User:Inge Hoonte/Notes Loes

Loes presentation 10/10

Person evolving w/ drawing & space.
Archiving everything. We think our brain is an archive but it's not. Memories of the past are constantly changing by experiences in present and future. The memory as it was then changes. Interested in going outside of personal material, more fictional, or look at other people's histories.

About bigger space: will the screen still be able to cover it all?

Simon: you're not showing us a memory, but a filmic way of representing a memory. Not reenacting a memory but transcribing it in a transparent way. Go back to primitive cinema.

William Kentridge. Early Mellier magician films. Live musical performance, interact with animation. Freud: memory is mystic writing pad that erases memory every time you reveal it. You rewrite it every time you remember it, retell it, reveal it.

Multiplicity of memories, multiple editions of the same event.. Overlap. Several versions of same story. Impossibility of rendering subjective experience. Giacometti. Frank Auerbach.

Charcoal already a medium that if you don't fix it, it disappears, or becomes blurry.

Everything is illuminated.

Renee: create space for other people to insert their memories. Already present in Portrait of a Memory. Not Loes' experience, but events happening in a space.

Simon: interest in incest experience is rooted in your own memory. Don't need to appropriate your cousin's memory. Your technique so heavily based on erasure.

Notes on prep text

The Book of Forgetting
"This project is about things you want to remember but forget and things you want to forget but still remember. It also doubts the reliability of memory. Memories have the unsettling ability to change shape afterwards. The memory of a person in a space (...) how the brain projects memory in a space."> this is probably why your work speaks to me so much, as I'm very interested in this as well.

Plexiglas screen > thought this was a very smart way to introduce another layer in stop motion, rather than layering in the editing process. Very raw and fitting for your work process.

Changing memory, painting over it, ha! if only.

Introducing a 2nd character could definitely help push your work in a new realm. At the same time I like the biographical nature of your work, which is so tied to one character. I wonder what a dialog from your perspective would be like, sounds very interesting. Or playing with different aspects of The Self, the interior, ever-reflecting, recording, self-critical brain. "No, it didn't happen like that, you know better, don't fool yourself." "Just let me have this, our last moment together, let me remember it like that." "It wasn't like that, there was no sunset, you were in a loud bar and he left you there."

History of a building, combined histories. I just read The Fourteen Sisters of Emilio Montez O'Brien, which is a family history told through the eyes of all 16 family members, including mom and dad. It was a bit long, but overall I liked reading through the eyes of all these sisters, and their youngest brother, as they all have a different take on life, but in the end, they're all from the same source - one author.

Georges Perec, Life A User's Manual About an apartment building in Paris, which gave a view on the history of the apartments in various times. So different people living in the apartments and how they connected. From The Scriptorium "In it, Perec describes an apartment building in Paris, and tells stories about the people who live there. This is done within a complex structure through which Perec determined the number of chapters to be used, their length, their order of appearance, and a random series of elements which should appear in each one. Behind this intricate pattern, Perec proceeds to tell stories upon stories, employing a wide variety of techniques, and describing peoples, places and events with an incredibly richness of detail. The subtitle "Novels" defines the nature of the book, which consists in short stories embedded inside larger stories, and stories linked in parallel with others."

Response to Five questions/concerns
1) don't worry about this, you will.
2) I really liked the raw, personal space of your grandparents' home. This project might not have to be tied to one space however, I can easily see a combination of this train-type pondering prose, with personal memories in a room or staring out over a meadow where your grandfather took you.
3) This brings up a very interesting problem as soon as we try to visualize the brain and memory... Things I can't remember very well, still have little traces in my memory. Maybe in your drawing these could be less detailed scribbles/blotches, a person whose faces keeps shapeshifting, words that change, or something you keep drawing and erasing, until you erase it so many times that there's a hole in the paper? That's a bit too cliché maybe.
4) Yes
5) Maybe the screen can't always move around, you could play with where memories are tied to place. Like on a window, or front door, or maybe when you want to erase or forget something, you could draw it on glass and let it fall. Again, bit cliché, but you can take this further.