Reflection – Final Video

 

Our new Research Question: How can lacuna be visually explored and represented in the context of public human interaction? Gathering stimulation from the film, sound and comedic techniques of 20th century satirists, depict the empty space we see in the learned tension of societal communication.

 

Answer: Inspired by the works of Charlie Chaplin and Jacques Tati, we’ve decided to use a blank studio space and simplistic props to convey the cautious and stunted nature of strangers interacting. Through instructing our actors on what to do and how to act we explored aspects of artificiality driven with our uses of glitches and hand movements mimic the the artificial scenes you see on TV. Minimalistic sound and color, along with static camera angles and no dialogue force the viewer to engage in the awkwardness of the situation and be consumed by at times the uncomfortable humor. We developed our ideas by viewing human interaction and then choreographing one of our own, dramatizing the rigidity and anxiety seen in our actors’ body language. The box is symbolic of the unspoken gaps between strangers; neither party address, but both are aware it is there leaving the boundaries of human interactions and personal space ignored.

 

Above is our final film and research question and answer. We went through a lot of challenges personally and as a team to reach our end point that we are all happy with.

We all started with definitions of lacuna that all shared the common theme of exploring human interaction, but the way in which we  depicted  this kept evolving. The use of each individuals research was crucial. We all discussed techniques in the presentation such as mine being silt scan photography and movement of people which came in use later on.

We went from a concept that didn’t have much grounding. We wanted to originally invade the  privacy of random people and relate it back to there use of personal space in a public area.  We hit a road block when we got out there and started filming as you could tell with our research video in a earlier blog post. We struggled to get intimate snips of people as it was very invasive and hard to film in a organic type of way that didn’t look forced or rehearsed.  After talking to Mel he came up with the idea of relating our concept to “wasted space” potentially exploring all the wasted houses or abounded buildings here in Sydney. It was quite ironic as after researching this it became apparent that people are searching for space in Sydney. We thought the idea of wasted space and people could be closely linked as every space we visited or filmed always had a strong human interaction related to it. After our research for this we decided as a team we would go into a different direction. We would use studio space to film our actors. After talking with Ella we were inspired by European satirists. After surveying their film techniques we decided we had enough footage to manipulate our film into a to strip of  choreographed interaction of strangers in  a studio.

This subject taught me a great deal it taught me discipline and patience is importance when working with a team. I learnt from Mel and Ella to not always think so literal and be able to trust in the process of exploring as sometimes when you get out there and film or create things just happen and fall into place. The research behind everything you do is important but I learnt not to be limited by my research questions as I may end up not finding a answer to my question and thats okay.

I am very happy that we stayed together as a group and finished the process together as much like a work environment you need to stick to your commitments.

After all of this Ella and Mel mentioned a film ” Sometimes makingSomething leads to nothing ” (Mexico City 1997.Paradox of Praxis 1.).  For more than 9 hours Alÿs pushed a block of ice through the streets of Mexico City until it completely melted.  For hours he struggled to pull a large block of ice with all his strength till the very end of the video the ice was so small it could almost melt away.

Screen Shot 2017-06-13 at 5.07.52 pmScreen Shot 2017-06-13 at 5.08.10 pmScreen Shot 2017-06-13 at 5.09.28 pmScreen Shot 2017-06-13 at 5.09.19 pmScreen Shot 2017-06-13 at 5.10.00 pmScreen Shot 2017-06-13 at 5.09.49 pmScreen Shot 2017-06-13 at 5.10.36 pm

 

Although this short film doesn’t have any visual or conceptual relation to out final task. It really helped me in trusting the process of film making and not being strict or controlling the ending you wanted but learning alot in the process.  I throughly enjoyed my time in Lost in Lacuna Lab b.

Final week / Filming

After a stressful few weeks , Haesun and Karina booked a studio and filmed 2 actors to portray our new concept. We felt out old concept about clutter space and chaos was giving us limitations in what to film. So we decided to let go of our pre conceived ideas of what the film should look like and start filming and see what happens.

