User:Emily/20151203: Difference between revisions

Latest revision as of 00:44, 16 January 2016

Steve's suggestions:

outline your work at the start, what, why, how,
the motivation for this is the hybrid objects.
How did the hybrid objects come about?
this has led me to an interest in... [in what?]
what is your work doing, what did you do to make your work?

To Do List:

what chioces did you make?
why did you make them?
Take three works(tenant, shining, lighter)
describe how you made them
and discuss why you made the choices you did
how do these choices relate to the work you want to make?

To answer the questions above and also sort myself out

For the first year I had mainly worked with video assemblage based on cinema materials. At the same time I also look at works from [User:Emily/NOTES for Own Research & Resource 04|Robert Ochshorn], more technically and visually display video works. For the second year, I started to gathering footages online from news media, surveillance footage, Youtube, etc., and also consider how video re-assemblage can shape our ways of watching.
The reason why I make them is because I take the role as an active viewer as when I made The Tenant and The Shining as well as when I was proposing the MacGuffin. As an active viewer, I try to highlight the attractive features I saw in the material but not contains in original linear narrative. In the later phase, I shift to look at footage not only from cinema which are well refined but also from worldwide web and question how we see things through other people's eyes, how could I provide cinematic visualization for data online.
In The Tenant and The Shining, I see potential of oscillation in those long shot, both because of the suspensions that long shots hold and also because of our limited store for fast memory. Based on my understanding of the grant narration, I come up with the reversed shots shown together with original footage. It may sounds tautology with two identical content, but our eyes actually perceive an third understanding. This is so attracting in the multi-linear sequences.
Then considering about watching videos online, the experience bears similarities for me. I am the kind of person who would open several video windows, at times I would just adjust their volume but watching at least two images simultaneously, sort of doing live montage perceiving information in a mode that one plus one is more than two. So for the work I want to make is a hybrid mode of watching, and I want to create my watching interface to investigate how I could watch through other's eyes; how I information are mediated when I re-assemblage them.

