These last few weeks of class have been interesting, I have learned so much from improvisational filmmaking to learning how to VJ with FlXer. I was nervous at the end of semester party when we had to VJ for five minutes each, but I became relieved when I soon noticed that the majority of the class was also nervous about their five minutes of VJing. I gained strength from the support of the class, but as I started my turn it was over before I knew it and I realized that the system was not as hard to operate as my mind was allowing me to imagine.
Learning the system was pretty easy, I just approached it like learning a new game, and learning the proper controls. I definitely think that FlXer is a piece of software that I will not forget, and maybe if I get good enough then I could maybe incorporate some VJing into my singing group's performances.
So long six by one I will sincerely miss you and all you have taught me. So here is my last poem for this class.
Poem
We itches and we scratched the film strip inked and blotched animated magazines transferred it's print. Artwork in a different form I became degas in my own right and by the end Warhol and I shared the same blood.
Sunday, May 8, 2011
Monday, April 25, 2011
Rough Theater
Response
First of all, I just realized that last weeks blog was to write a response to the rough theater reading we had, I got confused and wrote about the 48 video race. My bad. :(
Okay now...when reading the rough theater article, it made me think about all the different mediums that have been past down through the years as a way to textually bring across an artist vision. For example, right now I am working on several different projects, one is a painting of a lotus flower. To create my flower I drew a grid on my canvas and scaled the flower, using a pencil the draw, I also used a sharpie, a paint brush and also a palette knife, bring across the illusion of a floating flower.
Also with the just recent video race, I used such programs as Maya and the original paint program on windows as well as a scanner, to bring all of my images together to make a whole film. But what if this were thirty years ago and I had the same assignment, what would I have done? Not trying to imply that the progression of technology is better than the previous means, but would take some wide technique and thinking outside of the box to use other means that people view as the old way.
Every medium has its great quality and I think that no matter how old the form may be, I think it is necessary for use to know and learn about them. Them biggest example in cinema that comes to mind in using different early forms mixed with modern is in the Japanese New Wave, esp. the use of bunraku, Japanese puppet theater in Oshima's Double Suicide: Japanese Summer. (1967)
First of all, I just realized that last weeks blog was to write a response to the rough theater reading we had, I got confused and wrote about the 48 video race. My bad. :(
Okay now...when reading the rough theater article, it made me think about all the different mediums that have been past down through the years as a way to textually bring across an artist vision. For example, right now I am working on several different projects, one is a painting of a lotus flower. To create my flower I drew a grid on my canvas and scaled the flower, using a pencil the draw, I also used a sharpie, a paint brush and also a palette knife, bring across the illusion of a floating flower.
Also with the just recent video race, I used such programs as Maya and the original paint program on windows as well as a scanner, to bring all of my images together to make a whole film. But what if this were thirty years ago and I had the same assignment, what would I have done? Not trying to imply that the progression of technology is better than the previous means, but would take some wide technique and thinking outside of the box to use other means that people view as the old way.
Every medium has its great quality and I think that no matter how old the form may be, I think it is necessary for use to know and learn about them. Them biggest example in cinema that comes to mind in using different early forms mixed with modern is in the Japanese New Wave, esp. the use of bunraku, Japanese puppet theater in Oshima's Double Suicide: Japanese Summer. (1967)
Monday, April 18, 2011
Do you know, what you know, what you know?
The poem this week is not from me, but from another poet and its topic has nothing to do with the mystery workshop.....or does it???
Response
One word.....WOW! I can't believe I just did that, makes me appreciate a camera a whole lot more. Tell me your SECRET as the mystery was a hard concept to grasp, because first of all it is a secret and most people will not be so apt to jump forward to "tell" theirs. Secondly, for most of us who are used to writing our stories out with a camera, probably found it almost impossible to do.
The only thing I could do use think outside of the biggest freaking box imaginable, and draw on from the very very little I knew of using MAYA, the paint program on my computer and scanning in items. My film for the most part may seem a little ambiguous to the regular viewer, it may even seem so to an experimental person, because I know I was confused when I watched it. I was like I used everything that I set out to use but for so reason the end product seems a little weird, but I thought about is some more and reminded me of my poetry, and I remembered my original intent and now I must say, my concept makes prefect sense. And if you end up confused, I will not explain, because my secret is worn out in the open for everyone to see, but they don't realize what they are seeing and why they are drawn to is so, but the great thing is, is I know and you don't. Maybe I'll tell, maybe I won't.
