Class Cancelled This Week; Read Carefully

I am sick and need to cancel class today. PLEASE READ THIS ENTIRE EMAIL CAREFULLY, as there is a lot of important information.

1) Please email me your (a) outlines (and any powerpoints, etc, if you are using them) and your (b) final project proposals. I will go over them and send you written feedback.

2) YOU HAVE A GROUP SONG DUE AT THE BEGINNING OF CLASS NEXT WEEK. I HIGHLY SUGGEST THAT YOU USE CLASS TIME TODAY TO WORK ON YOUR GROUP SONG ASSIGNMENT. Because you are working in groups, class time is easy time to get your homework done when you all know that you will be available. Groups, email adresses, videos to watch, and more details below. I expect you to watch at least half of the videos (make a list of the ones you watched). Also see the bottom of the page for an extra credit opportunity.You should also be working on your final projects this week. We will check in next week. Email me with your ideas, etc. if you would like more immediate feedback.

The classroom is available today for you to use. If it is locked, please go ask CAT in the main office on the first floor of Shaffer to unlock it.

I'll also put this all on the blog.

Best,

Jessica

SONG HOMEWORK:

You will create an original song, make a cover, or a remix/mash-up in a group for next week. You can divide the labor up however you'd like, but make sure you talk about it, get input from everybody, and that the labor works out to be balanced in the end. (For example, if two people really want to take control of the song, then the others will lead the video editing next week). We will be shooting and editing music videos for these songs in class next week with our AWESOME visiting artists. You have been divided into two boy bands and one girl group (see the email I sent you for emails):

BOY BAND 1:

Chris 

Gordon 

Jonny 

Andrew S

BOY BAND 2:

JJ 

Andrew C

Mike

Kevin

Drew 

GIRL GROUP 3:

Melanie

Eliana

Christina 

Laura

Sydney

________________________________________________________

MUSIC VIDEOS TO WATCH For Inspiration and Reference:

Make a list of the ones you watch, watch at least half. Please keep an open mind while watching these, as I know they may be a little different from main stream pop cultural music videos-- in which you are all already experts. I also know some of you may have gone to hear Director X speak last week, so the below references should offer a different kind of punky/ Do-it-Yourself/messier visual aesthetic. ANYTHING GOES. Also, extra credit opportunity at the end. 

Music and Video:

1962/63 - Jack Smith - Flaming Creatures

1969 - Kenneth Anger - Invocation of My Demon Brother (w/ Mick Jagger soundtrack) 

1981 - Liquid Sky (Film) - "Fashion Show" excerpt 

1985/86 - Charles Atlas - Hail the New Puritan  (Michael Clark / Leigh Bowery) 

Artists Using Music Videos as Medium:

1981 - Laurie Anderson - O Superman

1983 - Cecelia Condit - Possibly in Michigan

1993 - Cheryl Donegan - Head 

1995 - Pipilotti Rist - I'm a Victim of this Song

1995 - Sam Taylor-Wood - Brontosaurus 

2004 - Wynne Greenwood / Tracy + The Plastics - Live performance w/ vid projection

2012 - Wynne Greenwood - Mirrors and Dresser 

2010 - SSION - BOY movie trailer

2012 - SSION - LUVVBAZAAR

2011 - Kembra Pfahler / The Voluptuous Horror of Karen Black - Bring Back The Night

Artists Making Commissioned Music Videos:

1997 - Sadie Benning - Aerobicide (Julie Ruin)

2000 - K8 Hardy - Les and Ray (Le Tigre)

Musicians that are also Artists

Peaches - Billionaire (video by SSION)

Chicks on Speed - Wordy Rappinghod

ADULT. - In My Nerves

The Three Graces - film series

Crass - System / Big Man, Big MAN - uses found footage,

EXTRA CREDIT (from the visiting artist) TO ANYONE THAT DOES A REMAKE OF THIS SONG:

Missy Elliot - She's a Bitch

Exporting, Uploading, and Embedding

1) Export your audacity file as an .mp3 file. File>Export. Select MP3 as your format. Be sure to make note of where you saved your file.

( *If you haven't done so already, you will be prompted to download the LAME MP3 encoder. You will only have to do this once. Follow the prompts, and download the appropriate version. If you are working on the most recent audacity on a Mac, this one should work for you (you will need to scroll down to the bottom of this page to find it). 

