Thursday, November 29, 2012

Jared Tarbell

Jared Tarbell's website: http://www.levitated.net/daily/levInvaderFractal.html
Here I would like to share my two favorite works by Jared Tarbell.

When I first time clicked into his web page of the work: Invader Fractal(http://www.levitated.net/daily/levInvaderFractal.html), this unknow black and white pixel picture appeared on the top.

 
It reminds me of the old computer game that I was really obsessing in my childhood(I remember the GBA game player was very popular). The game shown below used to be my favorite.
 


After that I looked for his introduction of his work. He wrote on the website that we should click those strange patterns named "invader" so that the invaders would collapse into more small invaders and fill in more empty space. And...I did it. I let them to occupy majority of the space.(Haha...I've spent a lot of time to do it...)
This picture shows what I have done. (comparing to the first picture above)

Jared used computer to produce all these generative "invaders".He said that each invader is occuping a 5X5grid block(25bits) but it is actually represented by 3X5grid block(15bits) as the left and right sides of an invader is actually the same. Therefore, he can create 32768 unique invaders. He created over thirty thousands of invader in a limited 15bits block. Each time we click invaders, they will split into more smaller invaders and more new patterns invader will appear. Jared has set a very simple rule by using the computer but we can enjoy infinite outcomes from this generative work. It is also very interesting that every one sees different picture of this kind of artwork. Participants have to move their hands and finger and their mouses in order to see what it is. I think it is pretty like playing game.


The second one is the "Walking Bug Generator".

Indeed, clicking the "GENERATE NEW WALKING INSECT"(http://www.levitated.net/daily/levWalkingBug.html) , we will see bugs walk from left to right autometically. Every time you click it, a bug will be generated.


However, I found that there is a maximun of 4 bugs appear on screen.

 
Actually, I hate insect very much as they are really creepy and disguisting, but I can't stop clicking to generate bugs from this program. Why do I think that this work is interesting? It is because the little bugs are diverse and varied of their colors, shapes, patterns and even their sizes. Jared described his work in the website that each insect is composed of 9 parts: a head, which decides where to go; a body, which computes how to get there; 6 legs, which move the body; and an ornamental tail. Each part of an insect is randomly generated so that we can see different images of different bugs, which means the design of each insect is computed by its program. Their body sizes, colors and patterns as well as length of their legs and tails are varied. Every bugs generated is unique. Besides, the movement and the speed of those walking bugs are not the same. It depends on their foot shuffle order, leg length and a fixed determination. Therefore, we can see the bugs are not walking on the same way and having the same speed.(I've seen a bug with very short leg that walked very slowly.) Jared said this work is inspired by his previous work called NINE BLOCK PATTERN GENERATOR"(http://www.levitated.net/daily/lev9block.html). Maybe that's why the pattern of the bugs are changed infinitely. I think it is also relating to the design of Invader Fractal. The ideas of his different works are similar.

Generative Art: Sol LeWitt


Sol Lewitt (September 9, 1928 – April 8, 2007) was an American artist that regarded as the founder of Conceptual Art and Minimal. He came to fame in the late 1960s with his wall painting works and his "structures". He was a prolific artist that hw also worked in drawing, printmaking, and photography.
 
He was used to creating  2D works(like wall painting, drawing...)  in simple lines, diagrams and colors. Most of his works are formed in "series" that have the similar features and they are designed some rules to follow so that he can create those works that look like repeating but they are actually varied.  For example,  he created the four "Drawings Series" between 1969 and 1970. He make use of a different system of change to each of twenty-four possible combinations of a square that divided into four equal parts, each containing one of the four basic types of lines LeWitt used such as vertical, horizontal, diagonal left, and diagonal right.  The system used in Drawings Series I is 'Rotation' which was term by Lewitt. Drawings Series II uses a system as 'Mirror'. Series III applied ‘Cross & Reverse Mirror'. Finally the forth Drawings Series uses ‘Cross Reverse’.
                                                                             
 
Here is his works introduction video. We can easily find the similarty and repetation of Lewitt's different series of works.
Introduction: Sol LeWitt: 2D+3D
Sol LeWitt: A Wall Drawing Retrospective
 
On the other hand, LeWitt's wall drawings are usually executed by people other than the artist himself. He hired a teams of assistants to participate in the executing process of his works. LeWitt  suggested that each person drew a line differently and each person understood words differently. He was pleased to see that how his ideas would come out through other group of people's hands. This is also the generative rule by him. Even though there was a model of artwork designed by Lewitt himself, it eventually executed by the other artists. What they thought of the artwork and what skills they used for the artwork are different.Therefore the final results brought were usually surprising.