Homage to My Hipsthese hips are big hips. they need space to move around in. they don't fit into little petty places. these hips are free hips. they don't like to be held back. these hips have never been enslaved, they go where they want to go they do what they want to do. these hips are mighty hips. these hips are magic hips. i have known them to put a spell on a man and spin him like a top Lucille Clifton |
Response
One word.....WOW! I can't believe I just did that, makes me appreciate a camera a whole lot more. Tell me your SECRET as the mystery was a hard concept to grasp, because first of all it is a secret and most people will not be so apt to jump forward to "tell" theirs. Secondly, for most of us who are used to writing our stories out with a camera, probably found it almost impossible to do.
The only thing I could do use think outside of the biggest freaking box imaginable, and draw on from the very very little I knew of using MAYA, the paint program on my computer and scanning in items. My film for the most part may seem a little ambiguous to the regular viewer, it may even seem so to an experimental person, because I know I was confused when I watched it. I was like I used everything that I set out to use but for so reason the end product seems a little weird, but I thought about is some more and reminded me of my poetry, and I remembered my original intent and now I must say, my concept makes prefect sense. And if you end up confused, I will not explain, because my secret is worn out in the open for everyone to see, but they don't realize what they are seeing and why they are drawn to is so, but the great thing is, is I know and you don't. Maybe I'll tell, maybe I won't.
Monday, April 11, 2011
What are you hearing?
Poem
I played, until I played no more.
My lost love I've let you down.
Venture of my mind, of all minds, you are the only universal.
Response
To start off this week's blog I am going back in time to many memories that I have sitting in the band room of my high school, and also when I was on the stage about to perform a concert, or play for a competition along with sight-reading, or preparing in two days an All-County Band concert.
I started playing the Clarinet when I was in sixth grade, like most hopefuls who want to join band at that time, but unlike most I stuck playing throughout middle school and high school (I even played for a few weeks in the Wind Symphony here at UNCW, but I had to withdraw from the class due to conflict in my production schedule). I played the Clarinet throughout middle school and then I got my first taste of a new instrument when I tried out for Jazz Band in the eighth grade, with my Clarinet, I made the cut, but no Clarinets were allowed, so I had to learn the Tenor Saxophone in order to stay in the small group of players. The trend of learning new instruments stayed with me as I graduated high school, ending up playing the Contra-Alto in my senior year.
Okay with all of that aside, with each time I switched instruments, I had to get to know the sound and become familiar all over again, so I would go home and play incredibly long notes, making sure my pitch was right. I learned this habit from every director I encountered, when getting ready for a concert, especially during the two days in All-County Band and the thirteen days we had to put together a Christmas concert after marching season, difficult pieces would be thrown our direction and when the director saw we were struggling in a certain area, they would slow down the tempo drastically, so the band could hear as a whole what each section was playing.
Also we would do our warm ups, some days spending about thirty minutes listening to each other, blending and balancing, adjusting our breathes, being in tuned to if we were too flat or too sharp.
This is what came to mind immediately when I started to listen to Beet Stretch, I know that we are supposed to be looking at the track as another piece of art, which I can say is a pretty interesting idea, but it reminds me of no other than the harmony and flow of music, how each note and sound is important.
I think of how Mr. Morris had us tune as a band, he would tune the tuba first, with a tuner, and then add the other sections of the band, until that wobbling sound in the notes was no more. Then we would follow his lead, watching his baton or the motion of his hands, we would slowly go up and down the scale, crescendoing and decrescendoing, practice our ability to rotate our breath in the instruments. Beet stretch, from what I can hear, is the conductor and the instruments are following his command in sync and harmony.
I played, until I played no more.
My lost love I've let you down.
Venture of my mind, of all minds, you are the only universal.
Response
To start off this week's blog I am going back in time to many memories that I have sitting in the band room of my high school, and also when I was on the stage about to perform a concert, or play for a competition along with sight-reading, or preparing in two days an All-County Band concert.