 Once installed, resume your export and everything should work the way it is supposed to.)

2) Sign Up/Sign In to soundcloud.com.

3) Once you have signed in,  click "Upload" in the upper right hand corner.

4) Choose your .mp3 file to upload. (Remember where you saved it!)

5) Title, tag, and add a description to your file. Save.

6) Congrats, you're uploaded! CLICK "Go to your sound."

7) Click on the "Share" button below the waveform. 

8) Copy the "widget" code. 

9) Start a new post on your blog. Click on the HTML tab in your compose window. Paste the Widget code here. (This is the same process as embedding vimeo.)

10) Publish! CONGRATS.

VOICE/SOUND CRITIQUE 3

VOICE/SOUND
CRITIQUE 3
Due: November 7, 2013

For next week, you must create a 3-4 minute audio piece to be presented in class on Thursday November 7. In order to create this work, you will:

1. Create a library of 30 sounds and/or clips.
At least half must be originally recorded by you. Up to 15 clips may be appropriated.Make a companion text document with the file name, description, and duration of each of these clips. Please note the appropriated clips. Title your clips like this: Lastname_00_description.mp3 (Example: Cage_34_drip.mp3)

2. Create a 3-4 minute audio work that responds to rhythm, narrative, or space. We will screen these in class.

Your audio work must include:
At least 15 of your 30 clips. No more than half of your clips may be appropriated. Bold all of the clips you used in your text document.The work must include three distinct sections, chapters, or movements.

3) Create a folder with your final audio work .aup, your final mixdown, your text file, and library of 30 labeled sounds. Back up onto a thumb drive or hard drive.

4) Bring your computers to class next week. We will finish processing your FINAL .aup mixdown files at the beginning of class.You will transfer all of your files to your instructor in class next week.


SOUND/VOICE EXAMPLES
Rhythm
Steven Reich, Clapping Music

Narrative
Kathy High, Hospital Visit

Space
Quiet American, One minute vacations 
Ultrared, Transistors
Janet Cardiff, Walks (Louisiana, Alter Banhof)

Some Other Examples
John Cage, Radio Music, performed by ICE 
William S. Burroughs, Tape Cut Up and Calling All Reactive Agents
Stephen Vitiello, Tetrasomia

Ultra Red The Public Record: http://www.publicrec.org/directory.html
UBUWEB mp3 archive: http://www.ubu.com/sound/
((audience)): http://au.dience.org/

The Books, Take Time
Prefuse 73, Pagina Dos

Artist Presentations

TRM 153: Studio Concepts

Artist Presentations

Due: November 14, 2013

Each member of class will be conducting independent research on a selected or assigned artist or filmmaker. You will present this research to the class on Thursday November 14, 2013. Presentations should be between 7-10 minutes long. You may choose to write out your presentation or not, but you are required to turn in an outline and a bibliography at the time of your presentation. Please bring a hard copy for your instructor. For reference, it takes around 5 minutes to read one page of single spaced text at a slow pace. Be sure to practice.

Each presentation and outline must include:

1. Short biography of artist
2. Historical/social/political context of where and when your artist lived and made work
3. Major themes your artist addresses
4. The conceptual, technical, political, or other impact you think your artist had on their chosen media and/or society
5. An analysis of one work* or body of work* that you find reflects (3) and (4).

For photographic work: Choose 3-5 images from a series to analyze for the class.

For video/film/sound work: Select a 2-3 minute clip to view in class and analyze.

*These cannot be clips or images viewed in class.

Your bibliography must include at least 3 sources, cited MLA style:

1. A book OR academic article accessed via JSTOR (or similar)
2. Full Citation of the work you presented (this counts as one). Make sure to include the Title, date, and original media of the work. Also include where and how you accessed the work (DVD? Book? Slides? ArtStor? Ubuweb?).
3. Reputable Internet Sources (They count as one, but include all. Wikipedia does not count: any information you find here MUST be cited from a second, reputable source.)

Assignments:

Mike	Stanley Kubrick
Melanie	Cindy Sherman
Jonny	Bill Viola
Sydney	Carrie Mae Weems
Gordon	Alfred Hitchcock
Christina	Alfonso Cuaron
Chris	Alexander Sakurov
Andrew C	Bruce Nauman
Andrew S	John Cage
JJ	Lars Von Trier
Eliana	Danny Elfman
Laura	Sophie Calle
Kevin	Quay Brothers
Drew	John Baldessari

Upload Test from jessica posner on Vimeo.

