Writing Through Editing TMY: Difference between revisions
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First Version | === First Version === | ||
Enlightenment stems from an understanding of divine order, which is the flow of the cosmos. | |||
This edition attempts to capture the pulse of Japanese life, following a cosmological and sonic clue. | |||
=== Second Version === | |||
Using archival material of soldiers detecting the weather/enemy, I fictionalized a soldier looking into the distance with binoculars,travelling between the past and the future, poetically meditating on youth, eternity, the politics of idealism/communism, justice yet to come and lovers yet to meet, trying to break through the cruelty and despair of war and life. | |||
notes | |||
War machine (Deleuze) | |||
Karen Barad | |||
Relata | |||
https://larvalsubjects.wordpress.com/2012/09/27/relata-do-not-precede-relations/ | |||
Mousse 34 | |||
Agential Cut | |||
https://newmaterialism.eu/almanac/p/phenomena-agential-realism.html | |||
Moving Images and Music | |||
# the initial impulse of any film project comes from the structures of contemporary music, which do not rely on melodies, but on rhythm. | # the initial impulse of any film project comes from the structures of contemporary music, which do not rely on melodies, but on rhythm. | ||
# Cornelius Cardew - Scratch Orchestra | # Cornelius Cardew - Scratch Orchestra | ||
Line 10: | Line 36: | ||
# the relationship between music, sound and image | # the relationship between music, sound and image | ||
# My search, which seems in a certain way historical, is not approached from a historiographical perspective, but is part of the voices that are currently in the atmosphere, voices that resonate with me as a present, not as a tradition. | # My search, which seems in a certain way historical, is not approached from a historiographical perspective, but is part of the voices that are currently in the atmosphere, voices that resonate with me as a present, not as a tradition. | ||
# The methodology with which I approach the subject of the moving image has to do with a rather intuitive relationship with the structure of music and sound. | # The methodology with which I approach the subject of the moving image has to do with a rather intuitive relationship with the structure of music and sound. | ||
# I think in terms of harmonics and counterpoint, with a script that is perhaps more of a musical type and is not based on the logic of cause-effect or temporality-spatiality; it is more abstract and is related to ideas close to music theory. | # I think in terms of harmonics and counterpoint, with a script that is perhaps more of a musical type and is not based on the logic of cause-effect or temporality-spatiality; it is more abstract and is related to ideas close to music theory. | ||
# I am interested in thinking about how the present acts in the face of these historical gazes, the gaze is always from the present and thinks about the present. There is a historical enquiry in the search for matter on that lost film, which becomes image and which becomes sound. | # I am interested in thinking about how the present acts in the face of these historical gazes, the gaze is always from the present and thinks about the present. There is a historical enquiry in the search for matter on that lost film, which becomes image and which becomes sound. | ||
# when I make a film, the atmosphere starts from the music and then I find different possibilities of editing the material. | # when I make a film, the atmosphere starts from the music and then I find different possibilities of editing the material. | ||
# From the reflection on the body that appears in the performance as a gesture that retakes the physical body as an object of work, we should consider the lack of knowledge we have about what a body is, where it begins, where it ends. So, what is the question of individuality? I think it is almost ridiculous to speak, for example, of auteur cinema when cinema is a collective fact, however handcrafted and personal it may be. One as an individual is completely influenced by different situations, aesthetics, people, etcetera. We are collective beings. | # From the reflection on the body that appears in the performance as a gesture that retakes the physical body as an object of work, we should consider the lack of knowledge we have about what a body is, where it begins, where it ends. So, what is the question of individuality? I think it is almost ridiculous to speak, for example, of auteur cinema when cinema is a collective fact, however handcrafted and personal it may be. One as an individual is completely influenced by different situations, aesthetics, people, etcetera. We are collective beings. | ||
# the relationship of historical moments as an instantaneous connection in time. | # the relationship of historical moments as an instantaneous connection in time. |
Latest revision as of 15:09, 14 April 2023
First Version
Enlightenment stems from an understanding of divine order, which is the flow of the cosmos.
This edition attempts to capture the pulse of Japanese life, following a cosmological and sonic clue.
Second Version
Using archival material of soldiers detecting the weather/enemy, I fictionalized a soldier looking into the distance with binoculars,travelling between the past and the future, poetically meditating on youth, eternity, the politics of idealism/communism, justice yet to come and lovers yet to meet, trying to break through the cruelty and despair of war and life.
notes
War machine (Deleuze)
Karen Barad
Relata
https://larvalsubjects.wordpress.com/2012/09/27/relata-do-not-precede-relations/
Mousse 34
Agential Cut
https://newmaterialism.eu/almanac/p/phenomena-agential-realism.html
Moving Images and Music
- the initial impulse of any film project comes from the structures of contemporary music, which do not rely on melodies, but on rhythm.
- Cornelius Cardew - Scratch Orchestra
- Luke Fowler
- the relationship between music, sound and image
- My search, which seems in a certain way historical, is not approached from a historiographical perspective, but is part of the voices that are currently in the atmosphere, voices that resonate with me as a present, not as a tradition.
- The methodology with which I approach the subject of the moving image has to do with a rather intuitive relationship with the structure of music and sound.
- I think in terms of harmonics and counterpoint, with a script that is perhaps more of a musical type and is not based on the logic of cause-effect or temporality-spatiality; it is more abstract and is related to ideas close to music theory.
- I am interested in thinking about how the present acts in the face of these historical gazes, the gaze is always from the present and thinks about the present. There is a historical enquiry in the search for matter on that lost film, which becomes image and which becomes sound.
- when I make a film, the atmosphere starts from the music and then I find different possibilities of editing the material.
- From the reflection on the body that appears in the performance as a gesture that retakes the physical body as an object of work, we should consider the lack of knowledge we have about what a body is, where it begins, where it ends. So, what is the question of individuality? I think it is almost ridiculous to speak, for example, of auteur cinema when cinema is a collective fact, however handcrafted and personal it may be. One as an individual is completely influenced by different situations, aesthetics, people, etcetera. We are collective beings.
- the relationship of historical moments as an instantaneous connection in time.