I started playing the Clarinet when I was in sixth grade, like most hopefuls who want to join band at that time, but unlike most I stuck playing throughout middle school and high school (I even played for a few weeks in the Wind Symphony here at UNCW, but I had to withdraw from the class due to conflict in my production schedule). I played the Clarinet throughout middle school and then I got my first taste of a new instrument when I tried out for Jazz Band in the eighth grade, with my Clarinet, I made the cut, but no Clarinets were allowed, so I had to learn the Tenor Saxophone in order to stay in the small group of players. The trend of learning new instruments stayed with me as I graduated high school, ending up playing the Contra-Alto in my senior year.
Okay with all of that aside, with each time I switched instruments, I had to get to know the sound and become familiar all over again, so I would go home and play incredibly long notes, making sure my pitch was right. I learned this habit from every director I encountered, when getting ready for a concert, especially during the two days in All-County Band and the thirteen days we had to put together a Christmas concert after marching season, difficult pieces would be thrown our direction and when the director saw we were struggling in a certain area, they would slow down the tempo drastically, so the band could hear as a whole what each section was playing.
Also we would do our warm ups, some days spending about thirty minutes listening to each other, blending and balancing, adjusting our breathes, being in tuned to if we were too flat or too sharp.
This is what came to mind immediately when I started to listen to Beet Stretch, I know that we are supposed to be looking at the track as another piece of art, which I can say is a pretty interesting idea, but it reminds me of no other than the harmony and flow of music, how each note and sound is important.
I think of how Mr. Morris had us tune as a band, he would tune the tuba first, with a tuner, and then add the other sections of the band, until that wobbling sound in the notes was no more. Then we would follow his lead, watching his baton or the motion of his hands, we would slowly go up and down the scale, crescendoing and decrescendoing, practice our ability to rotate our breath in the instruments. Beet stretch, from what I can hear, is the conductor and the instruments are following his command in sync and harmony.
Monday, April 4, 2011
Plagiarize This
Prose Number Six
The trees were very leafy, all the greens rattling because the wind couldn't sit still. They sat in the park over a bench, towering, I saw a man, he was dressed in ragged clothes. I was looking for the truth in life, and I didn't care if he was a bum, I had to ask. "Sir," I began, "What is truth?" He had a nub of a cigarette in his hand, which he placed to his dry lips and pulled back a drag. Exhale. He choked on his own polluted air. "Truth?" He chuckled and hacked. "Truth, my dear, is here." He got up and walked away, and I sat alone, while the gardenia bush gave off its perfume and a lady bug tickled my hand. I flicked it off and picked a flower and thought, I need to ask someone else.
Response
In these reading I found myself in a middle ground, especially dealing with the topic of what is really plagiarism, to what is really inspiration? In the poetry department every one of my professors has encouraged everyone of there students to read poetry. And just like in the film department, film majors are encouraged to watch films and read reviews, so we can draw inspiration, and also how could I be a poet or a critic or a filmmaker, if I've never read a poem or watched a film or read a review. I mean yes it is possible to do so, but if your mind is not opened up to possibilities then your thoughts cannot go very far.
Joy Garnett saw a photo and was inspired. Just like when van Gogh saw the night sky and when the shadows of the day changed, he painted and drew the same setting over and over again. An artist need to create goes along with their mood or for better words, emotion of the current time. If they are feeling political, then expect the new face of change to be multi-colored, or a morbid picture of grief when they are enduring that pain. Did Joy copy Sarah's photograph and plagiarize? I don't know if I could answer my own question, but I'm pretty sure that money is the root to the whole issue between the two.
I just recently watched a documentary entitled Catfish, and the thing, besides many things (and I promise I won't spoil the story for anyone) but the photographer featured in the film had his photos painted by an artist and I never heard of any controversy in that area.
And just like in The Ecstasy of Influence article, when the writer talks about the story of Lolita being drawn from other influences, and Bob Dylan using lines from every place imaginable. I guess that it is only plagiarism when someone takes the actual work of another person and try to present it as their own, then the work is plagiarized. But I think every day we humans draw influence and inspiration from one another, we serve as each others seasoning, and I consider it a great form of flattery when someone can use you work to express their feeling. But if you make millions off of me, then expect to pay up, because I want my cut...20%!!! :)
The trees were very leafy, all the greens rattling because the wind couldn't sit still. They sat in the park over a bench, towering, I saw a man, he was dressed in ragged clothes. I was looking for the truth in life, and I didn't care if he was a bum, I had to ask. "Sir," I began, "What is truth?" He had a nub of a cigarette in his hand, which he placed to his dry lips and pulled back a drag. Exhale. He choked on his own polluted air. "Truth?" He chuckled and hacked. "Truth, my dear, is here." He got up and walked away, and I sat alone, while the gardenia bush gave off its perfume and a lady bug tickled my hand. I flicked it off and picked a flower and thought, I need to ask someone else.