Embedding Vimeo Videos Into Blogger

1. Export file from Adobe Premiere Pro to Vimeo Specs: H.264, choose appropriate Vimeo Preset

2. Sign Up: https://vimeo.com/ (You will only need to do this once. After this, you will just log in).

3. Upload your Video. Follow the prompts and wait. 

4. Once upload is complete, go into settings. Under "Privacy," make your video available to be embedded.

5. Once your video loads, click on the "share" icon in the upper right hand corner of your video.

6. This window will pop up. Select and copy (command + c) the "Embed" code. 

6. Begin a new post on blogger.

7. Select the "HTML" tab in the top left corner of the composer. Paste your code here.

8. Publish. CONGRATULATIONS!

CRITIQUE 2 TWIST: MONTAGE

REPRESENTATION/VIDEO/NARRATIVE
MONTAGE (WEEK 8, October 17)

ASSIGNMENT:

CRITIQUE 2 TWIST:

Include a montage in your CRITIQUE 2 video, due next week October 24.

The montage must:

• reveal a complicating piece of information about your main character
• include new footage (can be original or appropriated)
• be at least 15 seconds*
• use an instrumental, original, or experimental soundtrack (if any). This is not a music video.

*Your video must still be within 3-5 minutes. You must also still meet all of the requirements on the first assignment sheet, though they may overlap. Be bold in your decisions.

MONTAGE RESOURCES

Hitchcock on Montage:

http://www.youtube.com/watch?v=ruoPT9JeYHA

SOVIET MONTAGE

A Dialectical Approach to Filmmaking

Metric: Measured number of frames, regardless of action in shot (mechanical):

example: Scene from Eisenstein's October

http://www.tcf.ua.edu/Classes/Jbutler/T112/EditingIllustrations02.htm

Rythmic: cutting for continuity (aesthetic, narrative)

example: Eisenstein's Odessa Steps Sequence, Battleship Potemkin, 1925

http://www.youtube.com/watch?v=Ps-v-kZzfec

Tonal: taps into the emotional quality of the shots to create a complex emotional landscape

Overtonal/Associational: combination of all of the above, moving towards abstraction to illicit emotional reactions

