Ugo/eyemuseum: Difference between revisions

Latest revision as of 11:34, 5 February 2019

February 2019

Project link http://pzwiki.wdka.nl/mediadesign/RESEARCH_FIXITY_-_FLUIDITY_PART_2:_MOTION_PICTURE

November 2018

EYE MUSEUM PROJECT - NONLINEAR

After a couple of discussion, we decided to work around the notion of NONLINEARiTY.

Here are my first thoughts about nonlinearity:

What is nonlinear. What is wrong with linearity. Is it a conceptual tool, an ideology, a dogma, a trend, a narrative trick? Can we use nonlinearity as a tool, structure or system to represent the fluid character of space and time: the human experience. What are the relations between nonlinearity and linearity? Is nonlinearity a deconstruction of linearity? Are they opposites or can they coexist, collaborate? Do we need to unlearn linearity for a more progressive and innovative approach that embrace the transformative nature of life / film form? For Sarah Bay-Cheung, "post-linear performance is less a rejection of linearity than it is the explicit acknowledgment of multiple, simultaneous, and competing linearities within and exceeding the domain of a particular performance." We could explore nonlinearity with philosopher Henri Bergson and his work on overlapping temporalities that relates to nonlinear and cinematic representation of time. For Bergson the structure of the mind is cinematic. Can we link Bergson with the stream of consciousness used by James Joyce's in his nonlinear-modernist novel Ulysses. Shakespeare was using a multi-plot episodic plays. Historian Fernand Braudel's work on historical time: plural temporalities, layered temporalities, long-term approach in the study of history. Sarah Bay-Cheng talks about a "post-linear" age.

How do we create a nonlinear audio-visual piece for a cinema projection. Can we really go out of linearity. Non-narrative and non-linear narrative>>

Project:

Research 01 Fixity & Fluidity

Research 02 Mobile phone

REF:

BAY-CHEUNG Sarah http://www.academia.edu/2131876/Pixelated_Memories_Theatre_History_and_Digital_Historiography

20.11.2018 EYE MEETING - 2min PRELIMINARY PITCH

P1

Continuing on my research on identity-fixity-fluidity. The experience of space and time in photographic images. The long image, using the whole surface of the film. How to express the fluid character of the human experience, the dynamism of identity. Drifting identity, how to represent Identity in mouvement, in construction or deconstruction. Extending my strip/slit photographic experiments to moving image. Using 16mm film camera with no shutter and ideally manual film pulling / rewinding. In my research aim interested by the gesture and the technique, the technique of the body. All techniques have been transmitted to us, we received an education to it. Using the camera to do thing that you are not suppose to do, like rewinding the film with an open shutter and lens. How do we learn to take photographs and how do we unlearn this knowledge. The film embodied the movement of the cinematographer, records his body gesture in a way : by the rewinding gesture, and the movement of his body in space. Without a shutter, the speed of the film design the exposure. The pace of the film is a way to control the exposure and the subject's representation. The figuration of elements or their abstraction can be a step toward a narrative. Objects appear sharper when the film movement match the object's velocity. But the motion speed of the film changes the focal plane. A faceless character, or a face changing character. An identity that the photographic process cannot grasp. cannot fix, always becoming, always escaping.