Response
In these reading I found myself in a middle ground, especially dealing with the topic of what is really plagiarism, to what is really inspiration? In the poetry department every one of my professors has encouraged everyone of there students to read poetry. And just like in the film department, film majors are encouraged to watch films and read reviews, so we can draw inspiration, and also how could I be a poet or a critic or a filmmaker, if I've never read a poem or watched a film or read a review. I mean yes it is possible to do so, but if your mind is not opened up to possibilities then your thoughts cannot go very far.
Joy Garnett saw a photo and was inspired. Just like when van Gogh saw the night sky and when the shadows of the day changed, he painted and drew the same setting over and over again. An artist need to create goes along with their mood or for better words, emotion of the current time. If they are feeling political, then expect the new face of change to be multi-colored, or a morbid picture of grief when they are enduring that pain. Did Joy copy Sarah's photograph and plagiarize? I don't know if I could answer my own question, but I'm pretty sure that money is the root to the whole issue between the two.
I just recently watched a documentary entitled Catfish, and the thing, besides many things (and I promise I won't spoil the story for anyone) but the photographer featured in the film had his photos painted by an artist and I never heard of any controversy in that area.
And just like in The Ecstasy of Influence article, when the writer talks about the story of Lolita being drawn from other influences, and Bob Dylan using lines from every place imaginable. I guess that it is only plagiarism when someone takes the actual work of another person and try to present it as their own, then the work is plagiarized. But I think every day we humans draw influence and inspiration from one another, we serve as each others seasoning, and I consider it a great form of flattery when someone can use you work to express their feeling. But if you make millions off of me, then expect to pay up, because I want my cut...20%!!! :)
Monday, March 28, 2011
Long Day for a Long Take
The one thing I would have to say about this experience and what I observed, is that when it is crunch time and the designated to film time is coming to a close, the pressure is on and some people begin to panic, the freaking out begins and the people who panic start talking to
other people like they are idiots. I mean it is quite comical to watch, they underestimate their team members who they spent an hour and a half practicing the shoot, the only difference is, that the trigger to the
In the end I took a lot from this experience and I learned a great deal from my classmates and I hope I could have done the same for my counterparts. And the one I hope everyone took from this experience is how to work well and effectively as a film team, and that was no competition on whose film looked the best, then I would say that they learned nothing at all.
Bolexin the sixteen
m&m
Batman stole the
redheaded bride
the wheel chair
was the camera's
glide. Stop
clashing blown
up rubber water,
the kid reads the book
on dirty steps,
the surfer skates.
Frisbees and tennis
balls sore the wind
and clouds blacken
that's right, just roll
with it. Seven
testosterone, and
the two ladies, none
get over, they're just
as strong. The last take
this is it. The monkey
stalks under the trees
The message is
Just Read.
Monday, March 21, 2011
48:00 to 0:00
Villanelle Number One
What filmless film could I create?
Without the camera snapping
Time clicks, what is my fate?
Unusual is the form
Thin is the air, a hand is grasping
What filmless film could I create?
Race of the dawn is born
The heart accelerates its tapping
Time clicks, what is my fate?
What idea can be born?
A mind restless, immersed in napping
What filmless film could I create?
Like the sun blowing its horn
And the wind rapping
Time clicks, what is my fate?
What idea can be born?
Without the camera snapping
What filmless film could I create?
Time clicks, what is my fate?
48 Hour Video Ideas
Okay first of all this seems like it'll be FUN!!!! Creating a film without any type of camera seemed bizarre when first reading the instructions, but whoever thought of a copy machine, scanner, or animation. The only thing that I am worried about is the mystery prop. Now I am just hoping that Andre does not bring anything that will, for example, make me cringe or make me run from the room screaming! But hopefully the prop can be used in a more productive manner instead of scaring the living daylights out of me.