example: from Pudovkin's Mother, 1926

http://www.tcf.ua.edu/Classes/Jbutler/T112/EditingIllustrations05.htm

Intellectual: when shots combined, viewer forms intellectual meaning

example: Eisenstein, Strike, 1925

http://www.tcf.ua.edu/Classes/Jbutler/T112/EditingIllustrations06StrikeBig.htm

Apocalypse Now,

http://www.youtube.com/watch?v=HSWtc01BlqM

SURREALIST MONTAGE

Metropolis, Fritz Lang, 1927

Maria's dance: http://www.youtube.com/watch?v=A0D4fHieW8o

Moloch: http://www.youtube.com/watch?v=CPNaaogT8fs

Luis Bunuel and Salvador Dali,Un Chien Andalou, 1929,

https://vimeo.com/18540575

Maya Deren, Meshes of the Afternoon, 1943

http://www.youtube.com/watch?v=4S03Aw5HULU

Vera Chytilova, Daisies (Sedmikrásky), 1966

https://vimeo.com/63689570

Opening Credits, 53:30, 60:00, 65:00

ART VIDEO

Tracey Moffatt, OTHER, 2009

Dara Birnbaum, TECHNOLOGY TRANSFORMATION WONDER WOMAN, 1978-79

Bill Viola, Anthem, 1983

POP CULTURE

Team America: http://www.youtube.com/watch?v=JU9Uwhjlog8&feature=youtu.be

Forrest Gump: http://www.youtube.com/watch?v=QgnJ8GpsBG8

Ferris Beuler's Day Off: http://www.youtube.com/watch?v=ubpRcZNJAnE

Snatch: http://www.youtube.com/watch?v=_mezD2j-R2Y

Footloose: http://www.youtube.com/watch?v=j8XGmZ8HDIU

Trainspotting: http://www.youtube.com/watch?v=Naf_WiEb9Qs

Up: http://www.youtube.com/watch?v=UHMD_EqM61I

Clueless: http://www.youtube.com/watch?v=EJQPpD4EN00

Critique 2 Project: Due October 24, 2013

CRITIQUE 2: DUE OCTOBER 24, 2013

REPRESENTATION/VIDEO/NARRATIVE

A fictional, narrative video 3-5 minutes in length. Must be fictional, but based in a reality you have experienced. Be creative, but grounded. (Some examples of scenarios that are probably not be grounded in your reality: drug busts gone wrong, armageddon, attacks by zombies and/or bears, alien abductions/surgeries, etc. Some examples that might be: making a difficult decision, a turning point in a elationship, receiving an unexpected message, getting lost, subtle supernatural experiences, etc.). As with all narratives, you must include at least one main character, and an inciting incident that marks a clear change in your character. Establish a clear beginning, middle, and end.

For your critique on October 24: You must edit your video in Adobe Premiere, export it, upload it to Vimeo, and embed the vimeo video on your blog.

Your videos must include the following components, and they can overlap:

1) A single shot sequence of at least 30 seconds.

2) A continuous action sequence. Minimum: 3 shots edited together to form continuous action. Example: Imagine three different potential shots of a car pulling out of a driveway. You might include (1) an establishing, exterior shot of the car in garage while the driver enters (2) close up of the driver inserting keys and starting ignition, (3) an over the shoulder shot of the driver backing up, and (4) a panning, wide shot of the car backing away from the perspective of someone standing at the front door of the house.

3) An establishing shot followed by a medium shot and/or a close up

4) A close up of your main character

5) An over the shoulder shot of or over your main character

6) A static (tripod) shot

7) A dynamic (handheld, steadycam, pan, tilt) shot

8) Titles

9) Use Diagetic sound. NO MUSIC SOUNDTRACKS (unless it is diagetic).

10) Apply Room Tone layer for all audio

For Next week (October 17): bring a rough cut of your video to class.

This means:

1. You must have all of your footage shot
2. You have imported everything into Premiere Pro
3. You have structured your timeline
4. You have titles including your name, any working title, “rough cut,” the date, and duration
5. Exported your video using vimeo settings with a file name that includes “rough cut” and date

We will screen your in-progress videos in class and offer feedback. You will be expected to include the feedback in your “final” video for the following week. Time allowing, we will work in class.

Your final, completed videos are due at the beginning of class on October 22, 2013. They must be finished, uploaded to vimeo, and embedded on your blog. This will take time, so you must plan ahead and not wait until the last minute.

You will be evaluated based on exemplary/satisfactory/unsatisfactory use of everything in this document in bold. 

Class on Oct. 3

Dear Class, 

As a reminder, I will not be in class tomorrow due to a performance in New York. However, class is still on, and attendance will be taken.

Joanna Spitzner, who is an artist and teaches Time Arts (among other things) in the Foundations department in VPA, is planning an awesome sound/radio workshop for you. I'm jealous that I won't be there to participate!

Additionally, you will be looking at a bunch of examples of single shot films and videos. All of these will be hyperlinked on the blog if you want to revisit them or spend more time with them. The examples include early cinema, video and performance art, experimental film, advertising, and narrative movies. You will use these as inspiration and grounding for your homework. Please pay attention to the characters, inciting incidents (something that happens that causes narrative action to happen), and the sequencing of events in each of these examples. 

For your homework, you are responsible for shooting your own 1-3 minute single shot videos. These are due NEXT WEEK. Please see below post, or the REPRESENTATION page, for instructions and more details. 

NEXT WEEK IN CLASS WE WILL:

1) Finish Critiquing those that didn't go last week

2) Look at your Single shot videos

3) Have in-class workshop with Adobe Premiere and your footage (bring your files, memory cards, and laptops with Adobe Premiere installed)

4) Talk about sequencing, narrative, and editing

If you need to reach me, email is best (however, expect a delayed response). Because I won't be having office hours tomorrow, I am available on Monday if anybody would like to schedule a time to come in and chat. Please let me know

Enjoy your week! 

Best, 

Jessica

The Single Shot

REPRESENTATION: WEEK 1

The Single Shot

Homework due NEXT WEEK (October 10):

Shoot a 1-3 minute, single shot video. Your video must include at least one character and an inciting incident. You must be prepared to talk about what/who this character is, and how the inciting incident relates. These can be as simple or as complicated as you'd like, but it must be thoughtful and well planned.

