watched in cinema, but on my home TV system;
  • eg 3: Where I want to view a trailer to see if I am interested in watching it in full, I am happy to watch them on alternate mediums such as a laptop or desktop
  • eg 4: Certain movies eg “Blair Witch Project” I believe benefit from being watched on alternate mediums such as a laptop or desktop as this smaller – more intimate? individual? secretive? -medium lends itself more to the intent of the narrative in my opinion.
4. 3 different animation viewing behaviours I exhibit:
  • eg 1: I most like watching feature animation movies on a movie theatre wide screen and sound system. However, I mostly watch them from the second or third time via a DVD on my 65″ home TV with sound system – for convenience. “Lion King” is a good example of this. For me – now – “Lion King” is best listened to (note, not necessairly watched) in one go. It can be in background playing as i am working. In one particular period when i was working home over a three (3) month period, I recall “Lion King” was playing in the background on repeat, all day, every day for those three (3) months;

    The Lion King_Walt Disney Pictures.1994

    (Disney 1994)
  • eg 2: I most like watching animation movies (eg Disney or Pixar) on a movie theatre wide screen and sound system. However, I mostly watch them on my 65″ home TV with sound system – for convenience. I do not like watching animation movies on laptops or small screen for both the limited visual and audio experience;
  • eg 3: Where there are short animations (3 minute Pixar), I am happy to watch them on alternate mediums such as a laptop or desktop, just to entertain myself for a short moment to lift my mood, distract me, etc.
5. x different games viewing behaviours I exhibit:
  • eg 1: No contribution possible. mes not a gameboy!!!

Conclusion

What creative media medium I engage with will dictate to a degree what cultural production – what cultural artifact – I will engage in at any particular time.  As a creative practitioner, I have provided examples across four (4) disciplines of how I may engage in particular creative media mediums, dictating what cultural productions – what cultural artifacts – I engage in at any point in time.
I love many, varied forms of creative media,  In my personal situation  have access to many, varied creative media mediums:  the internet; an iPod; a CD player – in a house, or a CD player in a car; a car radio; a portable tape player; a cheap record player; a high-end stereo system; or a high end 5.1 surround sound hi-fi system; a small screen device such as an iPhone; a laptop; a desktop; static image platform such as Pinterest.com; via an audio-visual dynamic image platform such as you-tube.com; a small art gallery with physical visual art or graphic displays; a large National art gallery with physical visual art or graphic displays; a small screen TV; a large screen TV with a hi-fi 5.1 surround system; a local suburban cinema; in a surround sound movie theatre equipped with dolby; or an outdoor drive in movie theatre with a window mono speaker system. Most of us in western countries have many, varied options and access in this era.
The mediums one chooses to access media through, could therefore dictate what media you actually engage in.
  • How do you access creative media?
  • How does this inform what cultural production – what cultural artifact – you choose to engage in at any point in time?
References
AE 2015a Music note montage in the universe image courtesy of: Angelic Exorcism (AE) Studio Projects  Accessed 11th March 2015
Buckley, Tim. 1972. Greetings from LA. Straight Records. Vinyl LP.
Disney, Walt. 1994. The lion king. Walt Disney Feature Animation. DVD.
DLP 2017a image courtesy of David L Page  Accessed 11th June, 2017
DLP 2017g image courtesy of David L Page Accessed 11th June, 2017
Entertainment, Castle Rock. 1994. The shawshank redemption. Colombia Pictures. DVD.
Olsen 2017 image courtesy of Sydney Sun [or King Sun] 1965, National Gallery of Australia © John Olsen  Accessed 11th June, 2017
Page, David L. 2017b Research Practitioner Part 16 Accessed 11th June, 2017
Page, David L. 2017c Research Practitioner Part 18 Accessed 11th June, 2017
Page, David L. 2017d  David L Page wordpress.com  Accessed 11th June, 2017
Page, David L. 2017e  David L Page Pinterest.com  Accessed 11th June, 2017
Page, David L. 2017f David L Page you-tube.com  Accessed 11th June, 2017
Page, David L. 2014 Media Identity & Curation Part 2  Accessed 11th June, 2017
Floyd, Pink. 1973. Dark side of the moon. Harvest. Vinyl LP.
– ©David L Page 11/06/2017
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Knowledge base & skillset required for Creative Artists today

