Claudio's Thesis - QUICKNOTES: Difference between revisions
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'''[Steve suggests: in the piece described above, you are also making the viewer conscious of the experience of viewing the piece, which is encoded with 'burning eyes/eyes burning'. Please consider what this mirroring of words does, EYES WATCHING / WATCHING EYES seems redundant, but for me it suggests a shift from the inside of the film to the outside, between the object (the film) and the viewer, between the semiotics and the affect. the dash / is like a hinge that meaning swings on. By this logic FILMINGWATCHINGBURNING could be FILMINGWATCHINGBURNING/BURNINGWATCHINGFILMING. The material and the experience of the material feedback. This is consistent with your desire to work on the border between blindness and sight; visibility and invisibility.]''' | '''[Steve suggests: in the piece described above, you are also making the viewer conscious of the experience of viewing the piece, which is encoded with 'burning eyes/eyes burning'. Please consider what this mirroring of words does, EYES WATCHING / WATCHING EYES seems redundant, but for me it suggests a shift from the inside of the film to the outside, between the object (the film) and the viewer, between the semiotics and the affect. the dash / is like a hinge that meaning swings on. By this logic FILMINGWATCHINGBURNING could be FILMINGWATCHINGBURNING/BURNINGWATCHINGFILMING. The material and the experience of the material feedback. This is consistent with your desire to work on the border between blindness and sight; visibility and invisibility.]''' | ||
THAT DASH SLASH / IS THE EDGE, THE TRESHOLD. ALL MY PROJECT IS MOVING ON THAT EDGE, ITS AN EXPLORATION OF THE EDGE BETWEEN | 1 - THAT DASH SLASH / IS THE EDGE, THE TRESHOLD. ALL MY PROJECT IS MOVING ON THAT EDGE, ITS AN EXPLORATION OF THE EDGE BETWEEN | ||
Aitana also pointed out | REFLECT ON MY USE OF IT, BRING IT OUT AS A METAPHOR/SYMBOL/IMAGE FOR THE SUBJECT OF MY WORK, TO TALK ABOUT MY WORK - ITS THEMES BUT ALSO ITS TOOLS | ||
/ AS SEPARATION BUT ALSO RELATION, CONTRADICTORY/PARADOXICAL VALUE | |||
/ IMPLIES A DOUBLE SIDE, THE POSSIBILITY OF A REVERSAL - I USE SIMILAR FORMAL DEVICES - THE INVERT EFFECT (FLIP IMAGES ON SCREEN AND POSITIVE/NEGATIVE REVERSAL OF AN IMAGE) | |||
2 - Aitana also pointed out a certain redundancy in the stuff i showed in mentor group. | |||
I feel it's actually a strategy that I am trying to develop. what does that mean? how can I use it effectively/intentionally? | I feel it's actually a strategy that I am trying to develop. what does that mean? how can I use it effectively/intentionally? | ||
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is redundancy the right word? maybe repetition/layering? | is redundancy the right word? maybe repetition/layering? | ||
----23/11/23 | |||
(for part 3 / concepts) | |||
other devices i use | |||
slowing down almost to still frames / speeding up footage to a flickering flashing deconstructed perception of footage, altering the time images are given on screen | |||
---- | |||
23/11/23 | |||
Revision as of 12:54, 24 November 2023
24/11/2023
[Steve suggests: in the piece described above, you are also making the viewer conscious of the experience of viewing the piece, which is encoded with 'burning eyes/eyes burning'. Please consider what this mirroring of words does, EYES WATCHING / WATCHING EYES seems redundant, but for me it suggests a shift from the inside of the film to the outside, between the object (the film) and the viewer, between the semiotics and the affect. the dash / is like a hinge that meaning swings on. By this logic FILMINGWATCHINGBURNING could be FILMINGWATCHINGBURNING/BURNINGWATCHINGFILMING. The material and the experience of the material feedback. This is consistent with your desire to work on the border between blindness and sight; visibility and invisibility.]
1 - THAT DASH SLASH / IS THE EDGE, THE TRESHOLD. ALL MY PROJECT IS MOVING ON THAT EDGE, ITS AN EXPLORATION OF THE EDGE BETWEEN
REFLECT ON MY USE OF IT, BRING IT OUT AS A METAPHOR/SYMBOL/IMAGE FOR THE SUBJECT OF MY WORK, TO TALK ABOUT MY WORK - ITS THEMES BUT ALSO ITS TOOLS
/ AS SEPARATION BUT ALSO RELATION, CONTRADICTORY/PARADOXICAL VALUE
/ IMPLIES A DOUBLE SIDE, THE POSSIBILITY OF A REVERSAL - I USE SIMILAR FORMAL DEVICES - THE INVERT EFFECT (FLIP IMAGES ON SCREEN AND POSITIVE/NEGATIVE REVERSAL OF AN IMAGE)
2 - Aitana also pointed out a certain redundancy in the stuff i showed in mentor group.
I feel it's actually a strategy that I am trying to develop. what does that mean? how can I use it effectively/intentionally?
is redundancy the right word? maybe repetition/layering?
(for part 3 / concepts)
other devices i use
slowing down almost to still frames / speeding up footage to a flickering flashing deconstructed perception of footage, altering the time images are given on screen
23/11/23
slowed down Louvre statues (excerpt) https://youtu.be/FfkTtrCsTFQ
(an LCD screen filmed very very close)
(De Rotterdam's façade filmed form the Erasmus bridge)
sketch 1 https://youtu.be/ac1rEIsvwpA
sketch 2 https://youtu.be/IVagyN1DFVs
(Agnes Martin, Wood I, 1963 Watercolor and graphite on paper, 15 x 15 1/2 inches (38.1 x 39.4 cm))
(Agnes Martin, Aspiration, 1960 Ink on paper, 11 3/4 x 9 3/8 inches (29.8 x 23.8 cm) )
a refusal to make a fetish of the final “work” - to operate almost exclusively on the level of the sketch. - what is the value of this stance as an artist?
thinking about self imposed limitations to my practice
black and white only
16mm (limitations in shooting and editing)
when digital editing - keep it simple - 4 tracks + effects - aka not make things that would not be possible to make in analog editing
1 channel only? or can you make split screen in 16 mm?
sound? - no input mixer feedback loops