Your video can be a static shot, or you may experiment with handheld/steady cam style videography. Please only use diagetic sound (only audio that is shot in the camera). You may use whatever camera you would like: cell phone, webcam, cannon camcorder from the cage, etc.

This assignment is more daunting than it sounds, as you are responsible for developing a character, a narrative, and planning out an entirely in-camera sequence. You must think ahead, plan it out, and take multiple takes. Please come to class with your preparatory notes, sketches, and at least 3 takes. The purpose of this assignment is to challenge you to both experiment and simplify. 

For next week: Bring your files (all of them!) any memory cards you used to shoot, and your laptops with Adobe Premier. We will process these files, together, in Adobe Premiere during class. Please be sure to bring your laptops with Adobe Premiere, and all of your files, next week in class.

Next week we will also talk more specifically about the Cannon you will be required to use for your next assignment, as well as other video basics.

SCREENINGS:

Edison Kinetescope FIlms (1894-189^)

Barber Shop, Feeding the Pigeons, Seminary Girls

Lumiere Brothers, Exiting A Factory, 1895 

Lumiere Brothers, L'Arroseur Arrosé, 1895 

Alice Guy Blache, Cabbage Fairy, 1896 (0:51)

http://www.youtube.com/watch?v=CYbQO6pwuNs

Georges Melies, The Vanishing Lady, 1896 (1:11)

http://www.youtube.com/watch?v=f7-x93QagJU

Georges Melies, After the Ball, 1897 (1:06)

http://www.youtube.com/watch?v=rYYdTAuGm34

Martha Rosler, Semiotics of the Kitchen, 1975 (6:09)

http://www.ubu.com/film/rosler_semiotics.html

Adrian Piper, Cornered, 1988 (16:42)

https://vimeo.com/10547710

Alex Bag, Untitled Fall '95, 1995 (1:16)/ (6:21)

http://www.youtube.com/watch?v=2S75oLIYbWc

http://www.youtube.com/watch?v=lO63MKw9fu8

Fishli and Weiss, 1987 (29:39)

http://www.youtube.com/watch?v=MF1fh7V5ivY

Honda, The Cog, 2003 (2:01)

http://www.youtube.com/watch?v=_ve4M4UsJQo

Panera, 2013 (3:55)

http://www.youtube.com/watch?feature=player_embedded&v=01kQH-8Yp3U#t=220

Children of Men, 2005, Directed by Alfonso Cuarón (at 3:35 mark) (3:58)

https://vimeo.com/41218073

Nine Live, Diana, 2005. Directed by Rodrigo Garcia (14:21) at 12:30 in film

http://www.youtube.com/watch?v=-13HRrfX_7k

Russian Ark, 2002,  directed by Alexander Sokurov, Final Scene (5:21)

http://www.youtube.com/watch?v=H0KRRgzZvHk

PHOTO-DOCUMENTARY PROJECT FOR CRITIQUE 1

PHOTO-DOCUMENTARY PROJECT FOR CRITIQUE 1
DUE NEXT WEEK! SEPTEMBER 26!

INSTRUCTIONS:

Following your one-on-one conversation with the instructor, return to one of your locations along the Connective Corridor. Using a DSLR camera, take additional photographs. Plan out your shots, and take many. If your subject is a person, define your relationship to your subject: Do they know you are taking their picture? Are they taking yours? Is it collaborative? Are you directing your subject? Are they directing you? Are you surveilling them?

For critique, you will select 2 images to present. You will present the two images (a) individually as two images and (b) as a diptych as one composite. This means you will be responsible for processing and saving 3 files in photoshop: Photo A, Photo B, and Diptych. You may may choose to present your images digitally (projected: 72 dpi, saved as a .JPG), or physically (as prints:300 dpi, saved as a .TIFF).

You will be expected to confidently talk about what decisions are you making and why. You must also able to articulate how and why you chose to employ or reject the rules of composition: Rule of Thirds, Balancing Elements, Perspective, Shape and Line, Framing, Symmetry, Texture and Pattern, Background, Depth of Field, Cropping, etc.

Presenting your work as individual photographs will allow us to read each image alone. Presenting them as a diptych will force a relationship between the images, creating space for us to find meaning between the images. Just as collage creates and breaks meaning through cutting and placing disparate things together, so too can your juxtaposition of two “complete” images. This language also applies to the moving image (example: sequencing, montage), which we will address more in a few weeks.