Art Institute Installations: Wall Drawing #1111 by Sol LeWitt
Sol LeWitt "Whirls and Twirls" Time Lapse Installation

Then, I would like to introduse some of his generative structures. The first one is Tower(Columbus), 1990.
It presents a simple geometric progression through eight sections that systematically change in width and height. It begins with eight horizontal blocks at the base, decreasing in width as it rises to reach eight vertical blocks at the top. (http://sollewitt.publicartfund.org/exhibition/)
 

Another one is SPLOTCH 15, 2005.
 
The form and color distribution were generated through a typically LeWittian system of projections from a two-dimensional base. He first drew a highly irregular, eccentric outline as the footprint of the structure. He then devised one segmented plan within that outline for color and a second plan for height. After that he used three-dimensional computer modeling software to produce the model of the works.(http://sollewitt.publicartfund.org/exhibition/)
 
References:


WiKi
http://en.wikipedia.org/wiki/Solomon_LeWitt
Mass Moca
http://www.massmoca.org/lewitt/grid.php
Sol LeWitt, Master of Conceptualism, Dies at 78
http://www.nytimes.com/2007/04/09/arts/design/09lewitt.html?pagewanted=all&_r=0

http://www.dataisnature.com/?p=361

Saturday, November 24, 2012

Online art Diary (week 9) (GE1302 Science of Art)


The Distributed Legible City (1998), Jeffrey Shaw


(http://www.jeffrey-shaw.net/html_main/frameset-works.php)


Jeffrey Shaw is a media artist who was one of the pioneers of the interactivity and virtuality in his advanced technological installations. The Distributed Legible City (1998) is an improvement of Jeffrey’s previous installation work: The Legible City (1989). Three were three versions of it. They were all the transformation of real world cities to computer graphic virtual cities, which means the map of the city was based on real ground plans of some existing cities in our world. The respective three versions were Manhattan, Amsterdam and Karlsruhe.
 
The Legible City is a “readable” city that comprised of letters, words and phrases which were the major components of the buildings in the virtual city. It is a textual formation world. The images were projected on a large screen in front of a real bicycle. Audience can travel around the three-dimensional city by “riding” on it. As the handlebar and the pedals were the direction and speed controllers, audience have to continue doing physical movement on the bike in order to drive the bike to move forward or turn left and right in the virtual city. Audience can go anywhere in the virtual cities and see the textual landscape while passing through street by street. In this new version of Legible City, the letters (buildings) are not meaningless anymore; they have the particular meaning referring to the real architectures itself. Also, the letters are scaled to the actual proportion of its reference buildings so that it could reflect the actual appearance of the real city. Besides, the new Legible City allows more than two persons to take part in the travel. Travelers could meet each other in some places and share their experiences through conversation, just like an online game nowadays.
 
I really love this art work as it was revealing the progression of technology and the idea of “letter city”. In the late 1990s, people started to link each other by using computer network; Jeffrey applied this kind of technology in 3D environment. It indicated today’s internet world. Moreover, he provided an unusual way for us to experience the extraordinary travel in those cities that people used to familiar with. Apart from the impressive visual effect brought by the perspective of 3D computer graphic environment, Audience only see the letters instead of buildings standing alongside the road, they can also enjoy drifting anywhere of the city in order to browse and explore the meanings of the textual architecture. The Legible City give audience a complete different angle and view to look at the world that they have lived for a long time. Then they are able to share their little discovery with the other participants. This is the most interesting part of the work.
 
This installation work cannot be finished without the participation of audience. It is not just an artwork or an experiment of computer science, but also about the humanity. It implies the inseparable between human and science in future. Perhaps some days the virtual world would become a part of our reality. And now we all have a second identity (maybe more) in the internet world.


