Movement Image Sound modulw.

Movement Image Sound statement.

Thu, 16 Dec 2010 16:37:08 -0500

This project explores the theme of time and development of popular culture. To do this I experiment with new media- Stop Motion Animation. I chose this as a source to express my ideas because I thought it had the potential to reference the immediate past and the long term past as a basis for a personal investigation of culture. The technique of Stop Motion means that static images are collected together to create the impression of movement and passing of time. When combined with other media such as pencil and paint, different time plains meet. As a young person open to influences of popular culture, utilising personal experience and also more generic youtube footage to reference the inspirations that shape me through time.

The improvisational techniques of both musician artists Bitjam and the evolutionary nature of Oskar Fischinger’s animation inspired me as they suggest a stream of consciousness. The work explores a personal interpretation of the world in the present and how it links with the past. Documentation of large scale gestural marks through stop motion animation is an ideal way of representing my personal interpretation. The imagery gets increasingly more chaotic as the animation develops. I explored the editing soft ware Final Cut and used cross fade techniques to create smooth transitions between how the paint was applied. Therefore, the process is not immediately clear thus challenging the viewer to consider the development through a passage of time. The effect of the animation being reversed means that the viewer can consider the origins of the source and inspiration.

I initially hoped to explore sound as another method of interpretation. It was decided that the end animation result did not suit an audio field recordings captured at the Green Man festival as they would have clashed and confused the visual. With more time, I would have made an audio piece that suited the animation. Perhaps future work could incorporate an ambient, background sound that was not intrusive and referenced a communal experience. The fact that the animation shall be broadcast over a blog spot is integral to the themes of my work, because the current media networking sites bring the past into direct contact with the present culture.

Dvd format.

Sun, 12 Dec 2010 16:21:00 -0500

I need to decide the most appropriate format to display my video when preparing the dvd for submission. I have two options, for the animation to be viewed with a border- which may be distracting, or for it to fill the screen but crop the sides.

I have tested the cropped format on the latest vimeo format and I think that too much important information is lost when the animation is cropped to fill the screen. As a result, when preparing my piece for burning on to disc, I made sure that the letterboxing option was turned on.

John Powers.

Sun, 12 Dec 2010 16:20:46 -0500

‘Kelly has written a manifesto about trends he believes began with the big bang. Still he has not written a retroactive manifesto, Kelly projects the trends he sees in the past forward. What are the trends? In a word: Progress. That is Progress with a capital P - the way your dad used to spell it: Technological Progress. We are talking good old fashion Modernist meta-narrative, and one that Kelly believes is inevitable.’ John Powers.

This artist epitomises the reason I chose this modual. His theories on the relevance of new media inspire my work as my themes regarding memory and experience are reflected by the appropriation of media. I develop from drawing and photography through paint then animation- an entirley new skill learnt by me. Although my work does not reference old media directly in the sense of using old analogue equipment, it does reference the ‘technological progress’ as mentioned in the blog I quote.

Final cut of Animation.

Sun, 12 Dec 2010 15:00:00 -0500

Final cut of Animation.:

I was considering whether to continue the animation, developing more layers until it became so compact that the information became indistinguishable. However, I decided against because although the complexity of memory is an important theme in my work, I thought it might be more visually engaging to strip the animation back to the beginning. That way, the viewer can recognise the developments that have been made through time and recognise more thououghly the links between influences and triggers for memory. By ending the piece where it began, a cyclical loop is created that reflects the fact that memories are interlinked. It reflects my subconcsious stream of thoughts that develop through time.

Haroon Mirza

Sun, 12 Dec 2010 14:47:23 -0500

Haroon Mirza:

Similarly to my work, this artist uses a mixed media collaboration of techniques in order to create a whole piece. The equipment he uses is relevant to the subject as he explores old technologies and adapts them fittingly. In a similar way, I have taken a the technique of painting- which is rich in historic background and connotations and brought it to the present through manipulation in Final Cut to make it into an Animation film. The concept of Stop Motion animation itself is steeped in historic context.

Again, with more time in this project I would like to explore the relationship between audio and visual to a greater extent. What I notice from Mirza’s piece is that the audio- although a well known track by Cat Stevens- does not have any vocals. Perhaps this would help the visuals connect with the music without distraction. (Something that proved a problem with the Green Man Audio.)

