MEDA201: Experimental Film

The art of storytelling is one of the most powerful things in existence. The most beautiful part is, as time goes on and as technology rapidly evolves, the methods of storytelling evolve with it. At the present time, we have access to such incredible programs and the latest technology to enhance our stories. However, what I love most about this assessment is getting to appreciate one of the materials that allowed us to progress to where we are now. My experimental film using found footage is shown below:

 

Whilst experimenting on film using scratching and bleaching film, I was reminded of my first experiences using film camera’s when I was as young as three years old and developing my own film at the age of fifteen in my high school’s darkroom. I’ve always loved how permanent this medium is. There is no second chances.

The theme of no second chances is one I carried through my film. The shots progress from mostly nature to mostly man. This is to represent man’s interaction with nature for their own agenda. I used repeated symbolism of double exposures to portray this message, as well as using repetition and selective cuts to portray rhythm.

The recurring motif of the close-up of the mans eyes evokes the emotion that man’s progress has had two effects we really need to think about – yes mankind is known for creation, but we are also known for destruction.

I found most of my inspiration from silent films such as Charlie Chaplin skits or Fritz Lang’s 1927 film ‘Metropolis’ which solely relies on visuals to portray messages.

 

 

 

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Meda102: Assessment 3 – Legacy

Legacy is a series of artworks comprised of iterative practice centralised on how all humans are the same, yet so different – thus leading to different outcomes. Legacy is based upon how our ideas may slightly evolve, but the techniques of how we do so is truly the culprit for growth within society. Within the background, the progression from newspaper to blog post depicts the evolution of society and reinforces thoughts of how what we do is the same but the delivery differs as technology changes.

Inspiration rose from Loui Jover’s vintage and Keith Kourney’s 99 pears, both ink drawings on paper collages that offer further context to be found within the artwork itself. Changing one small action leads to a diverse and improved result. If an action is repeated with a different mindset, you’ll vastly approve, therefore building your legacy.

A notion that’s often thought about is, what would happen if the world ran out of creativity? Each individual seems the same from the outside, yes. However, no two handprints are ever identical. Technology for the same purpose, created ten years later will never be alike. If we keep moving forward, no two legacy’s will ever be the same.

Meda102 – Assessment 2: Digital Coding/Processing Sketch

The processing sketch I have created was inspired from what is most aesthetically pleasing to me. Mainly, this sketch was inspired by Aurora Borealis (also known as the Northern Lights) as well as the Bokeh camera effect. Both of these are subjects I could spend hours observing, so that is what I aimed to incorporate with the creation of my processing sketch.

Source  A – Lindsay Silverman       Source B – Patrick Endres

I drew inspiration from Canzona’s YouTube video (2010); “VIDEO ROOM 1000 COMPLETE MIX — All 1000 videos seen in sequential order!” that was discussed during the workshops. I aimed to create something repetitive that slightly changed each time the repetition occurred. The blur to the ellipses in my sketch is due to the fact that is presented more of a glow-like effect. By producing a softer effect, the ellipses resembled the Bokeh shapes typically seen in photography. When the shapes blurred completely, the outcome symbolised the Northern Lights.

sketch

Code:

<pre>

int x =0;

int y =0;

//sets up interface
void setup() {

//sets up canvas width and height
size(800, 600);
//sets background colour
background(1, 1, 1);
// eliminates stroke from background
noStroke();
}
//set up ability to draw
void draw() {

// selects mostly random colours for shapes
fill(random(255), random(255), random(255), 60);
// sets size for shapes
ellipse(x, y, 165, 165);
// adds blur effect to shapes
filter(BLUR, 1);
//creates stroke to shapes
stroke(x, y, 150, 150);

//this next set up allows the shapes to repeatedly move, not remain in one specific place
x = x+100;
// X slightly moves down to start the next repetition
if (x>width) {

x = 0;

y=y+11;

}

// allows mostly random colours to appear in shapes
fill(random(255), random(255), random(255), 60);
// allows for shapes to appear at random location and sets size
ellipse((int)random(800), (int)random(600), 150, 150);
// blurs shapes
filter(BLUR, 1);
// adds strokes to shapes
stroke(x, y, 150, 150);

}

</pre>

Reference List:

Source A – Silverman, image, Nikon, viewed 20/09/2016, <http://www.nikonusa.com/en/learn-and-explore/article/i24iqk33/photograph-the-classic-holiday-light-bokeh-effect.html&gt;