Below are the screen shots of original footage from this week: (BEFORE EDITING)

Screen Shot 2017-06-13 at 10.37.00 pm.png

Screen Shot 2017-06-13 at 10.37.08 pm.png

We are yet to add sound into it as chloe and I are working on sound and editing of the film. After screening a preview of our film and getting feedback from other class members it became apparent that there was quite a comical side to our film we all over looked.  Ella mentioned to look into the film styles of  French satirists Jaques Tati and René Goscinny as further research into this can help us reframe our concept and hypotheis to relate more to our film.  Is our new concept about less of a research into human movement/interaction, but rather a comical commentary of private people in public spaces?

After talking with ella we all watched the following screen from  Mon Oncle by Jaques Tati.

 

 

The following scemce depicts him interacting with a modern kitchen. He is struggling to come to grips with the working of the kitchen and finds himself dropping things and banging into thinks. He appears to be making innocent mistakes just like our actor in our film when he walked into  the cube.  They used sound to highlight this funny moment a incorrect buzz like sound that we could also adapt in our film.

Feedback from class members from our pre screening Below.

 

18664567_10213042078070552_6566846561013354775_n.jpg

18698050_10213042078190555_3105049138074128124_n.jpg18700147_10213042078830571_8206988191496290347_n.jpg

18664638_10213042078470562_8326604964101293711_n.jpg

Our new Research Question: How can lacuna be visually explored and represented in the context of public human interaction? Gathering stimulation from the film, sound and comedic techniques of 20th century satirists, depict the empty space we see in the learned tension of societal communication.
Answer: Inspired by the works of Charlie Chaplin and Jaques Tati, we’ve decided to use a blank studio space and simplistic props to convey the cautious and stunted nature of strangers interacting. Minimalistic sound and colour, along with static camera angles and no dialogue force the viewer to engage in the awkwardness of the situation. We developed our ideas by viewing human interaction and then choreographing one of our own, dramatizing the rigidity and anxiety seen in our actors’ body language. The box is symbolic of the unspoken gaps between strangers; neither party address, but both are aware it is there.

Eternal Sunshine of the Spotless Mind

Eternal Sunshine of the Spotless Mind, directed by Gondry and written by Kaufman, explores the tenuous nature of love, loss, and memory. The plot revolves around Clementine (Kate Winslet), and Joel (Jim Carrey) , In the beginning they meet in Montauk on the beach, and start to fall in love. As the movie progresses, it’s revealed that they were two lovers who had had their memories of each other erased. As Joel’s memories of Clementine turn backwards he realises that he doesn’t want to lose them and wants to try again. Lacuna is the name of the company in the movie that erases the memories.

Throughout the film, the mood varies from melancholy and depressed, whimsical and romantic, to panicky and nervous. One of the most prominent and my favourite scenes in the movie is a sweet and peaceful moment that occurs on the frozen Charles River with Clementine and Joel on their “second date.”

The dark, open space surrounding Clementine as she stands on the frozen river and beckons Joel forward is symbolic of the open possibilities and mystery that surrounds her. Joel, has a more detailed background of trees, which shows his  nervousness as he’s about to jump into this new situation.  As they both venture out onto the ice and lie down, only Joel and Clementine and the ice are visible. To the left of them, there is a rather large crack in the ice. This crack is symbolic because it represents something being amiss in this seemingly perfect moment.

 

Screenshot - 2_24_2013 , 11_08_47 PM.png

Screen Shot 2017-06-12 at 8.23.41 pmScreen Shot 2017-06-12 at 8.23.53 pmeternal_sunshine_of_the_spotless_mind_lying_on_cracked_iceScreen Shot 2017-06-12 at 8.24.06 pm

The natural silver light that is present in the scene is assumed to come from the moon.  A soft light seems to be produced from Clementine. Technically this can be argued because of the light coloured clothing she is wearing juxtaposed against the dark night. However it can also theoretically represent the inner light and full of like Clementine as a character possess. The filming in this scene appears to be of a hand held camera style of shooting . This gives the feeling that you are there and you are watching this scene take place. This shooting style is kept even as Joel and Clementine lie on the ice.  Through analysing this scene I became aware that the camera is actually moving in the slightest bit although to the un trained eye it would look as if the scene was at a standstill point in time and perfect.

