User:Emily/Self-directed Research 02

Aims for today

• refine the descriptions of recent works
• reorganise and restructure
• the result would be -->making a new (old one is here) self-directed research page (contains descriptions of my works and abstracts of my pervious notes)

Description of recent works: what+how+why structure (#broad context#)

Reversed Shots(my dyslexia also reflects in being bad at naming works), is a split screen video projection. It extracts the audiovisual content from the most dramatic segment of Roman Polanski’s film The Tenant. The original scene is been juxtaposed along with its reversed each single shot. The beginning and the end of each shot is been viewed at the same time, synchronously and continuously playing to the middle from one shot to the next. It is a experiment on how visual art and cinematic experience affect on each other. The artistic approach combined with cinematic language (here mainly adressed on the moving camera, spatial movement) add up to the tensive watching experience.

In this work, she experinments the ability of artistic approach (visual arts) to frame the spectator’s experience of cinema. This reversing method affects the viewer’s sense of time. In general she persues a personal use of these cinematic material and apply them as artistic media.

Here are some materials to remind myself:

Shot reverse shot + environment shot --> a work that I viewed in Piankothek der Moderne, check information later

Omer Fast - The Casting (front and back)

The Threepenny Opera (1931 film) from the English Film Institue

About lone take

1.more realistic?? Look at André Bazin's work; long take shows a certain respect towards how time and space exist and appear to exist in reality (a fixed relationship to reality-->the possibility to reenact the movements and events --> a kind of sculpture through time and space)

e.g. Hitchcock's Psycho as a shot by shot reconstruction --> studying the shot composition and going back in reenacting it in at least a chronological sense VS Sergei Eisenstein's Odessa steps scene from Battleship Potempkin (impossible to replay in reality); But can adapt Battleship sequence very readily in another film --> Brain De Palma's The Untaouchables(1987)

2.demands more participant from audience --> have to pay more attention to it in order to understand what's happening in it. Mutilple narrations --> be constantly aware of multiple dimensions all at once. Metacognition --> not only thinking about film but starting to think about how we think about film. Multi-layered sensibility to accumulate inside a film

e.g. Reservoir Dogs(1992)

3.Long take has greater depth in terms of composition --> another way that the long take resembles reality --> what's going on can always be interpreted in more ways than one which is the way reality works.

Photobook(descriptions in its link)

The static form of photobook in a way allows me to reflect on William Broughs and Brion Gysin's cut-up skills (of course it derives from early Surealists' Exquisite Corpse which developed into their research method).

But I understand it is such different thing that "cut-up is a process which invoves a deliberate abdication of responsibility and control on the part of the author." So I think what I am really into and try to address here is what Gysin talked about permutation. "Its use as a trance inductor is highly controlled. The permutation is self-inclusive and self-contained." I really like what Gysin described, 'The Divine tautology came up at me off a page one day. I AM THAT I AM, and I saw that it was lopsided. I switched the last two words to fet better architectural balance around the big THAT. There was a little click as I read from right to left and then permutated the other end. AM I THAT AM I? "It" asked a question. My ear ran away down the first one hundred and twenty simple permutations and I hear, I think, what Newton said he heard: a sort of pealing inside my head, like an ether experience, and I fell down.'

As a parallel interests in database structure (especially on database watching) and the dominated searching function in daily life (socielty of query), which I don't have much experiments on. In a way, I considered them as the digital permutation. I find its potential possibilities are already there in those pre-digital works, we can see through the digital version of exquisite corpese and Roy Ascott's wrok,fold-in technique, a Hundred Thousand Billion Poems, just to name it.

So how could I comebine the above, using or re-using audiovisual material in a subjective and profound way?

Movie Dialogue(description in its link)

This is the work I haven't yet finished because of my shitty skill in python and javascript. It is also not my practical answer on what I questioned above. But I think it is good to start to understand and establish a structure of small database, and by simple human language just as using search engine to start a question and answer across movies.

Another thing kept in my mind is to rethink my pervious works, real-time installations which may lead me to live cinema. To be continue

Reorginze pervious notes

Visual Art + Cinema Experience (It is just smoke and mirrors, I am dumb and am learning to speak by myself)

To be continue --> Art and Film Since 1945

The History of Oulipo

The game of Exquisite Corpse

Paragraphs & Sentences on Conceptual Art

Interface and Visualization

To be continue --> Interface Effect by Alexander R. Galloway

To be read --> Reading Writing Interfaces(2014) by Lori Emerson

Robert Ochshorn's work

Permutation + Database Aesthetics (It is just constant typing, I understand that I need to say it in my words)

To be continue --> Networks Without a Cause

To be read --> Protocal

Online Video Aesthetics or the Art of Watching

Cut-Up vs Database Structure

Kenneth Goldsmith talks about uncreative writing

Ted Nelson's Zzstructures

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Artworks Refference

List need to be reorganised