User:Emily/Self-Evaluation: Difference between revisions
No edit summary |
No edit summary |
||
| (11 intermediate revisions by the same user not shown) | |||
| Line 1: | Line 1: | ||
<div style="width:75%;"> | |||
---- | |||
updated 20151006 | |||
====Possible Outcome==== | |||
A two-channel video installation, in which a "MacGuffin" is being told/described by A narrator/narrators. This MacGuffin will drive the characters in both channels to take opposite actions(for example, wait/chase). A MacGuffin is said as a plot device in the form of some goal, desired object, or other motivator that the protagonist pursues and moves the plot forward. The name "MacGuffin" appears to originate in 20th-century filmmaking, and was popularized by Alfred Hitchcock in the 1930s. He also pointed out the nothingness of the MacGuffin itself. But it is the nounsense or nothingness that provides the motives and drives the image narrative(narrative in a broad way). I made the link of comment culture with MacGuffin, becuase "users nolonger contribute merely to correct the author, or to contribute to the general interllect, they want to have an effect". This phenomen will be translate to a video appreance just as what MacGuffin does as a plot device. | |||
====Practical steps==== | |||
*The moving images can be shoot by myself or exacted from found materials. First test with found moving images gattering according to narrative. | |||
*I have ideas about where to gather the describtion of the MacGuffin, first comes out from its orgin films(but have concern about remixing material by sort of scripts); I found comments from online shopping platform are quite interesting, they are describing goods but full of deails from their lives.(For this decriptions the name or categories of the goods will be replaced by pronoun.) Or news reports. | |||
---- | |||
20150930 | |||
====Introduction==== | |||
The mechansim of moving-image production has been proliferated. 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, then the syntax has been enlarged hugely, from the thoery of continuity and montage to intensifed continuity, chaos cinema and post-continuity. In parallel with it, the theme of digital cinema faded away from computer modeling, simulating reality, to visualizing codes of complex digital structure. As Deleuze put, "Cinema does not give us an image to which movemnt is added, it immediately gives us a movement-image"(Deleuze, Movement-Image 2). The movment is automatic, and autonomous. | |||
My practice will focus on examine those ''transition'' in moving-image production, and try to visualize/represent the ''transition'' by reverse its process. The ''automatic movement'' in classical cinema is generally visible apllying camera movement together with cuts and assembly. If considering computation and algorithm generated moving-images like slice and morphing techiques applied in it, the ''transition'' cannot be perceive easily for human and it is also complicated for spectators to reasoning how and why they see it. "However the breakdown of logical ans senso-motorial(action-reaction) connections between images does not mean that there aren't any connections any more but give rise to new kinds of connections."(Huygens,I. Image[&]Narrative[e-journal], 18(2007). | |||
<!-- | |||
Theorists were enthusiastic on the link between cinema and thinking. At early time, the theorists(Dziga Vertov, the kino-eye theory) refer to the fact that the camera produces thinking autonomoously and independently from a human subject. Latr on, according to Deleuze, the machinic being defined by its autonomous and automatic nature. Thinking for Deleuze is autonomous. The ideal of a concept for Deleuze is not a representation(which is static) but an act of becoming, and auto-movemnt of thought.(Huygens,I. Image[&]Narrative[e-journal], 18(2007) The automatic movement is capable of 'producing a shock to thought, communicating vibrations to the cortex, touching the nervous and cerebral sustem directly'(Deleuze, Image-Temps 156). | |||
--> | |||
====Relation to previous practice==== | |||
In last two trimesters, I have been working on how manipulation of audiovisual content (mainly cinematic materials) could alter the way of seeing. My work started in a quite simple manner, in which films are utilised as input which produces books, videos, and browser-based work, and interactive installations. | |||
For me through these works, doubts are raised about the ability of recognition - namely the recognition to time-space, to real fact, to personality, etc. Because of my interests in video editing, it brought me back to think about montage, but in a more broad and free sense. I started to research the cut-up techniques through different times. All these works are more or less leave a space for the performativity of their own materials. | |||
This leads me to broaden view also on digital cinema or artistic cinema, and the 'cut', which I mean the transitions within those works. What they would affect on cognition, on both human level and machine level. | |||
====Relation to a larger context==== | |||
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. Like for example ''fold-in'' technique from Wiiliam Burroughs, 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." | |||