Source B – Endres, image, AlaskaPhotoGraphics, viewed 20/09/2016, <http://www.alaskaphotographics.com/photo-tours/aurora-borealis-photo-tour/&gt;

canzona 2010, VIDEO ROOM 1000 COMPLETE MIX — All 1000 videos seen in sequential order!, online video, June 9th, YouTube, viewed 20/09/2016, <https://www.youtube.com/watch?v=icruGcSsPp0&gt;

 

MEDA102 – Assessment 1: Analogue Coding/ Computational Thinking in the Everyday – Sol LeWitt

Solomon “Sol” LeWitt was an American artist who was considered to be a pioneer in the art-making world, for both minimalistic and conceptual art-making practice. LeWitt came to earn his place in history in regards to forging new ground for the creation and understanding of conceptual art. Coming from a background where his parents held careers far from anything creative, LeWitt’s mother still brought him along to art classes. It was at that time LeWitt came to believe in his own perception of art and how art should be executed. LeWitt became more focused on the idea and concepts behind an artwork rather than the traditional forms of sketching and painting.

An audience may not interpret all artwork in the same way, but they will appreciate the concept behind it all the same. LeWitt’s artworks focus on instructions as the subject as the audience responds with procedural action.

LeWitt’s ‘Wall Drawing #118’ consists of a what appears to be a simple set of instructions. In fact, the instructions may be simple but after attempting to carry out the set guidelines the execution required to follow these directions is a more involved process then one would initially assume.

Below is an example of LeWitt’s instructional art:

lewitt

LeWitt (1971)

These various creations are stemmed from the set of instructions, completed by various individuals:

LeWitt-WD118

Doeringer (2009)

fundacion_botin,_sol_lewitt,_wall_drawing_118__large

Shifreen, Sizemore, Snyder, Sutro, Whittredge (2015-2016)

Personally after attempting to follow various instructions written by LeWitt on a smaller scale, it was unveiled to me how intricate the directions are. They read so simply that over-thinking begins to occur. When following the directions fully, creating an artwork will take endless hours. When I first read over the specific set of instructions I intended to produce something from I visualised how I was going to achieve that. I put a pencil to paper and followed the instructions before me what I thought was perfectly. I paused for a moment when the drawing didn’t seem to be reaching what I desired.  This was because I imagined the finished product to be so much more complex than it actually was.

A question raised is if LeWitt’s instructions can even be classified as art when in reality it just contains paragraphs of text. Contemporary art is thought to be abstract at times, but if the artwork at hand could by some viewers be considered more along the lines of literature, where does one make the decision?

In this circumstance, it’s essential to come back to the original idea behind the ‘artwork’. LeWitt saw his instructions as his form as art, not only because that what the intended outcome when he wrote them but also because of the finished product that emerged when the instructions had been carried out.

LeWitt’s creative work functions is such a way that makes the audience feel involved with the final result, leaving them feel included and important. In 2013, I experienced a similar project at the Art Gallery of NSW where visitors were given a set of simple instructions and could then go on to contribute to an artwork fully created by the community.

One of the best results from LeWitt’s variable yet direct artworks is that no two productions from the audience will be the same. As mentioned earlier, most people do not interpret art the same way. This is because every individual on this planet has a brain that functions differently. People will picture and imagine completed tasks uniquely – which I believe is an extremely wonderful thing.

In my Meda102 workshops – we have been given simple instructions and even though many different groups were performing the same job, no group produced the same final outcome. This also created friction in the group itself because everyone thought the activity should be done the way that they imagined instead of what someone else thought of – because a person’s initial idea makes the most sense to them. It was interesting to observe the thought patterns of each individual in the room. What made complete sense to one person didn’t resonate at all with the next. I felt I was staring at my group constantly wondering what was going on while I kept asking what all of these rapidly appearing strange symbols meant. It’s most definitely a unique and interesting experience for everyone involved.

LeWitt’s practice containing his instructions followed by audience involvement with procedural actions allow his legacy to be carried on by many intrigued artists and creative minds alike.