The idea I have for this video race, is to do some film manipulation, I find that is where my strength is, not that my work is better than anyone else's, but I feel more comfortable manipulating film than animating on film or even animation on the computer. I have only taken 3D graphics so I can build a model, but making them move, lets just say that I am happy to have gotten out of 3D graphics and I swore I would never do something like that to myself again.
What filmless film could I create?
Without the camera snapping
Time clicks, what is my fate?
Unusual is the form
Thin is the air, a hand is grasping
What filmless film could I create?
Race of the dawn is born
The heart accelerates its tapping
Time clicks, what is my fate?
What idea can be born?
A mind restless, immersed in napping
What filmless film could I create?
Like the sun blowing its horn
And the wind rapping
Time clicks, what is my fate?
What idea can be born?
Without the camera snapping
What filmless film could I create?
Time clicks, what is my fate?
48 Hour Video Ideas
Okay first of all this seems like it'll be FUN!!!! Creating a film without any type of camera seemed bizarre when first reading the instructions, but whoever thought of a copy machine, scanner, or animation. The only thing that I am worried about is the mystery prop. Now I am just hoping that Andre does not bring anything that will, for example, make me cringe or make me run from the room screaming! But hopefully the prop can be used in a more productive manner instead of scaring the living daylights out of me.
The idea I have for this video race, is to do some film manipulation, I find that is where my strength is, not that my work is better than anyone else's, but I feel more comfortable manipulating film than animating on film or even animation on the computer. I have only taken 3D graphics so I can build a model, but making them move, lets just say that I am happy to have gotten out of 3D graphics and I swore I would never do something like that to myself again.
Sunday, March 6, 2011
Soujuu 操縦
Sonnet Number One
purple ink squiggles the strip
concentration of the mind
forming imagination undefined
millisecond the hour of the tip
rhythms side brush the paint drip
imprinting the paper-clip find
straw needles rigid lines
oxidation blurs, the image rip
the red light exposed my fingers
the white light flashed
the film grain embossed
shapes now forever linger
though nothing ever lasts
frightening, the art that is lost
Response
It came natural for me, nothing pre-planned in my mind, I had an idea and I executed. Did I make mistakes along the way? Of course. Like what you ask? Like drawing my animation too big and then splicing the film strip upside down. I also have found that my strength in film manipulation is the inking and texturing part, my partner Jon has a great strength in animation.
This is no easy job, film manipulation, even though I had nothing planned, it still takes major brain power to get the job done and also major patience. For example, when we were left in the class room to ink the clear liter from 7:00 pm to 8:45 pm, I only achieved to ink fifty frames of nine feet of film. I find that I am not satisfied with one layer, one color, one texture, I have my mother's philosophy to fill the page, leave no white, or in this case leave no film exposed. And one would think that it would be easy to fill the space on such a small area....WRONG! It takes some time, not something I can sit down and BS my way through, even in splicing, taking us about two hours to get everything together and then returning the splicer to only find out the we have the end upside down, going back to get the splicer and fixing more than one area.
The thing that I would have done differently is changing how I would have done the animation, I drew in with a thin sharpie and I drew the images as minute as possible, but the end result when it played on screen was far too big. All in all I enjoyed this experience, it gets me to open my mind to other possibilities in film, almost like a mediation on the art while working on the art, but it helps me zoom in also on my documentary in process right now and I think of the aesthetics of my project.
purple ink squiggles the strip
concentration of the mind
forming imagination undefined
millisecond the hour of the tip
rhythms side brush the paint drip
imprinting the paper-clip find
straw needles rigid lines
oxidation blurs, the image rip
the red light exposed my fingers
the white light flashed
the film grain embossed
shapes now forever linger
though nothing ever lasts
frightening, the art that is lost
Response
It came natural for me, nothing pre-planned in my mind, I had an idea and I executed. Did I make mistakes along the way? Of course. Like what you ask? Like drawing my animation too big and then splicing the film strip upside down. I also have found that my strength in film manipulation is the inking and texturing part, my partner Jon has a great strength in animation.