The music in this scene is important as it starts out with just just ambient noises making the audience pay attention and creates a mood of wonder. I was able to notice the importance of the silence due to researching sound for our film as breaks of sounds is a technique we use in our film to keep the audience interested and guessing. As the scene progresses, romantic music begins to play, heightening the visual connection that Joel and Clementine are experiencing.

This film allows you to choose the ending. Joel and Clementine are happy in the end, but the viewer has no idea whether that’s temporary or not. So, this movie effectively splits people up into two groups: those who believe Joel and Clementine will learn from their mistakes and be happy together, or those who believe that it’s inevitable that they will be unhappy again. Eternal Sunshine is about how happiness from ignorance is not happiness at all. As a viewer I learnt from this film that pain is necessary. You have to acknowledge that when you fall in love, you aren’t agreeing to be happy. You’re agreeing to be vulnerable.

 

The Guardian. 2017. Eternal Sunshine of the Spotless Mind: No 8 best romantic film of all time | Film | The Guardian. [ONLINE] Available at: https://www.theguardian.com/film/2010/oct/16/eternal-sunshine-spotless-romance. [Accessed 17 May 2017].

The Cinephile Fix. 2017. Film Analysis: “Eternal Sunshine of the Spotless Mind” | The Cinephile Fix. [ONLINE] Available at: https://cinephilefix.com/2012/11/17/film-analysis-eternal-sunshine-of-the-spotless-mind/. [Accessed 17 May 2017].
** screen shots of film via  netflix **

Ryoji ikeda

Ryoji Ikeda is a Japanese leading electronic composer and visual artist working currently in France. His work focuses on the essential characteristics of sound and light. His work involves high attention to detail and mathematical precision. He works in visuals and music including live performances and installations. His work is exhibited worldwide including spaces such as Museum of Contemporary Art Tokyo, Singapore Art Museum, Park Avenue Armory New York, Carriage works Sydney, MONA Museum Hobart – Tasmania among others

 

Screen Shot 2017-06-13 at 9.18.20 pm.png

http://www.ryojiikeda.com/project/datamatics/

photo: Ryuichi Maruo, courtesy of Yamaguchi Centre for Arts and Media [YCAM]

His song Data .Microhelix, (2007) in the album Dataplex is done in his own personal style fitting in with his previous Dance/electronic genre. The album Dataplex even includes optical data that a lot of CD players can’t handle; a warning about it is included in the packaging.

“Caution!
This CD contains specific waveform data that performs a data-read test for optical drives. The last track will cause some CD players to experience playback errors, with no damage to equipment”.
—Warning sticker attached to the inside of Dataplex

Ryoji Ikeda explores what sounds he can make when just using electrics and mathematical algorithms and plays with them together to achieve his distinct like sounds. The song Data Microhelix is a sick concoction of waves, bleeps, scratches, percussive effects, and white noise. There are noises so high and low they’re barely audible, it has even been argued that there are some noises that are actually beyond the range of human hearing. The song started out silent with static sounds the kind of sound you would relate to getting pins and needles in your foot. The static noises stopped and started over and over again creating a rhythm which felt like a constant vibration going through your body giving you tingles. There is a steady and very soft beat underneath all the high screeches which makes it quite soothing almost hypnotizing but at the same time this is the type of music that belongs at an insane dance rave.  At 1:57 minutes into the song I paused the music and removed my head phones and my ears were still tingling and throbbing with the underneath beat. The song lasts only 3:16 minutes and ends quite abrupt like an electronic has been pulled out the socket that wasn’t ready to come out. This song had noises that pierce, noises that screech, noises that make perfect noise, noises that make no sense.

