Here are some stills from my recent footage...
Saturday, December 9, 2006
Friday, December 8, 2006
More staff
Ron,
I just want to mention that I actually took into consideration you advice about using more interesting props for my future projects and shoot some stuff that I really like. I will publish some stills from the footage tomorrow... I'm thinking this footage might work very well to represent the mindset/emotional state of a person, and I think this is specifically what I'm interested in as a theme for my future work.
Also, I picked up some very interesting ambient sound for my current project.
I just want to mention that I actually took into consideration you advice about using more interesting props for my future projects and shoot some stuff that I really like. I will publish some stills from the footage tomorrow... I'm thinking this footage might work very well to represent the mindset/emotional state of a person, and I think this is specifically what I'm interested in as a theme for my future work.
Also, I picked up some very interesting ambient sound for my current project.
Saturday, December 2, 2006
Some Progress
I saw "Nostalgia" by Andrey Tarkovki, and it is so deeply close to what I feel like and what I'd like to be doing. As I was watching it, I realized that that I saw the movie before, but wasn't able to fully comprehend it at that time. Also, I felt somewhat different. Anyway, I will show the episodes in class. I'm also planning to show the episode from "The Mirror" by Tarkovski.
Here are a few quotes from Suzi Gablik that I like :
"The post-avangarde doesn't try to conquer the new territories or concern itself with radical new futures; it understands that the modernist impulse has exhausted itself, but makes no predictions about where our culture is going, or what will take modernism's place.''
"instead of keeping culture moving, nothing new is produced. This is the politics of drift, or "hovering'; Peter Halley calls it "rear-guard" (as opposed to avant-garde) action, by which he means feeding the culture only that which is worthless: guerilla ideas that know how to keep their cover; eccentric ideas that seem innocuous and so are admitted unnoticed by media mechanism; doubtful ideas that are not invested in their own truth and thus are not damaged when they are manipulated; nihilistic ideas that get dismissed for being too depressing."
Here are a few quotes from Suzi Gablik that I like :
"The post-avangarde doesn't try to conquer the new territories or concern itself with radical new futures; it understands that the modernist impulse has exhausted itself, but makes no predictions about where our culture is going, or what will take modernism's place.''
"instead of keeping culture moving, nothing new is produced. This is the politics of drift, or "hovering'; Peter Halley calls it "rear-guard" (as opposed to avant-garde) action, by which he means feeding the culture only that which is worthless: guerilla ideas that know how to keep their cover; eccentric ideas that seem innocuous and so are admitted unnoticed by media mechanism; doubtful ideas that are not invested in their own truth and thus are not damaged when they are manipulated; nihilistic ideas that get dismissed for being too depressing."
Monday, November 27, 2006
Hi everyone,
Hope you had a good turkey!
I couldn't post anything except for the comments for the last few days. Looks like my internet browsers at home just freeze up when I click the post button.
Anyway, I started to read "The Reenchantment of Art" by Suzi Gablik. Finished chapter 1. Looks interesting so far, very much what I've been thinking. The major comment that I have at this point is that she seems to focus (at least in the first chapter) on the ecological and social aspects of art, which have a great value to me. I wish my art develops into this direction in the future. However, I'm also very interested in the therapeutic aspects of art. Here, I would like to differentiate between art as a therapy for the artist and art as a therapy for the viewer. Although I have been mostly focusing of the first category, the second one is of an equal or greater importance for me, as it is actually related the tradition of iconography.
Ron, I keep thinking about my project #1. So far the only thing that I really want to change is the thickness of the letters. I kind of like the mechanical, san-serif look of them, and the idea of putting them together like the pieces of the puzzle. That is something I envisioned from the beginning. But I think your suggestion in terms of using unusual props is really valid, and I will certainly try it for my future projects.
Also, I started the mental draft of the narrative-I hope I will be able to show it to you on Tuesday.
Hope you had a good turkey!