This is no easy job, film manipulation, even though I had nothing planned, it still takes major brain power to get the job done and also major patience. For example, when we were left in the class room to ink the clear liter from 7:00 pm to 8:45 pm, I only achieved to ink fifty frames of nine feet of film. I find that I am not satisfied with one layer, one color, one texture, I have my mother's philosophy to fill the page, leave no white, or in this case leave no film exposed. And one would think that it would be easy to fill the space on such a small area....WRONG! It takes some time, not something I can sit down and BS my way through, even in splicing, taking us about two hours to get everything together and then returning the splicer to only find out the we have the end upside down, going back to get the splicer and fixing more than one area.
The thing that I would have done differently is changing how I would have done the animation, I drew in with a thin sharpie and I drew the images as minute as possible, but the end result when it played on screen was far too big. All in all I enjoyed this experience, it gets me to open my mind to other possibilities in film, almost like a mediation on the art while working on the art, but it helps me zoom in also on my documentary in process right now and I think of the aesthetics of my project.
Monday, February 28, 2011
Alliteration Ssssound (Unfinished)
Prose Number Five
I asked the deaf man, who watched the flying birds in awe and wonder, if he could hear their chirp as they circled with the wind. He grunted and laughed, Fool! He clamored at me, grabbing my arms and shook me. You are the deaf one; your ears are filled with the wax of the machine, the bombing of the freight train, the retching of steel. I was shocked by his words, and he grinned his toothless grin. I heard your heart skip two beats, but listen honey I am not deaf; I just hear the earth in its original song.
Response
As the writer asked I listened to my surroundings. What I heard was the hum of my laptop’s fan running and the sound of the refrigerator hitting B-Flat on the major scale. I have always been sensitive to the subject of natural sound and industrial sounds. I even began to write a collection on how my main character goes from enjoying nature and falling in love to an instant change of environment and all he hears is drills and the crunch of concrete under his feet, instead of dirt.
The idea that we humans relate to the environment
Monday, February 21, 2011
Run-A-Muck-Duck
Prose Number Four
It is simple the bunny chews a carrot as the duck fusses at the hand that changes his atmosphere. Mickey's sticks move as he conducts the train and the symphony strings turn the wheels. But the formless float, no water to be found, 'cause I've never known water to be that clear. Thighs and legs I guess, the line turned to an 8 no an & wait, what's that ~ over there, no speech or "What's up Doc?" The orange carrot, green vegetation topped, falls down, the ground is purple, the bunny is dead.
Response
The first time I ever saw Duck Amuck, was in my Introduction to Film Studies class. Now I was never unfamiliar with with the character Daffy Duck; he was the one that always spit and had the lisp when he talked. Anyway, when I watched the short animation I found it quite comical, as did the rest of the class (everyone laughing as if on cue) at how this drawing came to life and actually seemed like a human being. I later learned that it was a trademark of Warner Brothers to have a more adult like feel to there cartoons than its competitor Disney.
When I was younger and I enjoyed my Saturday morning cartoons, I, along with my sister and my cousin, found ourselves choosing to watch Looney Tunes over any Mickey Mouse cartoon. In thinking about it now I think we loved the more slapstick, unrealistic situations that the Looney Tunes characters found themselves in, instead of that "moral" of the story, teaching a lesson type cartoon; we went to school five days a week and learning was out the door. I mean seeing the Roadrunner out wit the Coyote every time was priceless.
This is not an advocacy for Looney Tunes over Disney, but just me thinking back to how I felt and how these companies used certain methods to win over different types of audiences. From my understanding Disney or Disney "types" would use what is called a symphonic approach, playing on the more poetic side of the art of animation and Warner Brothers or Warner "types" would use what is called the approach cacphonic, the more urban and industrialized based, when it comes to dialogue.
I can see were the symphonic plays into Disney, which plays onto the more "emotional" side of its audience, like subjects of love and friendship, and Warner being more of pop culture, drawing out laughter from its viewer, which is an emotion as well, but Disney seems to have a more "realistic" standpoint in situations than Warner Brothers.
As for the experimental side, which seems as if it doesn't have anything in common with the previous, also has a more "symphonic" approach, like Disney. The experimental draws out an emotional response from its viewer, if it is sadness , anger, confusion...etc, and also, like Disney, plays with the idea of music being its source of movement, visually or image based, rather than direct dialogue.
