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Cihad

record myself doing what I am doing Think about documentation Different methods Different versions Write next to your drawings Screen record Play with the material Form and content, do they match? Introduce a third voice Hybrids Midjourney Drawing machines Imperfections

References archeology of things, Foucault reproduction, Walter benjiman

Sabine

Can you talk about a specific geographic location Can you be more specific Zoom in and zoom out Children playing games Land it somewhere What is the relationship Improv Role of emotions and experiences? Dramaturgical Bring doubt in on the creator/narrator? Sharing a process of comprehending How can you perform the concern? Bring in paradoxes How can the narrator be not always authoritative Why is it looping? Switch person

References Rachel cusk Deborah levy Quin la tima, like a woman Why women can’t write Literary architecture James kinett Fred Morten Social poetics Jameson Hewitt Marina molina person

David

Dealing with the material, speculation, timeline, register, monolithic, embedding technology in history, history of representation, an anxiety, at the moment it is very binary text vs. image, compression, material, western paiting, will blake, joseph wright derby, stone carvings, alchemy, compression of rock, compression of image, "things that make sense without having to be explained", elizabeth price - felt tips, speaking on its own terms, graphite, visual possibilites, dont use A4, history of images.

You made this place of holes in which the ideas exist - it suggested a situtation

Barend

Didatic and lyrical, perhaps it would help to slow it down, leave more space to contemplate, land it somewhere, specificvity, consequences, implications, breadcrumbs, its much better to ask a very specific question then to give an answer, can we recognise the concerns, tracing, map making, history, drawing, storytelling - start with the line rather then the image, a maze, put the camera inside, the notion of tracing, history data centres, paths, travelling in it, making the work to find the posisiton

Try playing with the process:

- scan in a line, see what happens

- try to find a way to control the path

- in illustrator you work with vectors not pixels

Ine

Spoke of mosaic storytelling. Collective connections is what I am looking for, those moments where we go 'yes, something has been understood' - although it is only gestured towards. Structure and connections are important, almost most of all. Sometimes the structure should or can be like a Skelton laid bare.

David (ii)

The decision you make about the materials is vital, this is where the confidence lies. We don't do about, we do what position are you coming from (out of which position do you come?). What does it mean to show me this world?

What you are responsible for is the specific decision you make about visuality.

William of Orange...

Mentioned artists during and after the great war, how different people reacted - surrelists in europe and then the hepworth's and moore's in england.

Sabine (ii)

The courtiers should be off screen in the script. If this is a script you need to be much more specifc, your inside of the rock give details. Use camera directives, pan across. Maybe use in sync rather than in time.

Go into detail about the compression, and the sound of water. Write as if the action is unfolding live.

INT CAVE = backwards dolly shot, matches being struck, details of the water, what are the engravings?

Mentions, Black Mirror and The Expanse. Joanna Russ, Leguin. Arrival.

Do we know more then these workers? Do we find out the rock is intelligent?

She suggests studying the Cemetry. Get a piece of paper, draw the duration of the film, when you notice any changes stop and make a note. Then another layer is you can just follow sound, character, camera etc.

These non-human questions would be a rich thing for a thesis.

Y2

You want to work on form and content in parallel at the beginning. You'll do this alongside your thesis. Background research. The last part should all be about execution, also having an extensive shooting period.

You want to think about your narrative framing, developing an honest critical view.

Barend (ii)

If you want to shoot minature, it's probably best to shoot on your camera because there is no depth of field. Disable all fake depth of field functions. You need a phone that shoots raw.

NO DEPTH OF FIELD.

But there will always be some kind of trade off.

Maybe a strong blue for the rag. Then desaturate what is blue.

You want to avoid anything going transparent of course.

You could also work with the crevasses, if its paper in the rock...it could give a good effect. But if you do this, the rock has to be the same shape as the end rock.

You should ask, is it possible to avoid green screen?

Whatever you put in front of the rock needs to be high contrast.

Try the rags touching the rock and not touching the rock.

He says my drawings are quite theatrical and schematic, there is an objectivity to the shot and it maybe feels like a third person. Make sure to think about perspective.

Cliff shot

It is essentially a 2D image. You work with blender and distort maybe using a cage. Then put what you have into photoshop and make a tracking shot up.

You'd probably want to build a hole for the coming up scene.

25.09.23

Mentor Group

Ine spoke about a novel where a river falls in love with a person.

There is a vertical/horizontal relation which is colliding.

Rosella spoke about being in the landscapes, and it seems to be about what you are looking at. A way of looking. There seems to be two different gazes.

The water was important to Ine. The one who looks is drowning.

Drone is an apparatus, scanning.

Clara spoke of a calmness, I call it a stillness.

Ine and Rosella both mention the history of painting, romanticism.

Investigate what would help you to develop the work further.

There was an intention in the work.

There are three different paths, will the connect? Will you choose just one?

The specific lens makes you look in a certain way, the was the space represented was the most striking part of your previous work (Rosella)

Where are you going to go deeper?

Play with the physical. Go deeper into the ancient landscape, how has it survived, what has it struggled.

There seems to be a kind of violence there.

Be more exact with the landscape. The landscape is a base.

Clara asked: what do you feel?

Ine spoke about a sticking that happens, when I make.

Luni and Clara asked whether something I could experiment with is to be more clear about what I am seeing, even scientific. Clara asked about archival footage, something done with film - that gives a certain texture. Number, layers.

The humans seem extra. Juul Hondas.

Falling in love, is to make someone care. The North Sea Tales: Tanya, Astrid —-> email them?

Sabine

Trapped souls, the voices remind her of.

The POV could be stronger, how will you do this. More obvious.

Drone sounds, make you really present with the drone.

Scanning --> closing in on something

Slow it down, very compressed.

The slippages of time are legible.

The word that keeps coming up is legible, how will you TRANSLATE.

POV needs to be established.

SEt things up.

Reference: When I sing Mountains Dance.

You have to do a human reading. Function as a TRANSLATOR. This is an act of imagination within certain parameters.

This shot types, have you tried grouping - Sabine thinks there is something there.

David

Borders, the politics of it in the UK. You need to be able to talk about this when someone asks, how will you do that.

The switching works.

I want to write a stage play...

Translating came up again.