AguaSonic Acoustics—seeing sound in the sea
 
Audio:http://www.newscientist.com/data/av/audio/article/mg20527452.200/atlantic_spotted.mp3


Audio:http://www.newscientist.com/data/av/audio/article/mg20527452.200/white_beaked.mp3
The pictures above are the visualized sound of whales and dolphins created by Mark Fischer, who is an acoustic engineer and also a president of Nova Engineering. I extracted two of the audios and its reference image for simply introducing the AguaSonic Acoustics. He recorded the high quality of biological sound and then processed them to image from AGUASONIC®, which can convert sound to image by using the mathematics of wavelet, designed by Mark.
The first image of sound produced by an Atlantic spotted dolphin recorded near the Azores. We can hear both the clicking sound and whistling sound in the spotted dolphin audio. Then, the beautiful sketchy blue flower shape comes out. The second one and the third one generated by the same source of white-beaked dolphins recorded near Iceland. We can hear the regular clicking sound in the audio. The images are also radiate shape but the second one is more like a flower then the spotted dolphin’s image of sound. It is because Mark produced it in a much more complex way. He piled up the sound clips and then rotated them. He also changed the sizes of different sound clip. Finally, he made this fabulous work. He even thinks that it is an ‘artistic license taken to the extreme’.
Transforming sound into visible images is really a wonderful idea. Can you imagine that you can ‘see’ the sound? In the classes, I learnt the very basic knowledge about sound such as how objects create sound and how people hear sound. Sound wave can be shown on paper in the mathematic graph. This can be a kind of ‘visualizing sound’. I remember that in a TV series called Heroes, there is a girl who can actually see the colorful sound waves dancing in the air. When I was watching the scenes, I was quite jealous of her ability. Although I don’t have the superpower, now I can appreciate the image of sound. I don’t mean the boring curves drawn on graphs, but the varied and colorful image of sound generated by AGUASONIC®. I look at those beautiful pictures and listen to its reference dolphin singing at the same time. I can imagine how dolphins and whales sing in the dark and mysterious sea and how the vibration of sound creates ripples as if the three radiate floral images shown above.
Auguasonic reminds me of John Whitney’s work: Permutation (1966) (http://www.youtube.com/watch?v=BzB31mD4NmA). The color dots would develop patterns while playing kinetic rhythm in music. When we listen to music through computer software such as Window Media Player; we can also enjoy the visual effects. Those ‘visible’ sounds encourage me a lots to explore more in both vision and sound.
 
Other sources:
http://www.markfischer.net/index7.aspx
http://www.newscientist.com/gallery/whalesong-art

Tuesday, November 20, 2012

Notes about Cybernetics

What is Cybernetics:

A video about the history and defination of Cybernetics.
 
According to Wiki:
Cybernetics comes from a Greek word meaning "the art of steering" which evolved into Latin as "governor" . Nowadays, Cybernetics is commonly the study of control and communication in the animal and the machine.It is a transdisciplinary approach for exploring regulatory systems, their structures, constraints, and possibilities. It is relevant to the study of mechanical, physical, biological, cognitive, and social systems. It is only applicable when the system being analysed is involved in a closed signal loop; that is, where action by the system causes some change in its environment and that change is fed to the system via information (feedback) that enables the system to change its behavior. This "circular causal" relationship is necessary and sufficient for a cybernetic perspective.
 
Defination of Cybernetics by scientists:

#Ross Ashby defined it as: "the art of steermanship... co-ordination, regulation and control will be its themes, for these are of the greatest biological and practical interest... it treats, not things but ways of behaving. It does not ask “what is this thing?” but “what does it do?Cybernetics stands to the real machine—electronic, mechanical, neural, or economic—much as geometry stands to a real object in our terrestrial space".
#"The art of securing efficient operation."---L. Couffignal
#l said cybernetics was "the art of ensuring the efficacy of action."---Louis Couffigna
#"The art of effective organization."—Stafford Beer
#"The science and art of understanding."—Humberto Maturana
#"The science and art of the understanding of understanding."—Rodney E. Donaldson
#"A way of thinking about ways of thinking of which it is one."—Larry Richards
#"The art of creating equilibrium in a world of constraints and possibilities."—Ernst von Glasersfeld
#"The art of interaction in dynamic networks." --- Roy Ascott
#"Information is information, not matter or energy."Norbert Wiener said
 