It is simple the bunny chews a carrot as the duck fusses at the hand that changes his atmosphere. Mickey's sticks move as he conducts the train and the symphony strings turn the wheels. But the formless float, no water to be found, 'cause I've never known water to be that clear. Thighs and legs I guess, the line turned to an 8 no an & wait, what's that ~ over there, no speech or "What's up Doc?" The orange carrot, green vegetation topped, falls down, the ground is purple, the bunny is dead.
Response
The first time I ever saw Duck Amuck, was in my Introduction to Film Studies class. Now I was never unfamiliar with with the character Daffy Duck; he was the one that always spit and had the lisp when he talked. Anyway, when I watched the short animation I found it quite comical, as did the rest of the class (everyone laughing as if on cue) at how this drawing came to life and actually seemed like a human being. I later learned that it was a trademark of Warner Brothers to have a more adult like feel to there cartoons than its competitor Disney.
When I was younger and I enjoyed my Saturday morning cartoons, I, along with my sister and my cousin, found ourselves choosing to watch Looney Tunes over any Mickey Mouse cartoon. In thinking about it now I think we loved the more slapstick, unrealistic situations that the Looney Tunes characters found themselves in, instead of that "moral" of the story, teaching a lesson type cartoon; we went to school five days a week and learning was out the door. I mean seeing the Roadrunner out wit the Coyote every time was priceless.
This is not an advocacy for Looney Tunes over Disney, but just me thinking back to how I felt and how these companies used certain methods to win over different types of audiences. From my understanding Disney or Disney "types" would use what is called a symphonic approach, playing on the more poetic side of the art of animation and Warner Brothers or Warner "types" would use what is called the approach cacphonic, the more urban and industrialized based, when it comes to dialogue.
I can see were the symphonic plays into Disney, which plays onto the more "emotional" side of its audience, like subjects of love and friendship, and Warner being more of pop culture, drawing out laughter from its viewer, which is an emotion as well, but Disney seems to have a more "realistic" standpoint in situations than Warner Brothers.
As for the experimental side, which seems as if it doesn't have anything in common with the previous, also has a more "symphonic" approach, like Disney. The experimental draws out an emotional response from its viewer, if it is sadness , anger, confusion...etc, and also, like Disney, plays with the idea of music being its source of movement, visually or image based, rather than direct dialogue.
Wednesday, February 9, 2011
Kid Again: Camerless Filmmaking
Prose Number Three
Music of the Pandora world affects the Pollock-ing drips of ink rhythm from the brush tip. The clock melts, a persistence of memory, Dali watches the room. Ants in mind I too practice the thick strokes of Van Gogh, lapped on the velvet coated lines swirl. Rather fond of the six hundred, I texturize lines from a razor, free forming shapes that have no name. I'm a kid again, boxed in the collegiate.
Response
So far my experience in this class has been a borderline to insanity and relief. I mean how often do any college students come across a class where there is no wrong answer? Even in my poetry classes when we workshop and critique each others words and images, we still tend to put a right and wrong tendency on the piece of art. I have grown so use to structure now I feel like I am being left out to dangle over the Atlantic without the help of any person, but having to figure out a way to survive on my own.
The class gives me my own freedom in finding a way to create on film. The idea of camera less film making blows my mind, because, first of all we’re dealing with actual film and not tape, and also there is no digital involvement in this process.
I get to enter a whole new world and think no thoughts to what I am doing; I just do, wherever the music leads, like a euphoria clouding my mind, leaving me unable to think of or connect to the masses of the outside world, but only to go deep inside my being to bring out something new. Not new to the universe, but new to me and my way of creating.
An outsider would think that the elementary approach to camera less film making as not of scholarly work. I would say tell that to the Brakhage’s and Deren’s of the world and many other types of artist, tell them that their way is wrong, and then try and give them a mathematical formula on how they are supposed to create, it would make those people, including myself, wither a die, because in due time scholars and critiques would have sucked the life out of true creativity.
Poetry writing classes took the place of my music classes, and now six by one is taking the place of poetry, amongst all of the critical studies and time consuming readings, six by one allows me to let my mind go further than an intellectual theory.