“Real–time program computations and data scanning are employed to create an extended new sequence that is a further abstraction of the original work. The technical dynamics of the piece, such as its extremely fast frame rates and variable bit depths, continue to challenge and explore the thresholds of our perceptions”.  (http://www.ryojiikeda.com/project/datamatics/)

 

When listening to Ryoji Ikeda work, I spent the whole time thinking about how I could describe or visually expression a hearing impaired person the weight of his music after much research I found the video artist Charles Atlas’s. Atlas is an innovative figure in film and video for over four decades he has stretched the limits of his medium into a far-reaching range of genres and techniques. He is well known from audience for considering the human body in motion but his most recent work “Painting by numbers” (2011) has taken an abstract turn and has caught my attention. Atlas created a three-dimensional installation in which numbers swirl around the room in kaleidoscopic fashion. As audiences enter and leave the room, they too engage in a swirl of choreographed motion. As a filmmaker, Atlas has spent many hours sequencing frames using time code much like Ryoji Ikeda does with mathematical codes to create his music. Both artists are extremely innovative and explore the use of time as a medium and are forever pushing the human boundaries of viewing art. Atlas’s numbers appear random and chaotic just like Ryoji Ikeda music but all the choreography is sequenced, it is not predictable. The idea of surprise is imperative to both these artists as they play on tension the audience feels and the suspense of what is coming next. As an audience walking into a room and being a part of Atlas’s moving art piece whilst listening to Ryoji Ikeda powerful and hypnotic soundtrack would be the impeccable balance of perceptions of chaos and order.

 

Screen Shot 2017-06-13 at 5.18.54 pmScreen Shot 2017-06-13 at 5.18.59 pmScreen Shot 2017-06-13 at 5.19.03 pm

Screen Shot 2017-06-13 at 5.19.12 pm

Artist Interview: Ryoji Ikeda, creator of superposition – UMS – University Musical Society. 2017. Artist Interview: Ryoji Ikeda, creator of superposition – UMS – University Musical Society. [ONLINE] Available at: https://ums.org/2014/10/08/artist-interview-ryoji-ikeda-creator-of-superposition/. [Accessed 1 May 2017].

MoMA. 2017. Charles Atlas. Painting by Numbers. 2011 | MoMA. [ONLINE] Available at: https://www.moma.org/collection/works/187534?locale=en. [Accessed 2 May 2017].

PopMatters. 2017. Ryoji Ikeda: Dataplex | PopMatters. [ONLINE] Available at: http://www.popmatters.com/review/ryoji_ikeda_dataplex/. [Accessed 1 May 2017].

Ryoji Ikeda  |  datamatics. 2017. Ryoji ikeda  |  datamatics. [ONLINE] Available at: http://www.ryojiikeda.com/project/datamatics/. [Accessed 1 May 2017].

 

Research Video (STUDYVAC)

 

 

 

 

After showing our presentation we were encouraged as a team to get out there and start filming people and putting our concept into a visual representation to be able to show the tutors to get feedback. This video is only a small snippet of  research we made and filmed this week. We went around to public places to capture intimate everyday personal habits people make and do.  Using our i phones to give the sense that you are on the park bench seeing this yourself our filming is just like you sitting there people watching. The invasion of privacy and chaos in this video gives the viewer a quite uncomfortable feeling as none of the reactions filmed are provoked all natural.

Presentation/ Development of ideas

This week Project 2(A) is due a in class presentation.

Using google docs and our Facebook group page as well as meetings we put together the presenation of all our individual research and ideas for our film including how we will work together as a group.

Chloe’s definition of lacuna  “The blank/hollow space or background that reveals the substance. E.g. a black background or pause in a song – without which you wouldn’t appreciate the real focus”.Screen Shot 2017-06-12 at 4.20.01 pm.png

Karina – “Lacuna is comfortable- it is a space to breathe and understand what is going on within it or surrounding it. It is the transition that defines one scene to the next. It is what completes a puzzle”.