Oskar Fischinger

Sun, 12 Dec 2010 13:03:00 -0500

Oskar Fischinger:

This artist is very influential regarding the painting aspect of my animations. He developments layers so that the piece evolves beyond recognition. This transformation, in my work reflects the growth and development as me the person, based on experience and judgement. For example, choice in colour pallet in my work is subject to my memory of the event and evolves like a stream of consciousness. This concept shares links with the musician art group Bitjam, who improvise their artworks to a live audience. I created my animation with no set plan as to what the animation would look like in the end. I allowed myself to be inspired by the imagery and realise the effect of the chaotic build in sources.

If I had more time in this module, I should like to explore how music can influence the piece directly. Like Fischinger’s motion paintings that seem to evolve in response to the music- I could chose music that is intrinsic to my taste and relevant to my influences, then see how the music effects the rhythm of the animation.

Cross Fades using Final Cut

Sun, 05 Dec 2010 07:38:00 -0500

Cross Fades using Final Cut:

This is the action of fading in an out, creating an extended duration to the animation. The effect is that of a less noticeable trasition between images. The viewer does not get distracted by the jerky quality, instead becomes aware that time is passing but can not tell how quite so easily as the eye can not follow.

I think there is still room for development, perhaps I could continue the animation on the wall in order to develop. This could emphasis the development in influences and memories as it gets more and more chaotic. Practically, this would prove difficult however, as the camera position has altered so there would be an obvious shift and disruption in animation.

Alternatively, I could use Final Cut to reverse the imagery and so the end result is the same as the beginning. This cyclical technique could reflect how interpretations and memories can build- but can be stripped back to reveal the core influences of an individual. I think this is more effective than the previous technique which merely records the build in chaotic memories.

Decisions regarding audio.

Sun, 05 Dec 2010 06:10:26 -0500

After development within the Stop Motion animation field and listening to the two medias together, I think the audio is not suited to the visuals and could distract the viewer and anchor the visuals too tightly to context of the sound. I do however, think there is potential for this media to be developed in my Studio Practice- I could experiment with acoustics, technology and placement of audience.

Stop Motion Animation with Multiple Images

Mon, 29 Nov 2010 07:31:00 -0500

Stop Motion Animation with Multiple Images:

Taking the advice from a seminar meeting, I created an animation that explored the whole of the composition more thoroughly. Therefore, rather than line progressions that are not noticeable, I used paint on a large scale to create more gestural marks. This is more appropriate because it clearly shows development that originates from memory and experience.

By changing the Imagery through out the animation, I hoped to gain a fluid progression from memory to memory. I like the fact that the background images remain static, because it reflects the snap shot style recall of memory.

I selected the images based on a wide source of influences. Some elements are taken from first hand experience such as the figure with a hat on, while others others like the figure with a bandana on is taken from footage off of Youtube. I think it works better when the youtube context is not visible within the animation, because then the audience is unaware exactly where the influences are drawn from.

Raw field recordings from Green Man of the well known tune...

Mon, 22 Nov 2010 14:17:00 -0500

Raw field recordings from Green Man of the well known tune Little Lion Man. The rough ameture quality reflects the personal experience. People can be heard around which locates the experience and makes it distinctly individual. I hope to use the recordings, perhaps in connection with the original- so that references can be made by the listener who can relate to the original track more readily.

Using Audacity, I have mixed this with the original version- recognisable to the general public. However, difficulties have arisen with uploading this version because of the format in which it was edited. I do not feel the audio is relevant to the animation visuals any way, I think it could distract rather than enhance as the connections between the two are not clear.

After completing my second animation, I thought this was...

Mon, 22 Nov 2010 08:47:00 -0500

After completing my second animation, I thought this was important to document and photograph the result of as it shows the evolution of the work through time.- A theme that is intrinsically linked to my practice.

I like the fact that layers in media can be interpreted collectively (projection on top of drawing on top of photography and animation) or extracted from their context to be interpreted singularly as a drawing- especially as its state can change from motion to static. This highlights the opportunity to interpret a source in more than one way.

I think that some of these images hold potential to be made into animations. However, they need editing. I do not think that the blatant Youtube references/borders are effective, because they highlight the source too obviously. It could be interesting to use them without it being obvious where the source material is from.

I think this large scale method of working is reminiscent of action painter Jackson Pollock. ‘The eye frantically attempts to take in the sheer magnitude of the painting and is unable to rest. Because his paintings were created through action, the process of viewing them must also involve an active process.’ (http://www.jackson-pollock.com/action-painting.html)

Similarly, I developed my animations from initial attempts that were made on the surface of photographs, to being produced on the studio wall. Working on a larger scale encouraged a more gestural style and utilised the whole composition. There was a greater opportunity to explore my own subconscious interpretation as I had the freedom of movement.