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+February 2019
+Project link
+http://pzwiki.wdka.nl/mediadesign/RESEARCH_FIXITY_-_FLUIDITY_PART_2:_MOTION_PICTURE
+November 2018
 EYE MUSEUM PROJECT - NONLINEAR
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 Here are my first thoughts about nonlinearity:
-What is nonlinear. What is wrong with linearity. Is it a conceptual tool, an ideology, a dogma, a trend, a narrative trick? Can we use nonlinearity as a tool, structure or system to represent the fluid character of space and time: the human experience. What are the relations between nonlinearity and linearity? Is nonlinearity a a deconstruction of linearity? Do we need to unlearn linearity for a more progressive and innovative approach that embrace the transformative nature of life / film form? For Sarah Bay-Cheng, "post-linear performance is less a rejection of linearity than it is the explicit acknowledgment of multiple, simultaneous, and competing linearities within and exceeding the domain of a particular performance." We could explore nonlinearity with philosopher Henri Bergson and his work on overlapping temporalities that relates to nonlinear and cinematic representation of time. For Bergson the structure of the mind is cinematic. Can we link Bergson with the stream of consciousness used by James Joyce's in his nonlinear-modernist novel Ulysses. Shakespeare was using a multi-plot episodic plays. Historian Fernand Braudel's work on historical time: plural temporalities, layered temporalities, long-term approach in the study of history. Sarah Bay-Cheng talks about a "post-linear" age.
+What is nonlinear. What is wrong with linearity. Is it a conceptual tool, an ideology, a dogma, a trend, a narrative trick? Can we use nonlinearity as a tool, structure or system to represent the fluid character of space and time: the human experience. What are the relations between nonlinearity and linearity? Is nonlinearity a deconstruction of linearity? Are they opposites or can they coexist, collaborate? Do we need to unlearn linearity for a more progressive and innovative approach that embrace the transformative nature of life / film form? For Sarah Bay-Cheung, "post-linear performance is less a rejection of linearity than it is the explicit acknowledgment of multiple, simultaneous, and competing linearities within and exceeding the domain of a particular performance." We could explore nonlinearity with philosopher Henri Bergson and his work on overlapping temporalities that relates to nonlinear and cinematic representation of time. For Bergson the structure of the mind is cinematic. Can we link Bergson with the stream of consciousness used by James Joyce's in his nonlinear-modernist novel Ulysses. Shakespeare was using a multi-plot episodic plays. Historian Fernand Braudel's work on historical time: plural temporalities, layered temporalities, long-term approach in the study of history. Sarah Bay-Cheng talks about a "post-linear" age.
 How do we create a nonlinear audio-visual piece for a cinema projection. Can we really go out of linearity. Non-narrative and non-linear narrative>>
@@ Line 30: / Line 39: @@
 P1
-Continuing on my research on identity-fixity-fluidity. The experience of space and time in photographic images. The long image, using the whole surface of the film. How to express the fluid character of the human experience. Extending my strip/slit photographic experiments to moving image. Using 16mm film camera with no shutter and ideally manual film pulling / rewinding. In my research aim interested by the gesture and the technique, the technique of the body. All techniques have been transmitted to us, we received an education to it. Using the camera to do thing that you are not suppose to do, like rewinding the film with an open shutter and lens. How do we learn to take photographs and how do we unlearn this knowledge. The film embodied the movement of the cinematographer, records his body gesture in a way : by the rewinding gesture, and the movement of his body in space. Without a shutter, the speed of the film design the exposure. The pace of the film is a way to control the exposure and the subject's representation. The figuration of elements or their abstraction can be a step toward a narrative.
+Continuing on my research on identity-fixity-fluidity. The experience of space and time in photographic images. The long image, using the whole surface of the film. How to express the fluid character of the human experience, the dynamism of identity. Drifting identity, how to represent Identity in mouvement, in construction or deconstruction. Extending my strip/slit photographic experiments to moving image. Using 16mm film camera with no shutter and ideally manual film pulling / rewinding. In my research aim interested by the gesture and the technique, the technique of the body. All techniques have been transmitted to us, we received an education to it. Using the camera to do thing that you are not suppose to do, like rewinding the film with an open shutter and lens. How do we learn to take photographs and how do we unlearn this knowledge. The film embodied the movement of the cinematographer, records his body gesture in a way : by the rewinding gesture, and the movement of his body in space. Without a shutter, the speed of the film design the exposure. The pace of the film is a way to control the exposure and the subject's representation. The figuration of elements or their abstraction can be a step toward a narrative. Objects appear sharper when the film movement match the object's velocity. But the motion speed of the film changes the focal plane. A faceless character, or a face changing character. An identity that the photographic process cannot grasp. cannot fix, always becoming, always escaping.