I was hoping to experiment a little with pixelation- stop motion animation of living peoplllle. It has a great and unsettling effect. I just tried simple exercise with my hand and a paperclip BUT THEN I was shown this Jan Svankmajer's Food in which the artist combines pixelation and stop motion of sculptures.
I think the eerie quality of pixelation which I enjoy, the sort of convulsive, uncanniness cannot come through just a hand. The hand becomes an object. It is not expressive on its own. With the face or the whole body, on the other hand the effect is much more impressive
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-I have seen small, small windows in the brick wall of writers block in the last week.
& I have been able to watch films n read things that succeed in doing what I wish I could without causing me too much overwhelming angst. for instance: Hilton Als-I don't remember Hal's moving essay focuses upon the work of Robert Gober but the author combines it with accounts of untold histories and personal anecdotes. La Jetée- Chris Marker The visuals for this post apocalyptic film are constructed entirely from still images, which supplement the narrative conveyed by a voiceover. Hanne Lippard- Beige a humour and idiosyncratic rumination on a 'lame' colour. Once again this video uses only still images, and these are all just beige! It is comforting to see how little I need in the way of visual stimulation to maintaina viewers interest (words are always preferable in my book). Jacob Dwyer- DAT LIKWID LAND I saw this just yesterday in Figure 4 at Baltic 39 and I was just thrilled. The narrative is a little hard to follow, and I felt it hard to keep track of fiction and historical figures but actually the boundaries of fiction is something I'm becoming quite interested in (I blame Ben Lerner.. actually 10.04 should definitely be on this list but I'll crowbar it here) . The way it was shot, the use of screen capture to illustrate points, poetic asides... I think what links all these things- why I enjoy them- is something to do with how they are structured, and how they are able to span and connect disparate material to form something coherent but also generous, not solely directive or explanatory, desultory but only at times. I don't know. this has got away from me. Recently I took part in ‘Engineering Experience’, a project encouraging collaboration between the architecture, engineering and fine art department of Newcastle Uni. I was put into a small group with students from architecture and one studying engineering. Our brief was to respond to the time travel scene from Twelve Monkeys, and- paying particular attention to the way in which setting contributed to its atmosphere- create a maquette inspired by this. We were then to re-film the model creating a video that could harbour a similar tone to the original scene. This was our film I did not find the project terribly edifying (not least because I felt our end product was underwhelming). It was brief but intense. We had only around a fortnight to watch the clip, respond to it, devise an idea for the film, for the prop, make it, film it, edit it, construct the audio and install both our film and our maquette in the architecture department. I felt that maybe a long term and less fast paced project would have met with more exciting ends, and would have been considerably more enduring relationships and therefore collaborations between students across these departments.
HOWSOEVER I did it. editing n soundpiece.n talking to strangers |