Animation projections one, two and three.

Mon, 22 Nov 2010 05:22:00 -0500

Animation projections one, two and three.:

I have developed from my previous stop motion attempts in a number of ways.

Firstly, these were produced on a large scale- the images were projected in a dark space so I could realise the effect of scale. To a certain extent this worked well- the cinematic quality when viewing the images is inspiring to me. It seemed fitting that the art work based on communal experience could be viewed as a collective too. However I encountered difficulties in maintaining the aesthetic quality of the image, as it did not initially transcribe through the projector well. By the third attempt, I think I had resolved most technical issues.

Secondly, Using a tripod with the camera has resulted in a less distracting animation- there are less wobbles (which are still debatable whether they add to the nostalgic aesthetic) and the light balance is more uniform. I think there is room for more improvement in this area in order to make the pieces more professional.

Next, I attempted a different style of drawing. Rather than previous animations that used straight lines that trace the outline and suggest a predictable sense of certainty as to where the line is going; I attempted a more organic approach. Like the style of Dryden Goodwin, I wanted to suggest the more erratic unpredictable nature of memory and the effect of experience.

I have also developed the subject choice- choosing to animate images that are disconnected with the background photograph and therefore reflecting the flashback connections that can be instigated by an experience. I like the fact that as the animations develop, the drawn imagery builds up and creates a new piece from the static images- therefore referencing different time fields. The subject area could use further development- perhaps by considering the viewers reaction to my work. Hopefully the seminar later today will help me with ideas.

Sound Experiments

Sun, 21 Nov 2010 05:44:28 -0500

Now I have completed the sound editing workshops, I hope to use the sound clips I have been collecting on my dictaphone thus far. I have struggled to get the sound information off of the device and on to my laptop for editing as the relevant software has not been available. Therefore, this weekend I used a jack to jack cable to transfer the sounds to my computer through the Audacity programme. I hope to upload the raw field recordings to Tumblr in the near future.

A Journey Through Time and Music

Sat, 20 Nov 2010 07:14:08 -0500

Intrinsically linked to the work of Christian Marcaly, this project involves ‘programming 24 genres of music played over a 24 hour time span, each hour a different genre with live DJ’s and mix tapes. This marathon event will explore the history of many of the African, African Caribbean and South Asian genres of 20th century music which has evolved into the contemporary Urban sounds of today.’ Again this references time frames within the making of the work. It also explores music and culture as a method of intergrating the viewer. Whilst my work is predominantly based upon personal taste and choice it is worth considering the viewer and how they can take personal inspiration from my work.

This is a difficult issue because I can not possibly cater for the taste of every viewer. Currently, the sources I have chosen to base my work on are communal events- Green Man and Pink. I think the fact that these are communal event, people activley choose to experience is important and I incorporate Youtube references within my work in order to create a more open, accessible piece.

Perhaps my work can be opened up and developed more by considering who is likley to view the work. For example by considering influences that reflect both my taste and music of the local area (referring back to Bitjam for example) I can reflect the culture relevant to anticipated viewer.

"the juxtaposition between sound recording, photography, video and film….The Clock, features..."

Sat, 20 Nov 2010 06:06:33 -0500

“the juxtaposition between sound recording, photography, video and film….The Clock, features thousands of found film fragments of clocks, watches, and characters reacting to a particular time of day. These are edited together to create a 24 hour-long, single-channel video that is synchronised with local time. As each new clip appears a new narrative is suggested, only to be swiftly overtaken by another. Watching, we inhabit two worlds; that of fiction and that of fact, as real-time seconds fly inexorably by.’”

- Christian Marcaly’s single channel video explores the potential of media to interacte with time and the present. The consequence of this is a direct connection with the audience. Something I aim to achieve, perhaps then I could explore the effect of pieces that progress whilst being viewed. The animations I have produced thus far are an example of an effective way to interact with the viewer. Like Marcaly, perhaps it is through sound that lies futher potential to explore the notion of time and memory.

Latest Animations

Fri, 19 Nov 2010 13:40:48 -0500

I was planning to upload my newest animations tonight as I spent the day creating three more stop motions in Final Cut. However, I mistakenly saved the them on to the wrong dvd format. This means It can not be uploaded on the Internet, which is annoying! I shall go back into media first thing Monday and reburn the disk.