The practical knowledge base and skillset required of Creative Artists entering a professional industry today is very broad. A budding Creative Artist needs to develop a very broad practical knowledge base and skillset across their chosen discipline or industry, including a number of creative processes, a working knowledge of a range of technical equipment (hardware and software), and what we refer to as the soft skills, life skills for effective interaction and engagement; in order to operate successfully within and around an industry-based environment. In my experience, the combination of these 3 elements are minimal requirements for developing a successful professional career as a Creative Artist.
Michael Carini - Acrylic on Canvas
Expressive Processes: There is an expectation for the Creative Artist to be proficient in a range of expressive and creative processes used within an industry-based environment. These processes are usually quantifiable in terms of outcomes achieved, and more than likely creative or expressive activities. For example in audio or music, this could include the creative processes of songwriting, composing, arranging, production (recording, for example) or post-production (mixing, for example).
Rode Competition prize
Equipment: There is also an expectation to understand and to be able to proficiently operate a range of technical equipment that would typically be found in an industry-based environment. This is likely to include both hardware and software, utilising a range of varied operating systems used by the significant manufacturers within the specific area of the industry. Whilst this range of equipment may take years to master, a proficient level is required for a Creative Artist to succeed in a professional position.
However, in addition to the required technical knowledge and skills noted above, there are a range of other knowledge and skills deemed necessary for a Creative Artist to succeed in a professional position.
Soft Skills
Life skills: Often referred to as the soft skills  [see pinterest.com/dpgold], the Creative Artist must also become adept in life skills, the skills for effective interaction and engagement: communication, engaging, discussion, expression, reflecting, developing their self image and voice, changing & developing their views and perceptions, goal setting, time management, negotiation, and conflict resolution, to name a few.  Whilst it is extremely important to have the industry knowledge and skills (possibly developing oneself to be considered an industry-based subject matter expert [SME]), many now consider the soft skills to be the higher priority of the required skills for success within an industry.  Leading global Creative Media Institute “SAE Institute” integrates the development of the Creative Artist’s soft skills in the many Creative Media projects students are required to undertake throughout their courses.  SAE’s stated Learning Outcomes across all course units include: “developing a strong work ethic, a positive attitude, good communication skills, time management skills, problem-solving skills, becoming an effective team player, developing self-confidence, accepting and learning from criticism, flexibility and adaptability and working well under pressure” (SAE 2014, p13). The ethos being: for any Creative Artist to work professionally, they are going to need to work with others – artists, artist aanagement or clients – on projects, to a project brief, within some form of project completion date or deadline. At some point within the project, there will more than likely be a need for discussion between the project members or the project leader and the client, and this could include negotiation of the project direction or possible content for inclusion or exclusion, or the project completion date. In this circumstance, the Creative Artist’s ability to interact effectively and efficiently during this process will more than likely govern the on-going status of the project, the satisfaction the clients has with the project progression and/or outcome, and perhaps most importantly, the potential for future ongoing projects between the various parties, or positive referrals.
Of course, whilst the level of creativity and effectiveness of the required creative process or technique may also be of significant importance, without the Creative Artist possessing the ability to interact with the client and work effectively and efficiently within the project’s parameters, then the project may not proceed; irrespective of how exemplary the Art is. In fact, I have observed on numerous occasions, a less than exemplary Artist being provided ongoing projects over another exemplary Artist, purely due to the superior ability of the former Artist to more effectively and efficiently interact and engage. In a professional industry today, the ideology of ‘my art is enough’ no longer holds true.
Therefore, in order to operate successfully within and around an industry-based environment, a budding Creative Artist needs to develop a very broad practical knowledge base and skillset across their chosen discipline or industry, including a number of creative processes, a working knowledge of a range of technical equipment (hardware and software), and perhaps most importantly, what we refer to as the ‘soft’ skills, life skills for effective interaction and engagement. In my experience, the 3rd element of soft skills in particular is essential in order for a Creative Artist to develop a successful professional career.
References
Painting image courtesy of: Michael Carini – Acrylic on Canvas (78” x 120”)” Alexander Salazar Fine Art   Accessed 24th November, 2014 
Film Equipment image courtesy of: Filmbrute  Accessed 24th November, 2014 
SAE Institute Bachelor of Audio Unit Guide (2014), ‘AUD111 Introduction to Audio Engineering Unit Guide_140922’  Accessed 23rd November, 2014 
Soft skills image courtesy of: Baker Anderson  Accessed 24th November, 2014 
– ©David L Page 25/11/2014
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Life is about the moment…..


