1.30-2.30 THINKING ABOUT TIME + MOVEMENT FOR VIDEO INSTALLATIONS
Le Balloon Rouge. Example of traditional cinema.
From Kino-Eye to Kino-Brush.
“Mapping > Comic > Video > Installation”
2.30-3.15 EXERCISE / RESEARCH
Find examples of comics that explore time in interesting ways.
Draw a timeline for your comic. Show changes over time for a variety of parameters.
How can these be better choreographed to get your ideas across?
What are some ways this choreography / these parameters can translate to video?
3.45-4.30 MOTION GRAPHICS
Example Videos – Len Lye / One / Quayola / City 2095
Watch Motion graphic videos and make lists of parameters
4.30-5.30 EXERCISE / RESEARCH
Make a timeline for your video installation.
Explore maps + notation systems
Make a list of possible parameters for adjusting over time in your video installation.
Make a list of media assets needed for the creation of your video.
Mapping –> Comic –> Video –> Installation
Comics are a great storyboarding template for producing video – but how might they be enhanced, for thinking about video installations? (And in particular – video installations about sensation / ‘perception in motion’ )
What video installation parameters do we need to be aware of, while planning our productions?
How can the conventions within comic and video production help us with video installations?
What is a Comic? ( Summary of Scott McCloud’s Understanding Comics )
What is Video? (The Programmer’s Guide To Video Systems ).
What Can We Learn From Cinema?
“The End of Cinema and the Future of Cinema Studies” conference, 4/12/2013
“From Kino-Eye* to Kino-Brush”
“In retrospect, we can see that twentieth century cinema’s regime of visual realism, the result of automatically recording visual reality, was only an exception, an isolated accident in the history of visual representation which has always involved, and now again involves the manual construction of images. Cinema becomes a particular branch of painting — painting in time. No longer a kino-eye, but a kino-brush.” – Lev Manovich, from the essay, WHAT IS DIGITAL CINEMA?
((*”It was Dziga Vertov who coined the term “kino-eye” in the 1920s to describe the cinematic apparatus’s ability “to record and organize the individual characteristics of life’s phenomena into a whole, an essence, a conclusion.” For Vertov, it was the presentation of film “facts,” based as they were on materialist evidence, that defined the very nature of the cinema.”
– Manovich. ))
Lev Manovich is the author of Language of New Media, engaged with research projects – analysing ‘massive sets of images and video’… eg Visualizing Vertov ( 10mb PDF ) exploring how “media visualization” techniques we developed can help us see films in new ways, supplementing already well-developed methods and tools in film and media studies.
For installation development – in what ways can we reinterpret cinema and video, by usefully borrowing from other formats / genres / artforms?
MAPS
The Hand-Drawn Maps Association – an ongoing archive of user-submitted maps, diagrams and other spatial illustrations.
You Are Here: Personal Geographies and Other Maps of the Imagination (book)
Map As Art, The: Contemporary Artists Explore Cartography (book)
Map of time as biography ( by animator, Runwrake )
Cartographies of Time: A visual history of the timeline.. by Daniel Rosenberg and Anthony Grafton
“for all of the excellent work that has been recently published on the history and theory of cartography, we have few examples of work in the area Eviatar Zerubavel has called time maps. This book is an attempt to address that gap.”
Making maps with sound ( + the overall site is worth a look too: Making Maps: DIY Cartography Resources and Ideas for Making Maps )
Stadtmusic – online sound maps overview
COMICS
“Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or produce an aesthetic response in the reader.” – Definition by Scott McCloud.
- Closure
- Extending the frame
- Visualising movement and sound
MUSIC
Notations 21 … by Theresa Sauer and Mark Batty Publishers reveals how 165 composers and musicians around the world are experiencing, communicating and reconceiving music visually by reinventing notation. ( via Brainpickings ).
Pictures of Music : click ‘scores’ to see some flash images of example graphic scores.
“Composers such as Earle Brown and John Cage questioned the boundary between musical notation and visual art. Non-standardized notation opened space for new interpretation and communication between composer and performer. “ – Graphic Notation and Musical Graphics
The Visual Context of Music
Nathalie Miebach’s Sculptural storms:
“Recently, I have begun translating weather data collected in cities into musical scores, which are then translated into sculptures as well as being a source for collaboration with musicians. These pieces are not only devices that map meteorological conditions of a specific time and place, but are also functional musical scores to be played by musicians. While musicians have freedom to interpret, they are asked not to change the essential relationship of the notes to ensure that what is still heard is indeed the meteorological relationship of weather data.”
Music Animation Machine ‘Viewer’s Guide (PDF)’ to their DVD of music visualisations… ( and ipad app )
Visual Music
Dance
The Choreographer’s Toolbox
– shape / space / timing / dynamics + form + structure
Dance_notation
http://bibliodyssey.blogspot.com.au/2006/07/visual-context-of-music.html
How To Design Motion Graphics?
What is motion design? Motion Plus Design – have a nice 9 min video answer for this, and they are hoping to “found the world’s first Centre dedicated to the world of motion design”.
Key text: Motion Graphic Design, Applied History and Aesthetics, 2nd Edition By Jon Krasner
“To represent a dynamic study on a sheet of paper, we need graphic symbols of movement.”
Dziga Vertov, “We: The variant of the manifesto” (1920), in Kino-Eye: the writings of Dziga Vertov, ed. Annette
Michelson, trans. Kevin O’Brien (University of California Press, 1984), p.7.
A famous example of designing motion for the screen: Sergei Eisenstein’s sequence diagrams for his movies, Alexander Nevsky and Battleship Potemkin.
“Motion Graphic Scores use the ideas of Graphic Notation and reconfigure them regarding animation, time based media and the digital domain.” – Christian Fischer , What is a motion graphic score?.
Thinking about motion graphic design over time? See The Art of film titles (Esp. A Brief History of Title Design + their list of film title analysis examples )
Audiovisual Academy – well structured series of videos looking at history of moving image, optics and photography, visual software, video hardware and LED equipment etc.
Animated GIFS?
rrrrrrrroll : animated GIFS created by rotating a person or object around an axis.
Stellar: ” The models organic bodily expressions as they are frozen in time between the particles suggest their celestial creation. In addition, space and time is heightened by the use of three-dimensional animated gifs. Their movement serves as a visual metaphor to the spatial link we share with stars as well as their separateness through time.”
dvdp : Animated GIF motion graphic loops.
Example Videos:
One by Michal Levy ( synaesthetic video ) ( and ‘videoboard / storyboard in motion’ )
“Partitura aims to create a new system for translating sound into visual forms. Inspired by the studies of artists such as Kandinsky, Paul Klee, Oscar Fischinger and Norman McLaren, the images generated by Partitura are based on a precise and coherent system of relationships between various types of geometries.” – Quayola
Cityscape 2095 , Mécaniques Discursives +Mécaniques Discursives “Framed Series” by Legoman.
NEXT WEEK : Video Editing and Compositing
– Breaking down the technical aspects of video…
– Introduction to editing and compositing principles
– Introduction to editing (Adobe Premiere) and compositing (Adobe After Effects ) software.
Preparation :
Familiarise yourself with the above software interfaces with tutorials at Lynda.com / Video Co-Pilot.
Bring example clips / images you wish to work on.