Proposal for Animation

For my final animation I want to work with textiles in a storybook sort of way.  I plan to find and scan lots of different textures and use them as backgrounds and to make my characters.  I am using Giuseppe Ragazzini’s work as partial inspiration.  Obviously I am not that advanced, but I really like how he works with patterns and shapes that are different, yet work together.

For my piece I am imagining soft pastel-like colors in the background with more vivid hues upfront. I may work with the seasons, although I think that is a little contrived. I’m not sure about a plot or a ‘point’ yet.  I’m considering making a piece for my grandmother, centered around her farm, or how I think of it. I don’t want to use people (mostly because I can’t really draw/form them very well) but I am thinking about using an animal as my main character.

 

Honestly, I need to spend more time figuring out the plot, but I want to start working with the materials I chose to see how much I can realistically accomplish in the time frame.  I will provide updates as I come by them.

Videoart.net Assignment

The first video art I chose was Wait for Me by Lena Nosenko.  The video can be viewed here.

While I don’t think that this video is really very deep or inspiring, I loved how it was accomplished.  Moving over great span on time, it was cool that the artist used the same woman for so many different looks.  It really showed how style is transformative and that women could have looked the same throughout the centuries, but how we view them is different. I liked how the use of wigs and outfits moved on their own, it gave the sense that time was passing over her and she had little control of the trends.  I would suggest to the artist to use better stabilization and consistency because the woman moves around a lot which is pretty distracting.  The music could be less literal, but I think that because the video is pretty slow having another dimension of thought is good.

The next piece I chose was Bass Robots by Marco Tassone.  I really like how the color and the graphic elements work in this video. I like the blinking effect because it makes the video seem less static and more robotic, yet imperfect.  Although I think the music and motion may be a bit too much, I do think that it lends itself well to the robotic feeling and that everything is too much that people aren’t really living. I like how the graphics build up at the beginning and trail out at the end, it bookmarks the video well so that the middle is the most dynamic portion.  I would suggest to the artist to play more with what he has covering the talent’s faces. I think putting the bag like thing on them sort of makes them look like prisoners of war or something, which I don’t it really what he is going for.  I would maybe use a more robot like, metallic feeling mask.

The last video I chose was Liquid Jail by Matías Montarcé.  I love how this piece is so serene, yet it moves. My favorite shot is of the person standing at the top left and how the liquid moves the image subtly.  I think that the sound is especially effective in this piece because it isn’t too literal, it really adds to the video and evokes emotion but without music.  The color is also very effective, the desaturation works as an advantage because it adds to the forgotten, old sense of the video.  The only part I’m not sure works is the shot near the end that is of some metal structure. I think it really detracts from the unity of the piece and takes away from the overall feeling.  I would suggest just removing this scene in it’s entirety.

Cinepoem Reflection

We had critique for our Cinepoems on Tuesday. Mine, entitled Precipice can be viewed below.

I think I got an overall positive feedback from the class.  I got several comments about how the audio really enhanced the quality of the video and the seamless breaks allowed for an immersion into the video. In addition, the class liked my use of lighting and how it evoked emotions even without text or explanation.  I would agree with both these comments and would add that I really liked the color composition of the piece as a whole.  Filming at night really gave me the advantage and challenge of working with definite light sources.  When showing the video to others, they were impressed with my use of filters on the ending lighter shots. When I explain to them how it was created, they are shocked at how I arrived at that effect through my methods.

Among the constructive criticism I received was some minor color corrections to the ending shot which the class believed would allow for greater consistency.  I did end up making these changes and being more pleased with my overall result.  Additionally, I received comments that the piece was like a horror film, or had frightening imagery.  This was definitely not my original intent, but I agree that it has tones of that.  I think this is because I was working really hard to capture some kind of deep emotional feeling and may have used too literal of sound effects in combination with video.  I think the second half of the video, however, really tones down the horror movie feeling to a more conceptual, artistic level.

If I got the chance to go back and re-do portions of the video I think I would focus more on getting really clean and precise shots in order to increase the cinematic and beautiful qualities.

Another video that I thought was really effective was Lauren Stellato’s piece using appropriated commercial imagery.  I think that since this idea has been done a lot it is difficult at times to do it well. I thought that Lauren really succeeded.  I loved how she used the movement to transition between the videos so that they looked like they went together, rather than putting in some motion and some static which halts the video. I loved that she used the audio from some videos with the video from others and even mixed them to give contradictory messages.  I think that even though she used many different types and eras of video it came through with a cohesive feel and message about commercialization.