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+Steve's suggestions:
+*outline your work at the start, what, why, how,
+*the motivation for this is the '''hybrid objects'''.
+*How did the hybrid objects come about?
+*this has led me to an interest in... [in what?]
+*what is your work doing, what did you do to make your work?
+To Do List:
+*what chioces did you make?
+*why did you make them?
+*Take three works(tenant, shining, lighter)
+*describe how you made them
+*and discuss why you made the choices you did
+*how do these choices relate to the work you want to make?
+*To answer the questions above and also sort myself out
+For the first year I had mainly worked with video assemblage based on cinema materials. At the same time I also look at works from [User:Emily/NOTES for Own Research & Resource 04|Robert Ochshorn], more technically and visually display video works. For the second year, I started to gathering footages online from news media, surveillance footage, Youtube, etc., and also consider how video re-assemblage can shape our ways of watching.<br>
+The reason why I make them is because I take the role as an active viewer as when I made The Tenant and The Shining as well as when I was proposing the MacGuffin. As an active viewer, I try to highlight the attractive features I saw in the material but not contains in original linear narrative. In the later phase, I shift to look at footage not only from cinema which are well refined but also from worldwide web and question how we see things through other people's eyes, how could I provide cinematic visualization for data online. <br>
+In The Tenant and The Shining, I see potential of oscillation in those long shot, both because of the suspensions that long shots hold and also because of our limited store for fast memory. Based on my understanding of the grant narration, I come up with the reversed shots shown together with original footage. It may sounds tautology with two identical content, but our eyes actually perceive an third understanding. This is so attracting in the multi-linear sequences. <br>
+Then considering about watching videos online, the experience bears similarities for me. I am the kind of person who would open several video windows, at times I would just adjust their volume but watching at least two images simultaneously, sort of doing live montage perceiving information in a mode that one plus one is more than two. So for the work I want to make is a hybrid mode of watching, and I want to create my watching interface to investigate how I could watch through other's eyes; how I information are mediated when I re-assemblage them. <br>
+<!--
+In my graduation project, hybrid objects namely, firearm|camera obejcts, will be made (physically). They are not defined as their functions but symbols reflecting serveral (mis)recognised situations. Together there are stories and a video will be presented as well showing in what scenarios they have been made. Both the objects and the stories are half fiction, half real. With the thesis on my project ("name is coming up"), I will exemplify the linkage between cameras and firearms both technically and culturally which inform me to make these hybrid objects. Then walk through how and why I made these objects together with hybrid stories. In all the thesis will be my project report and explain that those objects function as symbols in my video and formulate the non-linear video.
+====The Body of the text====
+:explain the linkage of cameras and firearms both historically and technically.
+:Go through my examples/objects (as listed below still in refinement of raw material).
+:The report is about my creation inspired by social phenomenon and myth, which is a hypothesis but without informing spectators.
+====Conclusion====
+To make my question more clearly, and then think about this
+----
+One question or issue
+:To investigating not a subject but a question -> how we produce semiotic objects(specific as below) and how they function in mediated discourse.
+:Right now my project boilded down on two parts; The first is that, how could I use personal belongings representing in visual language to penetrate the machanism of MacGuffin/Objet petit a, the guise of the “Other“. The second is bassed on existed linkage between cameras and firearms to create a group of hypothetic object and footage. Both the objects and moving images are hybrid of reality and fiction. In this case the objects I create will be the MacGuffins to reflect on misrecognised senarios, and I am more favor on this part.
+Method of analysis
+:Semiotic concepts on MacGuffin/Objet petit a
+:History linkage of cameras and firearms both technically and culturally.
+:Contemporary examples and the emergence of this social semiotic.
+:The thesis will be a project report walking through the stories via objects that I make.
+Bibliography & Articles:
+:''Simulacra and Simulation'' (Jean Baudrillard, 1981)
+:''The Sublime Object of Ideology'' (Slavoj Žižek, 1989)
+:''Semiotics for Beginners'' (Daniel Chandler, 1994)
+:''Enjoy your symptom! (Slavoj Žižek, 1992)
+:''The Shape of Time: Remarks on the History of Things'' (George Kubler, 1962)?
+:"Being – A MaGuffin: How to Preserve the Desire to Think", Salmagundi No. 90/91 (Spring-Summer 1991), pp. 191–193. Trans. David Adams.
+: Seminar on The Purloined Letter
+: Truffaut/Hichcock, Hichcock/Truffaut, and the Big Reveal
+: Tom McCarthy on realism and the real
+: The Symptom 9 editorial by J. A. (retreived from http://www.lacan.com/symptom/?p=38)
+Art Works:
+:Pierre Huyghe, A Journey That Wasn’t, 2005, 16 mm film, 21:43 minutes
+:Shadow World: Johan Grimonprez & a talk in Witte de With given by Johan Grimonprez and Adam Kleinman
+:
+Materials:
+:The link between the camera and gun is evident in a shared metaphor, but also historically close as well.
+::1. In the 1860s the development of breech loading guns, using chemicals enclosed in a cartridge with an interior firing pin, gave the hunter a mobile weapon with ammunition that did not explode in the users face. At the same time dry-plate photography replaced plates hand coated with collodion, thereby solving some of the chemical restraints on mobile photography. 2. Although some dry plate cameras were explicitly modelled on Colt revolver mechanisms, and cinema cameras looked to machine guns for design elements, there was still a lot of camera equipment to be carried while travelling if one wanted to make images. 3. Eastman partnered with William Walker, the first camera maker to use manufacturing methods pioneered by gun makers to permit interchangeable parts. But it was their use of chemistry that provided both the greatest breakthrough and the clearest link with gun technology. 4. Eastman and Walker developed a paper negative that used guncotton. A French inventor extended that by creating a gelatinized guncotton that could be cut into strips, thereby also permitting the first modern smokeless gun powder. When the first Kodak was released in 1888 it took 100 exposures on sheets of dry, etherized, guncotton backed up paper. 5. The next development involved Eastman Kodak’s chief chemist adding amyl acetate to guncotton, creating a stable “celluloid”. A year later two English chemists made the explosive cordite by adding nitroglycerine and acetone to guncotton. As Landau concludes, “breech-loading guns and the Kodak camera not only drew on the same language; they both sealed the same sort of chemicals in their cartridges.”
+digital
+:Misrecognised situations
+::In 2014(taken around 2012) a four-year-old Syrian girl(boy), Adi Hudea ‘surrendered’ when a photographer, Osman Sagirli(Turkish) pointed his camera at her and she assumed it was a gun (BBC investigated)
+::2009 Iraq Collateral Murder(released classifed documents by Wikileak)
+::2004 battle for Fallujah in Iraq and the flowing catoon made by Jon Kudelka
+::1968 Saigon Execution photographed by Eddie Adams, he writed "Two people died in that photograph: the recipient of the bullet and GENERAL NGUYEN NGOC LOAN. The general killed the Viet Cong; I killed the general with my camera. Still photographs are the most powerful weapons in the world. People believe them; but photographs do lie, even without manipulation. They are only half-truths. ... What the photograph didn't say was, 'What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American people?'.... This picture really messed up his life. He never blamed me. He told me if I hadn't taken the picture, someone else would have, but I've felt bad for him and his family for a long time. ... I sent flowers when I heard that he had died and wrote, "I'm sorry. There are tears in my eyes."
+:More footage
+::ALFRED HITCHCOCK PRESENTS (1985) - Bang! You're Dead!  http://www.dailymotion.com/video/xvikc3_alfred-hitchcock-presents-1985-bang-you-re-dead_creation
+-->
 <!--
 ''Human Remains'' is a 1998 short documentary film about the personal lives of Adolf Hitler, Benito Mussolini, Joseph Stalin, Francisco Franco and Mao Zedong. It was written and directed by filmmaker Jay Rosenblatt and won a Sundance Award.
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 The Devil's Mistress (1966)
+===Notes for thesis===
+''Everything You Always Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock)''- zizek on
+'''Mechanical suspense'''
+suspense<ref>http://filomasnou.blogspot.nl/2014/07/zizek-1-suspens-everything-you-always.html<ref> <br>
+"Suspense is in fact produced by editing." Typical case study is the editing of chases - a parrallel editing, in which Griffith built up through the interplay of close-up shots of the protagonists' face. "To a great extent, the cinema of terror or of anxiety still depends upon the principle of editing" (a German word, Angst)
+'''Hitchcockian suspense/ "Hitchcock's touch"'''
+"A good part of Hitchcock's work in cinema could in fact be summarized in terms of the editing of chases, with the proviso that the chase, which is precipitated by a token object - which Hitchcock himself
+calls, as is well known, a McGuffin."<br>
+"What, then, is the object that this anxiety or suspense releases, revives and sets going? I would hazard the response that this object, which emerged at the same time as the close-up was discovered, is because of its characteristic malice, the gaze." "Gesture, concentration [haragei] and neutrality would thus represent three stages in a progressive
+domestication of the actor's body, 'through the top', through the face, which benefited staging and editing and was crucial to establishing the laws of suspense. Hitchcock often recalled that he would keep the face neutral."
+"This is how fiction is introduced, for, as Godard has observed — actually with reference to Hitchcock — it is the gaze which creates fiction."
+'''The 'impression of reality' shifts to a secondary level, that of connotation'''
 -->