Screen Shot 2017-06-12 at 4.20.14 pm.png

Haesun – “Lacuna for myself is an empty space, whether physical or psychological which provides an individual or others with a certain feeling, memory, sense or attachment”.Screen Shot 2017-06-12 at 4.20.23 pm.png

Myself – “I see lacuna as a space in time- an unfilled space to reflect and feel to correlate your thoughts and emotions in what you are experiencing”.

Screen Shot 2017-06-13 at 10.18.31 pm.png

Haesun, Chloe , Karina and myself all had similar definitions of lacuna. Which then made it easier to come up with a hypotheis we were all happy with.

Through chaotic, tangled and unclear imagery, we’ll be overlapping content to stir stressed and strained moods/emotions. There one minute, gone the next, we plan to use light/light movement, projection and mirror distortions to form this chaos, muting and suppressing any meaning. However, we’ll transition into film that includes shadow, blank spaces and invisible space. This will bring about a new, clearer meaning. As the white noise is dulled, and blank or invisible space (which is often forgotten) is introduced, one is able to interpret a sharper meaning. The lack of closure in our story leaves the viewers with a subjective interpretation.

Our group vision is –
-Lacuna as a invisible space
-Erosion
-Space is usually not appreciated, we need to show how important space is to us. There are several interpretations; our project will put the audience into the spot of interpreting Lacuna in their own way.
-Cluttered space vs. Empty space

 

  • How are we linking this to lacuna ?

Oxford dictionaries defines lacuna as “an unfilled space; a gap”. In this presentation you will see all our individual definitions of what lacuna means to us. Our concept  and video production aims to explore the idea of lost and forgotten space that makes objects functional and aesthetically pleasing. Thus, this relates to the concept lacuna as we are exploring the physical unfilled space and gaps in everyday environments.

What is going to be Our approach to making this concept come alive?  

Our group approach to this brief is to work together combining all our skills to form a unique and timeless video production. Using our techniques from research we will effectively convey the importance of lost and invisible space that creates function and aesthetic.   Our style is a combination of textures, snippets, overlays and reflections. This reflects the overall concept of  creating an abstract piece of moving images that links to lacuna as a form of invisible space.

Screen Shot 2017-06-12 at 4.18.47 pm.png(in class dissections of our concept in meetings)

Screen Shot 2017-06-12 at 4.18.54 pm.pngScreen Shot 2017-06-12 at 4.19.00 pm.png

Projection Mapping – Montage work

This week we were divided into our groups to work on experimenting with projection mapping to help stimulate ideas for our film.  Each member brought in different items to investigate with. We had a selection of textiles, CD’s, cellophane, cardboard, cotton wool etc.

17621739_10154340211792478_8787191579579198007_o.jpg17635125_10154340211497478_9191592667148266924_o.jpg

Our goal was to zoom up close on an object and project light on it. After trialing we decided on using the silk that had previously been creased and project light on it we moved to a space where there was not much light and used a white blank wall as the backdrop. We were using a flash torch on a iPhone to get direct lighting whilst another member toke the photos. This merely gave us light and dark shadows we were after something more stimulating to provoke a sort of eerily mood. We then decided to use the back of the CD and overlaid it with different coloured cellophane by doing this we were able to create torrents of colour to blend in with the shadows caused by the light. The use of excessive shadow contrasts and the colours of the CD with the cellophane looked great on the silk textiles. The light and shadow created beautiful folds and shapes which were great to then mask on Photoshop.

We then proceeded to mask the image on Photoshop, using the shape formed by the background. This gave us ideas for our final video the idea of using light to show case emotion and movement this activity also highlighted the use of negative space. As we started with over 5+ items in the photo and it was nowhere near as effective as our final photo using only one item.

 

Screen Shot 2017-05-16 at 6.57.39 pm.pngScreen Shot 2017-05-16 at 6.57.52 pm.png