THINGS TO CONSIDER: Do these images reinforce or contradict one another? Does one offer detail and the other context? Are they harmonious or do they clash? What kind of information do we receive by reading them together?

YOU WILL BE EVALUATED BASED ON YOUR:

1. competency with a DSLR
2. conscious use/rejection of the rules of composition
3. satisfactory use of photoshop
4. verbal articulation of your intended narrative/feeling/content/etc. (concept)
5. work that effectively reflects and communicates your intentions/concept
   
   

Follow Up 9/12

Dear Class,

Thanks for your thoughtful responses and conversation yesterday! I was also generally impressed with your 'zines, your problem solving skills, and your working relationships with one another. Keep up the good work.

PLEASE BE ON TIME, NEXT WEEK AND FOREVER. I have little desire to get disciplinary about time, so let’s please be courteous and all be present when class starts, and following breaks. I do my best to get you guys out on time each week, but that relies on us making the best use of our shared time together.

Below are a few follow-ups from this week, and some reminders for next week.

The Cage:

Please remember to fill out the form from the cage and drop it off so that they can enter you into the system. Once you do this, you can start checking out equipment. Next week, we will do a demo of the DSLR cameras you have access to for this class, which are the D70 and the D200. You'll need to use a DSLR to complete your assignment due in two weeks (If you have your own, you can use that. But please let me know what make/model you will be using).

Stuff you need to have for next week:

In order to use the cage equipment, you will need to purchase your own:

CF (CompactFlash) card (for the DSLR cameras)

SD Card (for video camera and audio recorder)

USB A to USB Mini B cable (for transferring images from the cameras to your computer. 

You will use these cards throughout the year, and beyond. I did a quick search of all three of these things on amazon, and you should be able to get all of them for under 50 dollars. If you order them soon, you should have them by next week. You should also be able to get them at the bookstore. You must have a CF card and a cable, next week, in order to use the equipment from the cage.

Laptop:

Please bring your laptop to class next week, with photoshop. Please also have all of your images taken during your research on the connective corridor loaded on to your computer, in a folder specifically for TRM 153.  You do not need to post these to your blog. We will do a photoshop workshop, in class, using your images so you will be prepared for next week. 

Homework:

Come to class with notes and photo sketches (take lots of photos!) from at least 2 destinations on the Connective Corridor bus line. You may choose how you take these photos (on a camera phone, point and shoot, DSLR*.) You must go off campus. Here is a map of the route, including points of interest: http://connectivecorridor.syr.edu/wp-content/uploads/2010/11/CC-Bus-Map-with-stops-18x24-poster-image-size.pdf

Here is the connective corridor bus website: http://connectivecorridor.syr.edu/bus/

I'd suggest riding the whole loop! Know where you get off/back on. While in the field, be adventurous and inquisitive. Ask questions, talk to people. Read signs, read between them. Be prepared to talk thoughtfully about your research in class next week during one-on-one meetings with your instructor in class. You will revisit one of your locations next week to complete work to be presented during your first critique (in two weeks).

I am asking you to experience this city as a very modern flaneur. Get to know a part of this city you don’t already.  Wandering with intention, looking closely with the expectation of acknowledging something you find compelling. Try out this way of seeing.  Come back prepared to talk about your research.

*If you want to use one of the cage DSLRS this week, and if you have any trouble with reservations, let me know and I’ll do my best to help you out. YOU ARE NOT REQUIRED TO USE A DSLR THIS WEEK, BUT YOU WILL NEXT WEEK.

Readings:

Please read these two articles for next week. Please write a short response to the articles, and post on the blog. Be sure to include your opinions! (For reference: 2-3 brief paragraphs is an appropriate length). PDFs of these are on Blackboard.

The Art of Peeping, The Guardian.co.uk

How Laura Poitras Helped Edward Snowden Spill His Secrets, NYTIMES Magazine

Also, if you have not posted your response to The Medium is the Massage, please post 3-5 points or reflections based on your assigned section of the text. Please have this posted before the start of class next week. THIS IS IN ADDITION TO YOUR OTHER ASSIGNMENTS. Thank you for those that have already done so.

See you next week! I'm looking forward to what you bring back. As always, don't hesitate to contact me if you have questions.

Best,

Jessica