I couldn't post anything except for the comments for the last few days. Looks like my internet browsers at home just freeze up when I click the post button.
Anyway, I started to read "The Reenchantment of Art" by Suzi Gablik. Finished chapter 1. Looks interesting so far, very much what I've been thinking. The major comment that I have at this point is that she seems to focus (at least in the first chapter) on the ecological and social aspects of art, which have a great value to me. I wish my art develops into this direction in the future. However, I'm also very interested in the therapeutic aspects of art. Here, I would like to differentiate between art as a therapy for the artist and art as a therapy for the viewer. Although I have been mostly focusing of the first category, the second one is of an equal or greater importance for me, as it is actually related the tradition of iconography.
Ron, I keep thinking about my project #1. So far the only thing that I really want to change is the thickness of the letters. I kind of like the mechanical, san-serif look of them, and the idea of putting them together like the pieces of the puzzle. That is something I envisioned from the beginning. But I think your suggestion in terms of using unusual props is really valid, and I will certainly try it for my future projects.
Also, I started the mental draft of the narrative-I hope I will be able to show it to you on Tuesday.
Reading/Project thoughts
Hi everyone,
Hope you had a good turkey!
I couldn't post anything except for the comments for the last few days. Looks like my internet browsers at home just freeze up when I click the post button.
Anyway, I started to read "The Reenchantment of Art" by Suzi Gablik. Finished chapter 1. Looks interesting so far, very much what I've been thinking. The major comment that I have at this point is that she seems to focus (at least in the first chapter) on the ecological and social aspects of art, which have a great value to me. I wish my art develops into this direction in the future. However, I'm also very interested in the therapeutic aspects of art. Here, I would like to differentiate between art as a therapy for the artist and art as a therapy for the viewer. Although I have been mostly focused of the first category, the second one is of an equal or greater importance for me, as it is actually related the tradition of iconography.
Ron, I keep thinking about my project #1. So far the only thing that I really want to change is the thickness of the letters. I kind of like the mechanical, san-serif look of them, and the idea of putting them together like the pieces of the puzzle. That is something I envisioned from the beginning. But I think your suggestion in terms of using unusual props is really valid, and I will certainly try it for my future projects.
Also, I started the mental draft of the narrative-I hope I will be able to show it to you on Tuesday.
Hope you had a good turkey!
I couldn't post anything except for the comments for the last few days. Looks like my internet browsers at home just freeze up when I click the post button.
Anyway, I started to read "The Reenchantment of Art" by Suzi Gablik. Finished chapter 1. Looks interesting so far, very much what I've been thinking. The major comment that I have at this point is that she seems to focus (at least in the first chapter) on the ecological and social aspects of art, which have a great value to me. I wish my art develops into this direction in the future. However, I'm also very interested in the therapeutic aspects of art. Here, I would like to differentiate between art as a therapy for the artist and art as a therapy for the viewer. Although I have been mostly focused of the first category, the second one is of an equal or greater importance for me, as it is actually related the tradition of iconography.
Ron, I keep thinking about my project #1. So far the only thing that I really want to change is the thickness of the letters. I kind of like the mechanical, san-serif look of them, and the idea of putting them together like the pieces of the puzzle. That is something I envisioned from the beginning. But I think your suggestion in terms of using unusual props is really valid, and I will certainly try it for my future projects.
Also, I started the mental draft of the narrative-I hope I will be able to show it to you on Tuesday.
Monday, November 20, 2006
some thoughts
I think I identified for myself that for the first edit I want to create something I would call "surreal abstraction". Now I'm in the process of editing, and I'm trying to define how much "surreal" I want it to be...
Work Progress
I ordered the book that you recommended-"The enchantment of art". Should get it on Tuesday.
Also, I shoot some footage-the diary and the fire. Continued editing my first approach.
Also, I shoot some footage-the diary and the fire. Continued editing my first approach.
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