User:Emily/Self-Evaluation: Difference between revisions

Revision as of 14:03, 23 September 2015

From visible "cut" to invisibile "cut" (Working Title)

Introduction

The mechansim of moving-image production has been proliferated hugely. From classical cinematic languge to computational processing, the theories and tools applied to realise/fulfil the transition from one state to another have been changed. If we consider the editing as syntax of the language of cinema, the syntax then has been enlarged from the thoery of continuity and montage to intensifed continuity, chaos cinema and post-continuity. What's more, at parallel for the artistic cinema, the theme of computational moving-image faded away from simulating reality, computer modeling to visualizing codes of complex digital structure.

My practice will focus on examine the transition in moving-image production, and try to make people think about the mechanism of producing moving-images by reverse the process.

Relation to previous practice

In the last academic year, I researched mainly on the methods of recombination/permutation/cut-up. Firstly being used in literature then in video works. André Breton, Tristan Tzara, William Burroughs, Brion Gysin, are main figures I looked at.

Time and space are two main important dimensions of the moving image that I am concerning most in my works. Even the cut-up techniques used in create literature works involve spacial imagination. Like for example fold-in technique, taking two sheets of linear text (with the same linespacing), folding each sheet in half vertically and combining with the other, then reading across the resulting page. Gysin created digital poetry I am that I am. In his 1960 essay entitled Cut-Ups Self-Explained, he put forwards "The permutated poems set the words spinning off on their own; echoing out as the words of a potent phrase are permutated into an expanding ripple of meanings which they did not seem to be capable of when they were struck into that phrase. The poets are supposed to liberate the words – not to chain them in phrases. Who told poets they were supposed to think? Poets are meant to sing and to make words sing."

Relation to a larger context

Collecting Refference

movement(camera)+editing(cut+assembling) --> using custom program to --> the process of transition representd as moving-image(e.g. Slice by George Legrady; morphing by lev manovich)