Projecting- Taking inspiraration from Gerbhard Sengmuller, I...

Wed, 17 Nov 2010 04:50:13 -0500

Projecting-

Taking inspiraration from Gerbhard Sengmuller, I wanted to see what my images looked like on a larger scale. The effect of projecting is to create a cinematic quality that reflects the communal content of the images. Therefore, my personal interpretation of events is open to reinterpretaion by a community of people through projection.

I had to construct the dark space manually, tring to cut off light sources to gain enough contrast and to create a cinematic quality. I notice that a draw back of projection is that the true colour is lost- as can be seen from the comparison between screen and projection. Perhaps a better projector could help improve the image?

I could experiment by producing an animation from this projection; therefore building up the layers in technique, time and personal interpretation.

Tutorial with Michael Day

Tue, 16 Nov 2010 08:35:50 -0500

Try to keep the animation consistant i.e white balance and motion of photographs because at the minute they arguably distract from the animation itself rather than add to the old technology aesthetic.

Work into the imagery with a line that reflects the searching, unsure quality of memory- rather than a mapped out line that traces a path.The content of animation itself could reflect the uncertainty of memory more obviously- rather than transcribing the photograph. Reference imagery not present in the photograph?

Consider projection? i.e large scale- cinematic quality? Layers of animation on to wall, references timeframes ect.

Animation 3

Fri, 12 Nov 2010 06:00:00 -0500

Animation 3:

The idea behind this compostion was to capture the tension and atmosphere of Pink’s arrival through a static photograph. I thought it would be interesting to experiment with animation, thus reflecting upon my anicipation of the moment.

I sketched around the ballons and after completion, I refered to Pink- mid air and traced her. Then I re-drew the ballons with animation, shifting their position to suggest the movement and progression through time. I then re-drew Pink, having fallen further in that time. I think the concept behind this piece works well, because it captures both the reflection and interpretation of a space in time. The execution could be improved, maybe so that the animation progressed at a quicker, more flowing speed. Perhaps this would suggest my mental interpretaion more succinctly and reflect the my interpretaion more realistically? Alternativley, the slow progressive nature of the animation does allow the viewer to consider that moment in their own time.

I think i need to animate larger areas of the image. At the moment, it is difficult to see where the changes are taking place. Therefore, I need to expand my gestures. Maybe this can occurr through working on a larger scale?

First two attempts at Stop Motion Animation.

Fri, 12 Nov 2010 04:15:00 -0500

First two attempts at Stop Motion Animation.:

Animation1-

The hue present within the image was not originally intended but came about as a consequence of the lighting conditions in the room. However, I decided to keep the quality because too me it creates a nostalgic aesthetic that reflects the notion of memory and how the memory of events are sometimes unintentionally warped.

The animation begins by tracing the outline of the Green Man screen; thus showing the focal interest. From this, it jumps to the right and reflects the process on to the superimposed Pink concert imagery. My aim was to reflect the connections made in memory on experiencing one event and how links are made in memory between the two. I left the tracing of Pink incomplete because I think transcriptions of memory are less distinct than the actual experience. The remainder of the animation is dedicated to the crowd figures, as for me the community is as much appart of the experience as the acts.

Like the drawing in the photograph, the animation had the effect of linking the imagery together. The movement of the animation is deliberate but jerky. It has a raw, bunt aesthetic, that both reflects my grasping of new media but also to me suggests the development through technologies: The drawn, photographed, edited and finally video techniques that help build up my interpretaion of events. The blurry images could maybe be improved in clarity in future experiments, but I think the jerky movement of the still reflects old technologies like slide projectors- therefore referencing the influence of past media too.

Animation 2-

This image over laps The Green Man imagery with you tube footage research of Wood Stock festival. I begin the animation by working sketching over a figure from Woodstock- unlike the previous animation where the event instilled a flashback of personal memory, I have no personal recognition of Woodstock. Therefore, by begining the animation with that, it does not reflect a flashback, but more draws attention to the inspiration that lead to my experience of Green Man.

Similarly, the animation connects the layers together. Whilst the movement of line is more fluid, and less disjointed- the narrative and inspiration seems clearer and less sporadic. I tried to suggest detail by workin in to areas, maybe this technique could be improved to suggest my personal style more than merley tracing an outline?

How To Improve I need to test out Animation on a large scale soon, because i think artistic expression can not be realised working on the scale of a photograph. By projecting I am referencing layers in media too.