 

Chapter 4 Response

What domains is video art now extending into?

Video art is extending beyond just documentations or capture and into the realm of animation, virtual reality, installation, and film elements.

Animation and virtual reality allow the artist to create worlds that don’t exist. This heightens the visual experience for the viewer because it is something that they can’t see elsewhere; it requires more of their thoughts to process it.

Installation allows the artist to connect with the viewer and give them a unique but regulated experience.  It takes the dimensions of the piece one step deeper and draws in the viewer, rather than allowing them to walk through uneffected.

Film is making a bigger splash in video art these days, many artists are no longer looking to solely recreate and document the world, but rather looking to enhance the visuals and make it look more like big budget production.  This is reflected in both the recording mechanisms used and the way they are edited and displayed.

• What kinds of issues are artists exploring in this “ extended video art medium”?

Virtual Separation: Artists have explored visual relationships between people through the use of video.  Manglano-Ovalle explored the separation between two people in very close vicinity to one another.  It defines class distinction and how attention plays a role in the separation between these two.

Using multiple screens also allows for representing different parts of a whole, such as in Aitken’s electric earth.  This piece explores life lived in the shadows through close up shots displayed on multiple screens. It gives the viewer a 360 like approach to someone’s life full of different things they might not ever see or think about.

• State some differences between video art at its inception in the 1960s and video art today.

Video art is becoming more cinematic and with that brings a disregard fort he unique characteristics of video.  In the 60s and 70s video art was used to capture immediacy in a relatively cheap way as opposed to film, which was expensive and didn’t capture the same essence of life that video did.  Now that this phase is passing and film like qualities are becoming more easily accessible for artists, the way that we think of ‘video art’ is looking a lot more like cinema.

• Why are some video artists motivated to work with appropriated films?  Or what issues does appropriated film enable artists to explore?

Some video artists are working with appropriated footage to create their art.  This gives a different dimension because the artist is challenged to take something that the viewer knows and recognizes and either make some critique of it, or make it looks like nothing like the original.

• What is Installation Art?

Installation Art is where artists use many methods to create an environment for the viewer to enter into in a literal sense.  It creates physical participation on the part of the viewer, rather than the passive response that is sometimes required by other works.  Installations can be multiple rooms or require the participants to do some sort of action, but either way it forces them to connect with the piece.  This is effective because it keeps people from merely walking by and glancing at the painting and walking on, it takes them in and makes them think about it, or at least participate.

• What is the meaning of Marshall McLuhan’s famous phrase “ The medium is the message?”

The medium is the message deals with the way that something is displayed gives it more or less meaning.  This relates to video art because it can take on different effects or draw the viewer in more based on what steps are taken in creating the video.  Film feels different to the viewer than video does; it is more pulled together and gives a cinematic feel whereas video feels more documentative in nature.  This changes how the viewer perceives the piece, something that is film may come off as fiction, whereas a video might come off as real life due to its documentative qualities.  Installation also has a big effect on the medium as the message.  If there are additional factors used to draw in the reader they will perceive the message differently.  Viewing a video is one thing, but if things are flying at you or crawling on you during an exhibit your perception and take away from that will be very different even if the video hasn’t changed.

Cinepoem Idea

For my cinepoem I want to explore a depth of emotion consisting of fear, sorrow and ultimately love. I don’t want to be literal about any of these, and what I have in mind is definitely more visual than I can put into words. I want the feeling and color to be dark, but cut with scenes of light. It will focus on the emotional process, but not in order, rather the scattered format of our minds as human beings.  This piece wasn’t necessarily inspired by, nor do I want to focus or use this as an example, but the song Bloody Mary by Lady Gaga gives the sort of emotion I want to portray.  It is raw and sad, but powerful and rhythmic. I don’t want to use this score, but I would like to mimic some of the sounds in my own way.  I am planning to use a few different women in this piece because I want to focus on the female mind and it’s eccentricities. I don’t plan to use any spoken words, but mostly sounds and utterances that represent what I want to get across.

I’ve posted the link to the song on YouTube to give you a better idea of the mood.  I am particularly interested in the part from 2:33 to 3:12.