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+From visible "cut" to invisibile "cut" (Working Title)
+====Introduction====
+The mechansim of moving-image production has been proliferated hugely. From classical cinematic languge to computational processing, the theories and tools applied to realise/fulfil the transition from one state to another have been changed. If we consider the editing as syntax of the language of cinema, the syntax then has been enlarged from the thoery of continuity and montage to intensifed continuity, chaos cinema and post-continuity. What's more, at parallel for the '''artistic cinema''', the theme of computational moving-image faded away from simulating reality, computer modeling to visualizing codes of complex digital structure.
+My practice will focus on examine the transition in moving-image production, and try to make people think about the mechanism of producing moving-images by reverse the process.
+====Relation to previous practice====
+In the last academic year, I researched mainly on the methods of recombination/permutation/cut-up. Firstly being used in literature then in video works. André Breton, Tristan Tzara, William Burroughs, Brion Gysin, are main figures I looked at.
+Time and space are two main important dimensions of the moving image that I am concerning most in my works. Even the cut-up techniques used in create literature works involve spacial imagination. Like for example ''fold-in'' technique, taking two sheets of linear text (with the same linespacing), folding each sheet in half vertically and combining with the other, then reading across the resulting page. Gysin created digital poetry ''I am that I am''. In his 1960 essay entitled Cut-Ups Self-Explained, he put forwards "The permutated poems set the words spinning off on their own; echoing out as the words of a potent phrase are permutated into an expanding ripple of meanings which they did not seem to be capable of when they were struck into that phrase. The poets are supposed to liberate the words – not to chain them in phrases. Who told poets they were supposed to think? Poets are meant to sing and to make words sing."
+====Relation to a larger context====
+====Collecting Refference====
+movement(camera)+editing(cut+assembling) --> using custom program to --> the process of transition representd as moving-image(e.g. ''Slice'' by George Legrady; morphing by lev manovich)
+====Thesis Intention====
+====Practical Steps====
+<!--
+'''Alibi agency''' (working title)
+====Possible Project Proposal====
+'''Intro'''
+Devices or machines which help to enhance/ expand the functionality of human organs(structural unit to serve a common function) have been developed largely. we get unsatisfied to watch within limited range of vision, and we have instant desire to quickly shift from one place to another. When the physical body can’t satisfy those desires, we turn to some certain machines, media, technology. As Marshall McLuhan puts, the technology is the change of scale or pace or pattern that it introduces into human affairs.  What if the scale, the pace or even the pattern that is hard for physical body to cope with? Will the physical body turn out to be obstacles.
+'''Recent observation'''
+Drone camera has been popular in recent two years. Firstly like aircraft models that carry cameras, then user can get live view from the drone camera through a tablet mounted on the controller), now it flies itself and follows users automatically. (For users there would be only three steps need to do: "ready, throw, go” see lily.camera)
+Here below is commercial image from lily.camera. It shows like as if we went through technological ape to human, or then we can imagine, maybe next step to superhuman.
+The experience we can get have already broken through the limitation of physical organs, our body has been left over. It brings off-body experience which is much expanded, away from where we stand, up in the air, down to the water. But in a way we lose direct control on it, physically and morally. “The extra-vehicular technologies of Instant interactivity are now exiling us from ourselves and making us lose the ultimate physiological reference: that is, the ponderous mass of the locomotive body, the axis - or, to be more precise, the seat - of behavioural motivity and identity.” (Paul Virilio, Polar inertia 2000: 84)
+The absence of human body can already be found in generalised automatisation. The following step is to design awareness/intelligence for the devices, like robotic arms, self-driving cars, like the drone flying itself and follow the user. Algorithmic automatisation, the internet of things have increasingly led to the decline of on spot interaction. And human beings are served as part of the interaction chain. (Nowadays, there are 10 billion things in the internet)
+"Possible outcome"
+Under my superficial research for now, and being interested in the phenomenon that “our body has been left over/ or be exiled”, I picked this working title in a manner of humour to arise attention of the second layer of automatisation, the high speed and instant interaction which arise the absence of bodily interaction.
+One possible outcome of my research could be a kinetic installation together with video projection. It consists of two similar(same) mechanical parts, which are moving in different rhythm. They are facing each other, one standing on the ground the other hanging on top (the ceiling). Two cameras are mounted at the heads of two parts, video taping each other from their own changing position. Side by side(split-screen) the moving images will be projected on spot lively. At times, they move towards each other slowly, at other times, they quickly pass by each other.
+pic:
+:Cameras, the optical instrument here, become the object as well as the subject.
+:The moving path is pre-defined, looped, and it is the same trajectory for the two parts, however they arrive at a same point in different times.
+:If we consider the looping movement as a unit, then each parts is timeless. (time as the measurement of changes) But the time will be reconstructed when people see the combination of these two moving images. (chronological?)
+'''Related to previous research/works'''
+My previous research and works lead to this possible outcome.
+In the last academic year, I researched mainly on the methods of recombination/permutation/cut-up. Firstly being used in literature then in video works. André Breton, Tristan Tzara, William Burroughs, Brion Gysin, are main figures I looked at.
+Time and space are two main important dimensions of the moving image that I am concerning most in my works. Even the cut-up techniques used in create literature works involve spacial imagination. Like for example ''fold-in'' technique, taking two sheets of linear text (with the same linespacing), folding each sheet in half vertically and combining with the other, then reading across the resulting page. Gysin created digital poetry ''I am that I am''. In his 1960 essay entitled Cut-Ups Self-Explained, he put forwards "The permutated poems set the words spinning off on their own; echoing out as the words of a potent phrase are permutated into an expanding ripple of meanings which they did not seem to be capable of when they were struck into that phrase. The poets are supposed to liberate the words – not to chain them in phrases. Who told poets they were supposed to think? Poets are meant to sing and to make words sing." When we look at one part of the mechanical installation moving in cylindrical space, it is in a way simplex and predictable. But when we take these two into sight, when and how they meet, the combination of movements become complex. (from rhythmic repetitions to mutual interaction.) Cameras here are free from their tasks to hide in order to fulfil video recording, or to provide first perspective view. They are ordinary objects like tables, cups can be viewed in the moving image and they are the protagonists.
+Many works from them were/can be rewritten or reassembled by themselves, they are self-contained, self-recreated but also self-restrained. The (changed)relationship between each component become tempting. The two parts in my installation seemed mirror each other. Only when the spectators view the split-screen projection, the new constructed time will be revealed. They are no longer considered as one copying the other, and also not separated from each other but construct the rhythm, pace of the moving images.
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