REFERENCE LIST

The Art Story, Sol LeWitt, accessed 18/08/2016, http://www.theartstory.org/artist-lewitt-sol.htm

Art Gallery NSW, Sol LeWitt, accessed 18/08/2016, http://www.artgallery.nsw.gov.au/exhibitions/sol-lewitt/

MoMALearning, Conceptual Art, accessed 18/08/2016, https://www.moma.org/learn/moma_learning/themes/conceptual-art/sol-lewitt-and-instruction-based-art

National Gallery of Art, Sol LeWitt’s Concepts and Structures, accessed 18/08/2016, http://www.nga.gov/content/ngaweb/education/teachers/lessons-activities/new-angles/sol-lewitt.html

LeWitt S, 1971, Wall Drawing #118, accessed 18/08/2016

http://observer.com/2012/10/here-are-the-instructions-for-sol-lewitts-1971-wall-drawing-for-the-school-of-the-mfa-boston/

Shifreen D, Sizemore W, Snyder G, Sutro R, Whittredge D 2015-2016, Wall Drawing 118: 50 randomly placed points connected by straight lines, 17 Wall Drawings 1970-2015, accessed 18/08/2016,

http://thisistomorrow.info/articles/sol-lewitt-17-wall-drawings.-1970-2015

Doeringer, E 2009, Sol LeWitt Wall Drawing 118, Eric Doeringer: Sol LeWitt, accessed 18/08/2016,

http://www.ericdoeringer.com/ConArtRec/LeWitt/LeWitt-WD118.html

 

Assessment 3: Moving Image Project

When brainstorming ideas for the moving image project, majority of ideas included a serious tone. To challenge this serious mindset, I thought of doing a project that included the use of satire. I aimed to use satire in order to produce something humorous, which still depicted the context of the locality of Fairy Meadow.

Inspiration for this idea came from observing how many citizens and visitors to Fairy Meadow have a constant daily routine. From an outside perspective, repeating the same set activities daily can seem dull. A daily effort can seem draining, but in reality it shows commitment and that effort creates something powerful.

Charna Lee’s soundscape conveyed a relatable atmosphere that complemented the calm, reassuring tone I was searching for with my project. The soundscape accompanied the voice over I wrote, performed by Blake Foggo.

I drew inspiration for the cinematography skills such as establishing shots, panning, the use of zoom, fades and the satirical narration from television shows such as:

 

 

  • Chris Lilley’s Ja’mie: Private School Girl:

            http://www.imdb.com/title/tt3173854/

These television shows may cover different subjects, but in the end their use of a humorous voice over allows for the show to be relatable to the audience, the audience relating to my project is all I could ever hope for.

MEDA101: Assessment 2 – Still Image Project

The sequence of photographs I have created are inspired by the soundscape produced by Benjamin Waters. The soundscape presents a calming, soothing and almost nostalgic sense of emotion that I also experienced while exploring the beach front location of which the sound was sourced. My aim is to recreate a similar serenity within these photos.  In modern society, technology is the most popular form of recreation. Interestingly, a beach has minimal interference from mankind, yet is still thoroughly enjoyed. I was influenced by the photographer Ansel Adams to capture the raw beauty of a natural landscape. After experimenting with numerous camera angles, apertures and shutter speeds as well as enhancing brightness and contrast, I was able to find a balance to create an ideal depth of field to depict how simplicity; like fallen feathers and footprints in the sand make going to the beach a rejuvenating experience for many.

Trial and Error

I received my first personal digital camera when I was eight years old, ever since then photography has become a huge part of my life. I never was taught how to really use a camera until the end of high school, I was more handed one and had to figure it out for myself. I wasn’t influenced by any artist or photographer at a young age, I just found excitement in the ability to immortalise a moment in time. This allowed me truly develop my own sense of style to my photographs – so much so that my creative thinking lead to me being the personal photographer for family and friends. I experimented with multiple techniques and settings while taking photographs for an assignment; such as the iSO shutter speed, aperture and framing.

Here are some of the trial and error shots that were the outcome of my experiments:

MEDA101 – Assessment 1: Sound Project

The only signs of life in my area on the edge of Fairy Meadow consisted of the constant stream of motor vehicles passing, a few people picking up pizza orders, the occasional small family catching a bus at the rusted shelter and myself. Majority of the surrounding buildings were closed until further notice, and there was construction which had not been touched in weeks or even months.

My soundscape communicates the relationship between the unnerving sensation that overwhelms any visitor to the area and the distant human interaction that does take place there. I aimed to recreate a similar mental image with my soundscape as the one I experienced while I was listening and observing; this being that even though there is movement and life, the area’s mostly forgotten. I ensured to include the cars continuously passing in the background, as this is the one sound guaranteed at the locality.