 My understanding of Cybernetics:
 
Why do Cybernetics is "the art of steering"? Cybernetics is a system that has a goal and has information for achieving the goal. During the process of getting to the goal, there are many varieties that may change the environment of the system , thus feedback is needed to compare the action of processing and the goal in order to arrange its behavior to the right way. Paul Pangaro said in the video that we can design the software to do whatever you want. However, the more varieties it has, the harder the features and ranges need to be build. Therefore, Cybernetics is actually quite complicated as it is not only to make use of the information to obtain its purpose, it is also very essential that the system has to calculate the probable outcomes and possibilities that cause by varieties and that the system should find the most suitable and possible way to get the goal. In short, Cybernetics uses the models of organization, feedback, goal and conversation to understand the ability, possibility and limitation of a system and then it makes the relative regulations and arrangements.

In fact, Cybernetics is also relating to the ways we think and the ways we behave. It is not just a matter of machine but also about the human's mind.  Our minds are actually a Cybernetic system that we do everything with a goal (You may have the concious of achieving the goal or you may not aware of what you need but it is in your subconcious indeed) and we will do the feedback of information(e,g the occation, evironment, experience, etc.) for the sake of obtaining the goal. The Cybernetics theory can be applied to design thinking too. Paul Pangaro explained this in the
interview. 
 
An Interview video of Paul Pangaro, who is a technology executive, conversation theorist, entrepreneur and teacher. CTO and co-founder of CyberneticLifestyles.He is talking about what is Cybernetics and its applications. (part1)
(Part2)
 
Here is the wesite that describing his theory of the design of conversation:
Dfination of Cybernetics
 
History of Cybernetics:
Cybernetics as a process operating in nature has been around for a long time.
The word cybernetics was first used in the context of "the study of self-governance" by Plato in The Alcibiades to signify the governance of people. The word 'cybernétique' was also used in 1834 by the physicist André-Marie Ampère (1775–1836) to denote the sciences of government in his classification system of human knowledge.
Contemporary cybernetics began as an interdisciplinary study connecting the fields of control systems, electrical network theory, mechanical engineering, logic modeling, evolutionary biology and neuroscience in the 1940s. Electronic control systems originated with the 1927 work of Bell Telephone Laboratories engineer Harold S. Black on using negative feedback to control amplifiers. The ideas are also related to the biological work of Ludwig von Bertalanffy in General Systems Theory.
Cybernetics as a discipline was firmly established by Norbert Wiener, McCulloch and others, such as W. Ross Ashby, mathematician Alan Turing, and W. Grey Walter. Walter was one of the first to build autonomous robots as an aid to the study of animal behaviour.
The name cybernetics was coined to denote the study of "teleological mechanisms" and was popularized through his book Cybernetics, or Control and Communication in the Animal and Machine Wiener popularized the social implications of cybernetics, drawing analogies between automatic systems (such as a regulated steam engine) and human institutions in his best-selling The Human Use of Human Beings : Cybernetics and Society (Houghton-Mifflin, 1950).
New cybernetics
In the 1970s, new cyberneticians emerged in multiple fields, but especially in biology. The ideas of Maturana, Varela and Atlan, according to Dupuy (1986) "realized that the cybernetic metaphors of the program upon which molecular biology had been based rendered a conception of the autonomy of the living being impossible.
One characteristic of the emerging new cybernetics considered in that time by Geyer and van der Zouwen, according to Bailey (1994), was "that it views information as constructed and reconstructed by an individual interacting with the environment.Another characteristic of the new cybernetics is its contribution towards bridging the "micro-macro gap". That is, it links the individual with the society".Another characteristic noted was the "transition from classical cybernetics to the new cybernetics [that] involves a transition from classical problems to new problems.
*A change from emphasis on the system being steered to the system doing the steering, and the factor which guides the steering decisions.
 
