Lucian Wester, Trimester 3, 2012

Trimester (1, 2 or 3), Year.
OR
Graduation Project, Year.

NOTE: All documentation material, PDF, photos, videos, etc, must be uploaded to the wiki. No embedding or third party hosts allowed, for obvious archiving issues ;)

NOTE: Please use "your name, the title of your project, the year" as page name.

Description

350 words including aims of the theoretical and practical research as well as its outcome.

Media

Photos

• At least 2, Max 5.
• native resolution only (that is the highest resolution you have for your photo and whatever resolution if you make screencaps)
• PNG format

Video

optional unless the final outcome of the project, or one of its main components, is a video/film/animation.

• allowed containers/codecs combos:
  • WebM (preferred):
    • Video codec: VP8 (3-5 Mbps data rate)
    • Audio codec: Vorbis (-q 6)
  • Ogg:
    • Video codec: Theora (3-5 Mbps data rate)
    • Audio codec: Vorbis (-q 6)
  • MP4:
    • Video Codec: H.264 (3-5 Mbps data rate)
    • Audio Codec: AAC (160kbps or 384kbps if 5.1) or MP3 (-V0 or -b 320)
• resolution: 720p if source >= 720p, native resolution otherwise, progressive.
• FPS: 24, 25, 30.
• Sample rate:
  • 44.1kHz if source is 44.1kHz or 88.2kHz
  • 48 kHz if source is 48kHz or 96kHz
  • 44.1 kHz for everything else.

Audio

optional unless the final outcome of the project, or one of its main components, is a sound piece/track.

• allowed containers/codecs combos:
  • Ogg: Vorbis (-q 6) preferred
  • MPEG: MP3 (-V0 or -b 320)
  • FLAC (-8)
• Sample rate:
  • 44.1kHz if source is 44.1kHz or 88.2kHz
  • 48 kHz if source is 48kHz or 96kHz
  • 44.1 kHz for everything else.
• Do not transcode! For instance, if the sound generated is directly an MP3, do not re-encode it with the settings above or with a different codec. Only encode original uncompressed or lossless compressed sources.

Essay

Abstract and bibs/ref + link to PDF (PDF must be uploaded to wiki).
Use Steve's recommendations for abstract length and bibliographic style.

texts thematic

Michel Gondry

You’ll like this film because you’re in it: the be kind rewind protocol.

Gondry starts with telling us about his utopian idea of communities making their own movies. And what he in the end creates is his utopian idea. Gondry states that he needed to make all the rules and sets in order to leave and create more space for the actual creative filmmaking. The participants otherwise didn’t know what to do or how to start. Through his protocol a group would collectively make a film whereas in Hollywood al the decisions are made by the director, Gondry explains (although I think that a producer has also al lot of influence, why otherwise al the director cuts on DVDs?). But isn’t Gondry, on a Meta level, not the director of all the movies created within the gallery space? Through his protocol there is not much space for experiment or different forms of filmmaking other than the by Gondry dictated Hollywood’s way. The whole project eventually has not so much to do with creativity but rather more with giving a work process for a community to make a film. It is the community who needs the rules not the creativity.

Propp, Morphology of the Folktale

The text shows us by examining 100 folktales that there is a strict structure that makes up these stories. In the preface the author suggest that the fact that this is possible that maybe the same or similar structures can be applied to other forms of story telling or the code can be used to generate new folktales. But what I think is more interesting to turn it around and think about the structure or code. Because doesn’t a code always implies a certain narrative? For example a code/structure within a factory that describes the process of making products is a narrative. At the beginning of the factory line you start with raw material and at the end of the line you end up with a finished product, a linear story. The question that remains is: if there are codes that don’t create narratives? And if there are narratives that are not build from codes?

Richard Florida

The Rise of the Creative Class Richard describes in essence a new class that makes up fore a large part of economic and capital value: the Creative Class. There are some interesting paradoxes surrounding the Creative Class most of all the fact that Richard successfully characterises them, while one of their main characters is is that they want to be individual and independent. The Creative Class needs other Classes to rebel against, it’s one of its main characters. Richard says that there is only growth through getting the Creative Class into your city, but what is there to say fore the old people. Within the upcoming years there is going to be a lot old people with money. Besides it’s not easy to create tolerance and diversity within a city.

Additional Information

optional

• Project URL (if lives on an external site)
• extra wiki links (in case you have relevant notes/journals/documentation in your User: page, this is useful particularly if you have been asked to articulate further or refine your project during your assessment)
• Animated GIFs