cropped-pool_hp-v2-web14.jpg

at any point in time…..

Life is about the moment ….. all things fluid……. experiencing the moment… listening, observing, interacting, laughing, loving, enJOYing, soaking the moment in, digesting it, considering it, reflecting …. expressing ones’ being, streaming ones’ consciousness. While in the moment, everything appears suspended – almost in slow motion – and yet is still very much part of life and moving somewhere… Education is about learning to learn, developing and expressing … often introspectively, learning about oneself, our boundaries, beliefs, values, languaging, thoughts, & feelings ….. discovering & then developing our voices ……. who we are and how we fit into the universe… Music and audio for me is the sum of both life and education. Songwriting, composing, recording, arranging, mixing, and performing is about being in the moment ….. being fluid ……. and yet also, learning, developing and expressing Self…… discovering, & then developing ones’ voices ……(Page 2014b).
References
Page, David L 2014a Music Practitioner Part 1 Accessed 20th September, 2014
Page, David L. 2014b. Life is About the Moment  20/09/2014 Tumblr and WordPress.com blog. Accessed 20th September, 2014
Page, David L 2014c Music Practitioner Part 2 Accessed 20th September, 2014
Water image courtesy of: David L Page’s About.me Accessed 20th September, 2014
– ©David L Page 20/09/2014
– updated ©David L Page 05/10/2014
– updated ©David L Page 15/05/2016
– updated ©David L Page 01/08/2019
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Take Time

take-time-20130913

Take Time

Take time to think….. It is the source of all power
Take time to read….. It is the foundation of all wisdom
Take time to play….. It is the source of perpetual youth
Take time to be aware….. It is the opportunity to help others
Take time to be quiet….. It is the opportunity to connect to the great spirit
Take time to give thanks….. It is the greatest power on earth
Take time to love and be loved….. It is what it means to be human
Take time to be friendly….. It takes you on the road to happiness
Take time to laugh….. It is music of the soul
Take time to dream….. It determines what the future could be for you
Take time to share….. It is too short a life to be selfish
Take time to work….. It is central to success
Take time to give to others….. It is the key to life
Author Unknown, con-temporised from the Old English Prayer
References
Take Time image courtesy of: Take Time  Accessed 13th September, 2013
– ©David L Page 19/05/1996
– updated ©David L Page 13/09/2013
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Success

ohm

Thinking

If you think you are beaten, you are;
If you think you dare not, you don’t.
If you’d like to win, but you think you can’t,
It is almost a cinch that you won’t.
If you think you’ll lose, you’re lost;
For out of the world we find
Success begins with a fellow’s will
It’s all in the state of mind.
If you think you’re outclassed, you are;
You’ve got to think high to rise.
You’ve got to be sure of yourself before
You can ever win the prize.
Life’s battles don’t always go
To the stronger or faster man;
But sooner or later the man who wins
Is the one who thinks he can!
Poem by Walter D. Wintle 1905 (in Hill 1966)
References
Hill, Napoleon. 1966. Think and Grow Rich. Hollywood: Melvin Powers Wilshire Book Company.
Ohm image courtesy of: Ohm  Accessed 13th September, 2013
– ©David L Page 12/06/1995
– updated ©David L Page 13/09/2013
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.