Others:
 
Artificial Intelligence and cybernetics:
 
Artificail Interlligence and Cybernetics is a two seperated items. AI is usually applied on  intelligent machines. AI first developed in the 1960s as the concept of universal computation. Scientists want to build a computer that is as smart as human  It is set of many outcomes dealing with many different situaltions. It focuses on how the machine implement the designed commands.  However, Cybernetics is more condsidering the process and variation of the system which is more like human thinking.
 
 


Monday, November 19, 2012

A brief report of Haptic Interface Lecture (Also for field report of GE1302Science of Art)



On 14th November, I went to a public lecture of “Haptic Interface” that brought together 20 leading artist and creative thinkers from all over the world to give a talk about the exploration of the borders between art, science and technology. This event was held in an exhibition gallery in Hong Kong Baptist University. Miss Audrey Samson, who is the tutor of the Contemporary and New Media Art, encouraged us to participate in this event as she was one of the artists that would present in the lecture. Most of the artist presented many interesting works and ideas to us during the talk, so I am going to introduce some of my favorite artists and works in my field trip report.

    Firstly, I would like to introduce Audrey’ works as she had delivered the most interesting idea about the interaction of human body and electronic technology. She is exploring the possibility of using our body as surface of reception and transmission. We are used to enjoy the advanced technological products such as smartphones, ipads, laptops, etc. Actually everyone becomes the central transmission and reception point of electromagnetic wave. However, when these high-tech products are spoiled or they are outdated, we are also used to throw them away. Therefore, we abandon enormous of electronic devices that results in landfills of electronic and chemical wastes every day. Audrey thinks of transforming those refuse into experimental components.

    One of her works is to make use of the components of broken appliance to create accessories like necklace and rings. In fact, it is not the focal point of her project. She is more concentrate in making human body as a part of electromagnetic receptor. She tried to build some wearable devices that can transform those invisible electromagnetic fields to be audible by headphone.

Here are some of her works:

It is a receiving gadget installed on the amp and also to the headphone.

 




She tried to place the copper circuit on the surface of body and make the body as the “device” itself.


 

Here is the video that showing what she is doing.


 

Audrey’s work is really inspiring of the interaction between human body and technology. She reminds us about the forgotten electronic refuse. Electronic technological products are not just something that comforts human beings, they are also the important partners to us. When I watch the videos that Audrey brought her devices onto the streets and used them to scan for some electromagnetic fields, I found that the sounds come out from the fields just like they are talking to receptors.  We thought that these electronic products are things that can be abandoned in anytime, but they seems to be alive in Audrey’s experiment. I think this is the most impressive and amazing part of her work.


Secondly, I am going to talk about Raune FranKjaer’s project ----The Garden.

Here is the video that displaying her work.


“The Garden” is a beautiful sculpture that appears like a seeding located on the river banks of Main in Frankfurt, Germany. It is a project for the “Green City Frankfurt” campaign, which introduce the idea of sustainable development. The concept of the leaf came from the street map of Frankfurt. She quoted a part of the central of Frankfurt city with the shape of leaf, and the network of streets became the veins of leaf, thus each vein is actually representing a street in Frankfurt.




Then she added the stem to the leaf and converted the whole idea in 3D version.

 
 

The stem and veins are divided to many individual parts which are smeared highly energy-efficient electroluminescent paint. We can see the blue light pass through the entire stem and leaf which looks like a glowing plant. However, the intensity of light depends on the level of energy efficiency of that street. Therefore, the higher of energy efficiency of the street, the brighter the light of a particular vein can be.



Under the seeding sculpture is a place covered with grass for people to take a rest and enjoy the view. Raune says it is representing the effort of Frankfurt to become a Co2 neutral city.

    This stunning artwork is the combination of science, technology, art and nature indeed. It applies the technology of using energy-efficient materials on this work to send a message of environment protection. Also, the idea of transforming the map as a leaf is really impressive. Our society is always growing very rapidly but we should not forget to balance the environment and the development. This seeding sculpture stands next to the Main river and it is also surrounded by many towers (we can see them on the background). It looks so small but strong and bright. It encourages people to treasure their environment and glow it from a little seed to a big tree. Now the effort made by the city only grows it to be a seeding, so everyone should work together to grow it as a tree.