Friday, February 4, 2011
Cymatics
Prose Number Two
A flat and B flat turned burgundy. The stoplight flashed green light and my song sung smoothed notes, I the sultry one evolved to silhouettes, my curves morphed to waves, me the calm breeze. Clashing symbols synchronized beats with the ear drum, a bee-ing buzz firecrackered yellow blossoms, violent and thrashing red foamed the street. The flat line held its tone, enter the black.
Response
In the recent past is when I became aware of synesthesia, one of my poetry professors explained to my forms of poetry class about the relation between sound and colors and also how she saw numbers in color. I found the topic very interesting, and as a poet I secretly longed for what I considered a gift in becoming a better artist.
The reading on synesthesia and its mentioning of Disney’s Fantasia made me recall my sophomore year in high school, because that year in band we played the music from the Fantasia soundtrack. I remember to how the director would explain how staccato he wanted the low brass and low woodwind section to play the Sorcerer’s Apprentice section of the arrangement. He went to describe playing the notes, comparing it to splashing water in a pool, saying “If you use long strokes of your arms and hands, then you’ll end up splashing a large amount of water on the people around you. I want you to think of the notes as skimming your hand just above the water’s surface, making little splashes.” In a way he used a reverse synesthesia on us, making our section see and hear the notes as small splashes of water, instead of actual noted music.
In a way I think synesthesia is a method that the mind relates things for a person to have a certain understanding. Even when people don’t recall on shapes or smells or colors or numbers, they’re mind still has a function in working, in a mysterious mode that no scientist can ever understand. The human is a complex being, an entity far superior than the normal creation, do to our ability to make choices beyond the average animal.
On the topic of cymatics and how sound waves can form recognizable shapes due to the harmonic vibrations, further proves the idea of visual music. Let’s imagine Stan Brakhage’s The Dante Quartet as a symphony, much like any symphony, the melody of the entire piece will go through movements (most of the time four), but in some way will transform. Paint as Brakhage’s notes and film and camera are his instrumentation, Brakhage’s music explores, in its own right, the Allegro, Scherzo, Adagio and Recitative.
On the topic of cymatics and how sound waves can form recognizable shapes due to the harmonic vibrations, further proves the idea of visual music. Let’s imagine Stan Brakhage’s The Dante Quartet as a symphony, much like any symphony, the melody of the entire piece will go through movements (most of the time four), but in some way will transform. Paint as Brakhage’s notes and film and camera are his instrumentation, Brakhage’s music explores, in its own right, the Allegro, Scherzo, Adagio and Recitative.
Friday, January 28, 2011
The Passage
Prose Number One
Part of a primitive culture, I leaped forward and doused myself into Ellington, jazz world, and brushing symbols. Mommy me followed by her child and the city cried "Listen!" I walked the streets, moving fast, trying to keep up. A Halfling; part bird, part human; beloved are the flowers. Beauties of vibrant colors, made of paisley's print, her design swirled. I was back tapping my toes to the swinging of the horn, I pictured myself in a shiny red dress, and Marilyn Monroe, I stole her mole. I grew wings made from triangles, buzzing about, making my nature sounds. Century to century I abounded, hearing was my passage, unable to move, unmotivated, until the sound wave surfed.
Response
Poetry in motion ‘The Passage’ leaped from creation to evolution, motivated by music and sound. The film viewer is presented with the most elementary of shapes and color, as a passage of time is showcased through the flapping wings of triangles meshed together, to the busy rhythms of jazz and then the ambient sound of modern city life. The movement of the flowers across the screen and then use of the lime greens, reds, pinks…to name a few, created a trance like states, also most as if to hypnotize its audience. The black background felt as if was the staff and the shapes were the notes, and the soundtrack acted as the time machine from primitive to modern and back to primitive, throwing in some swing, jumping up to modern then back to primitive and so forth, a very effective camerless film.
Six by One: 6 X 1: Seis Por Un: Six For A
I decided to join the mother ship of six by one, to be hands on, to get grimy and dirty. As a poet, I play with images, sometimes too much for my words to follow, they can’t keep up with what I design from my mouth, and the picture doesn’t come across as clear. With film, it is another story, for I am certain I can create the following line visually without making any person confused.
“We ran east going south as we headed north and we were out west.” (from Legolas & I by Sheena A. Vaught)
This is my mission in six by one, to experiment and “pictorialize” my poetry. To focus on visual, sound and music and throw story into the passing wind and let it sink to the bottom of the sea.
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