Deprived from Gysin's notion of 'liberating words', I am embracing the idea of 'cinema has to free us from what he calls the representative image of thought'. | |||
====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) | |||
:cinema as annalogous to the human mind(Hugo Münsterberg) | |||
:thinking as machinic(deleuze)something in the world forces us to think | |||
[[User:Emily/Self-Evaluation trimester IV| Page for accumulating reference and notes]] | |||
====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. | |||
--> | |||
<!-- | <!-- | ||
| Line 37: | Line 140: | ||
--> | --> | ||
</div> | |||
Latest revision as of 10:46, 28 October 2015
updated 20151006
Possible Outcome
A two-channel video installation, in which a "MacGuffin" is being told/described by A narrator/narrators. This MacGuffin will drive the characters in both channels to take opposite actions(for example, wait/chase). A MacGuffin is said as a plot device in the form of some goal, desired object, or other motivator that the protagonist pursues and moves the plot forward. The name "MacGuffin" appears to originate in 20th-century filmmaking, and was popularized by Alfred Hitchcock in the 1930s. He also pointed out the nothingness of the MacGuffin itself. But it is the nounsense or nothingness that provides the motives and drives the image narrative(narrative in a broad way). I made the link of comment culture with MacGuffin, becuase "users nolonger contribute merely to correct the author, or to contribute to the general interllect, they want to have an effect". This phenomen will be translate to a video appreance just as what MacGuffin does as a plot device.
Practical steps
- The moving images can be shoot by myself or exacted from found materials. First test with found moving images gattering according to narrative.
- I have ideas about where to gather the describtion of the MacGuffin, first comes out from its orgin films(but have concern about remixing material by sort of scripts); I found comments from online shopping platform are quite interesting, they are describing goods but full of deails from their lives.(For this decriptions the name or categories of the goods will be replaced by pronoun.) Or news reports.
20150930
Introduction
The mechansim of moving-image production has been proliferated. 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, then the syntax has been enlarged hugely, from the thoery of continuity and montage to intensifed continuity, chaos cinema and post-continuity. In parallel with it, the theme of digital cinema faded away from computer modeling, simulating reality, to visualizing codes of complex digital structure. As Deleuze put, "Cinema does not give us an image to which movemnt is added, it immediately gives us a movement-image"(Deleuze, Movement-Image 2). The movment is automatic, and autonomous.
My practice will focus on examine those transition in moving-image production, and try to visualize/represent the transition by reverse its process. The automatic movement in classical cinema is generally visible apllying camera movement together with cuts and assembly. If considering computation and algorithm generated moving-images like slice and morphing techiques applied in it, the transition cannot be perceive easily for human and it is also complicated for spectators to reasoning how and why they see it. "However the breakdown of logical ans senso-motorial(action-reaction) connections between images does not mean that there aren't any connections any more but give rise to new kinds of connections."(Huygens,I. Image[&]Narrative[e-journal], 18(2007).
Relation to previous practice
In last two trimesters, I have been working on how manipulation of audiovisual content (mainly cinematic materials) could alter the way of seeing. My work started in a quite simple manner, in which films are utilised as input which produces books, videos, and browser-based work, and interactive installations. For me through these works, doubts are raised about the ability of recognition - namely the recognition to time-space, to real fact, to personality, etc. Because of my interests in video editing, it brought me back to think about montage, but in a more broad and free sense. I started to research the cut-up techniques through different times. All these works are more or less leave a space for the performativity of their own materials.
This leads me to broaden view also on digital cinema or artistic cinema, and the 'cut', which I mean the transitions within those works. What they would affect on cognition, on both human level and machine level.
Relation to a larger context
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. Like for example fold-in technique from Wiiliam Burroughs, 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."
Deprived from Gysin's notion of 'liberating words', I am embracing the idea of 'cinema has to free us from what he calls the representative image of thought'.
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)
- cinema as annalogous to the human mind(Hugo Münsterberg)
- thinking as machinic(deleuze)something in the world forces us to think
Page for accumulating reference and notes