All the things together generate a meaningful and beautiful art piece.

Reference:



 

Thirdly, I would like to introduce Elizabeth Shaw, who is working on tableware and jewellery design. I want to share some of her interesting work here. Raune’s works are crossing between sculpture, biology and mechanic. As she like to mix up the biological sculpture with mechanical fragments.

    After she had introduced her artworks, I found that most of her works are always like the mixture of sculpture and mechanical components. In fact, I was confused of the meanings of these artworks so I went to her website and found a statement describing her works.

    The works in this exhibition were all fabricated in response to found incomplete objects. Drawing inspiration from the use of fragments to communicate a particular history in religious reliquaries and museum artifacts, I looked to repair and reconstruct fragmentary evidence to present new meaning; each piece is fabricated evidence. ( http://www.visualartist.info/visualartist/artist/subpage.asp?ex=gallery&I=1753&sub=5335&artistId=1307&PageId=17530)

The statement above is talking about one of her exhibitions in 2010 called “Evidence”. All her works in this exhibition are incomplete evidence that we can commonly see in museum. She installed mechanical components on these incomplete objects. For example, she made a machine jaw for a dinosaur skull.



Augmented skull

In this picture, we can see a mechanical dinosaur talon.



Talon

She added a metal arm bone to the claw.

 


Claw

    Those pictures below are another series of work called “Tool” but they are actually relating to the previous exhibition of “evidence”. She made use of found or collected fragments to create these series of works. This time, some of her works are the mixture of human body sculptures and mechanical components.

For instance, the “tapper” appears like a human finger that is tapping on a wooden board. Raune said this was a tapping machine. When you press the button on the top, the metal finger will help you to tap the table. The second work called tamper but I have no idea of what it is.



Tapper

The second work called tamper but I have no idea of what it is. Maybe the little machine installed to the foot is to assist the movement of the joints.

 



Temper

And finally, it is a mixture of woman head and knife.



Pocket knife

In my point of view, these works are presenting the idea of the importance of mechanic in our daily life, but sometimes, we seem to too much rely on those technological things. Just like the tapping machine, is it appropriate for us to use finger machine instead of using our own finger? Perhaps she also wants to explore the historical meaning of mechanic and its relationship to art.



“Haptic Interface” lecture is not just exploring the border between art and science, it is also giving us new idea of the relationship between science and our bodies. Hence, the topic called “Haptic Interface” is not because the lecture is about electricity device (like smartphone), the haptic interface is actually concerning the connection of human and science. Artists transformed this kind of idea into art form such as the tapping machine, the wearable electromagnetic detection device, and even “The Garden” which is very much related to our life. I think my horizon have been widely opened after this meaningful workshop as it is a rare chance for me to meet so many leading artist in the world and appreciate so many innovative artworks at once.

Sunday, November 4, 2012

2/11 SM 1701 contemporary and new media art wirting


Gary Hill Mediations, 1986

In this video, I see a speaker, a hand and sand have appeared on screen, together with a voice of man which seems to be describing the action that shown in the video. It might be the narration but I think it is more like a poem. The man keep repeating the words as poems always do. There are several words repeated a lots such as speak, speaker, picture, hand, voice, sand and underground. Although the man keeps talking some repeated words, they are not always the same. For example, the word of underground only appears in the last part of the video. At the beginning that we can see the vibration produced by the speaker when the man is talking through the kinetic of sand, but at the end we hardly to hear the voice and the sand seems very quiet as there is too much sand on the speaker. It implies the speaker is totally buried by the sand, so called the voice is buried ‘underground’. I remember that what Linda said last week about repetition and variation. The words repeated by the man are not always the same; they are varied in the process.

Actually, I don’t really get the relationship between the topic of ‘mediation’ and he content of the video. In the very early part of the video, it says that it is about the mediations of image and language and they are no acceptation. I am wondering the action of burying the voice (speaker) is saying that cinema is no necessary to be added narration to describe the image. We can get the meaning through the images we see on screen, but not the language or words.

 

Michael Snow- (2003) Wavelength for Those Who Don’t Have the Time

This video confuses me a lot because of its abstract content. In the whole movie, I see two images superimpose on the screen. The image behind is revealing an indoor environment. It is a room with two big windows. However I don’t know what the front image represents. Maybe it is a wall or door which was stuck a rectangle picture on it. I think it may be taken in outdoor place as there are cars and humans passing by. Sometimes, I can see two women get into the room and set aside the windows. They are also listening to some music. In fact I really don’t know what they are doing. Most the time I can only see the flashing screen and changing color of images. I also found that the whole scene of the video is passing several days and nights. I can see the outside view through the windows so I know the change of time. The camera shot seems to have no movement and it is only shooting in the same area of the room. In fact, the camera is moving forwards very slowly to the two windows. The front image also follows the track and become closer and closer. Therefore, at the end of the video, we can see a clearer view outside the windows, and we can see the black see in the rectangle picture posted on the wall of front image.

Experimental Cinema: Maya Deren, Stan Brakhage and Michael Snow

Maya Deren
Maya Deren (1917-1961)was one of the most important American experimental filmmaker and  promoters of the avant-garde in the 1940s and 1950s. She was also a choreographer, dancer, film theorist, poet, lecturer, writer and photographer. She believed that the function of film is like most art forms to create an experience. She found that Hollywood has been a major obstacle to the definition and development of motion pictures as a creative fine-art form.” She opposited to the Hollywood film industry’s standards and practices. Therefore, she tried to make film in abstration, surrealism and symbolisim as the experimental film that differed from other mainsteam cinema. She combined her interests in dance, voodoo and subjective psychology in a series of surreal, perceptual, black and white short films with  her advantage of camera techniques.

She had been making her films as the poetic psychodrama film. Her representative work is "Meshes of the Afternoon". Thomas Schatz points to Meshes as the best known experimental film of the decade. He thought that the poetic psychodrama “emphasized a dreamlike quality, tackled questions of sexual identity, featured taboo or shocking images, and used editing to liberate spatio-temporal logic from the conventions of Hollywood realism.”



She was mostly interested in temporal and spatial experimentation. The rhythm of the sound,
movement and editing are the main elements in all her films. In 1953 Deren presented a paper entitled “Poetry and the Film” which argued that film works on two axes: the horizontal, including narrative, character and action, and the vertical, characterized by the more ephemeral elements of mood, tone and rhythm. In the "Meshes of the Afternoon, we always see the shifing of times and spaces with varied and diverse rhythm.

She also made many efforts on mise-en scene like multiple exposures, jump cutting, superimposition, slow-motion, etc. For example, she created continued motion through discontinued space, while abandoning the established notions of physical space and time, with the ability to turn her vision into a stream of consciousness.In the film of "A Study in Choreography for the Cinema" the compositions and varying speeds of movement within the frame inform and interact with Deren's meticulous edits and varying film speeds and motions to create a dance that Deren said could only exist on film. Excited by the way the dynamic of movement is greater than anything else within the film, Maya established a completely new sense of the word "geography" as the movement of the dancer transcends and manipulates the ideas of both time and space.

Her films are not only a narration or a story, they are also including symbolic meanings and full if meterphors and implications. The repetition and variation of timelines and spaces are the most special features in her experimental films. her films are very like written poems that has repeated sentences with abtrasted and symbolic meanings for exploring some philosophic issues.


Sources and References:
Wiki:
http://en.wikipedia.org/wiki/Maya_Deren#Cinema
Sense of cinema:
http://sensesofcinema.com/2002/great-directors/deren-2/
Menggang
http://www.menggang.com/movie/experiment/usa/mayaderen/mayaderen.html

Stan Brakhage
Stan Brakhage was an American  non-narrative filmmaker who is considered to be one of the most important figures in 20th-century experimental cinema. He explored a variety of formats, approaches and techniques that included handheld camerawork, fast cutting, in camera editing, scratching on film, collage film, the use of multiple exposures, etc.

"He was a painter or poet in cinema,not a novelist like everybody else." said P. Adams Sitney, a film historian at Princeton University. Brakhage had very much interest in making films by painting directly on culluloid, he had even experimented with softening the emulsion on pieces of celluloid and scratching it with his fingernail. Therefore, he made the hand-painted film named "The Dante Quarta".It took six years to produce. This is a  silent film that created by painting images directly onto the film, the paint was applied very thickly that is up to half an inch thick.

 Besides, Brakhagewas pretty much interested in mythology which inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality, sexuality, and innocence. He preferred to think of his films as metaphorical, abstract and highly subjective, as a kind of poetic film.

He also interested in visual explorations of landscape and the nature of light. He took light as his great subject. He said:

"Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, and eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception. How many colors are there in a field of grass to the crawling baby unaware of ‘Green’? How many rainbows can light create for the untutored eye? How aware of variations in heat waves can that eye be? Imagine a world alive with incomprehensible objects and shimmering with an endless variety of movement and innumerable gradations of color. Imagine a world before the ‘beginning was the word."

Light influences what we see. Brakhage tried to show us the world without the man-made description based on language throught images of film. Hence, he made films with no narrative, which were often not representational and at times even dispensed with photography altogether. A narrative film creates an arc of expectation that sets up conflicts and tensions the viewer expects to have resolved or at least, lead to some form of conclusion. He organized his films around unpredictable changes in composition, subject-matter, and rhythm: each small pattern that a film sets up is violated just at the moment when you think you have finally apprehended it.

Brakhage's films were also made without sound because he felt thay sound might spoil the intensity of the visual experience.

"I now no longer photograph, but rather paint upon clear strips of film – essentially freeing myself from the dilemmas of re-presentation. I aspire to a visual music, a ‘music’ for the eyes (as my films are entirely without sound-tracks these days). Just as a composer can be said to work primarily with ‘musical ideas,’ I can be said to work with the ideas intrinsic to film, which is the only medium capable of making paradigmatic ‘closure’ apropos Primal Sight. A composer most usually creates parallels to the surroundings of the inner ear–the primary thoughts of sounds. I, similarly, now work with the electric synapses of thought to achieve overall cathexis paradigms separate from but ‘at one’ with the inner lights, the Light, at source, of being human. "


Sources and References:
Wiki
http://en.wikipedia.org/wiki/By_Brakhage
Fred camper:
http://www.fredcamper.com/Film/Brakhage4.html
Senses of cinema:
http://sensesofcinema.com/2002/great-directors/brakhage/
The New York Times:
http://www.nytimes.com/2003/03/12/obituaries/12BRAK.html

Michael Snow

Michael Snow (born December 10, 1929) is a Canadian artist and experimental filmmaker who is working in painting, sculpture, video, films, photography, holography, drawing, books and music.


Michael Snow is a structuralist filmmaker. His work takes as its main subject matter the physical aspects of film: camera, light, projection, celluloid. His experiential works require the viewer's active collaboration — repetitive, often abstract imagery and dissonant sound reconfigure and test the elements of perception.

"The two basic components that one has to work with in making cinema are duration and light. This, to me, is essential. I try to work with things that are specific to the medium so that the spectator has an experience that can only come from that particular means."

Take Wavelength as an example: Wavelength's intermittent forward zoom have been taken at slightly altered camera positions in a loft. Briefly men and women enter and exit the frame, triggering the pretense of a narrative. But in reality, the viewer becomes increasingly absorbed in the purpose of the zoom and where it's heading. It ends on a photograph of the sea that has been placed flat on a wall between two windows. On the soundtrack we hear, among other things, a sine wave. The sound begins as a low buzzing, increasing in volume until the wave reaches its highest note of 1,200 cycles per second, the aural equivalent of nails on a chalkboard. Textural changes also occur, including radical and subtle color shifts, black-and-white shots, visible splices, and turns from day to night.

His best known work:Wavelength(1966).


Sources and References:

Wiki:
http://en.wikipedia.org/wiki/Michael_Snow
Art and Popular Culture
http://www.artandpopularculture.com/Michael_Snow
Brightlightsfilm.com(Cleo Cacoulidis)
http://brightlightsfilm.com/44/mikesnow.php