From: "adline vanlindenbergh" <bisouxnoursfast-AT-fastmail.fm> To: "adline vanlindenbergh" <bisouxnoursfast-AT-fastmail.fm>, Date: Sun, 05 Nov 2006 12:39:06 -0800 Subject: Re: [D-G] create create! File deleuze-guattari/deleuze-guattari.0611, message 2 Date: Fri, 3 Nov 2006 13:52:57 -0500 From: ".+oot7AM martini" <dr.crawboney-AT-gmail.com> To: deleuze-guattari-AT-lists.driftline.org Subject: Re: [D-G] create create! I know that I could help you with this project. But there are some story details that I would like to flesh-out if you don't mind.... > the painter then sees > a people of birds who behave as humans who accepted the bow of power > in favor of the audio-visuale megamachine where does the painter see these birds? are they in the painting? are they all around in the painter's life/society and this is suddenly realized? Is the painter a bird? Is there a "difference" that needs to be understood? it is a jump actually into an other planet or other story. as it lasts three minutes, time goes at higher or different speed than 24 frames a second. birds are like Kafka's mice, they are a pack, a specie just as human specie, without more priviledges than enjoying cinema at x frames a second. other specie may have differing chronos. but as we humans watch them with 24 images a second, the birds world, universe, when seen by cinema is an image. An appearance whose reality it is hiding is casted by birds movements when they gather or fly, when they go faster or differing speed than the constant. thus birds serve this single need to see at other light speed. Inana as artist struggling with matter luminosity is casted in this dimension of the extra-entertainment experienced by the birds. monsters are reigning there as symbol of angels or devils sent off by an angry God. they are the administrative angels. they can destroy their bird sparkle of life/eternal third mind essence ie. by stealing their soul. for Inana there is first a becoming bird, then a confrontation with art as medium of a broader spectrum. this is like the spectrum that scientist know starting with x ray and ending in the gammas. what about showing what we don't see with our organic eyes. but that we can get via anorganic vision. hence the birds who see God's armies invading their reality. the troglodyte idea is from Elie Faure reinterpreted by the light of psychobrain observing life. at the moment i've reduced the dose of neuroleptics my aim is to get my mind moving again without hearing the voices of hell again and carry such trains of ideas for artsy inspiration. so far animation i did where constructed from the aion of images. the result is not bad to it add sounds and music. i know your option is used in the commercial tv and can have good interesting experimental availabilities though; so i am not closing the door on it. it's hard to explain you i am in a different direction, hard without showing you. in music i'hve been listening to The Residents since i am a kid so my musical receptivity is distorted somewhat. I like Leila keyboard as it is off key. this off keyness goes very well with aion of images. but could get interested in showing the exterior of music. why such and such sounds is interesting to be played for the musician.. i've a drummer friend to whom i asked to do something with him around that idea, but it doesn't appeal to him immediately. as i tried to explain you it is also the exterior of cinema which fascinates me. the birds are under a spell by cinema. the lucas destroyer city is a symbol of that what we see once we move to a cinema city. hence Inana matrix luminous activity. a t the moment i am sending this script to the list but i am more interested to talk about it. .i believe the way we're invaded by commercials with 3D, it's always giants walking around demoniac cities. i would thus now like to do a flow of 3D commercials coming as a nightmarish juice out of an blue keyed ass. but most yes this idea of exterior, thats what originally appealed me to do 3D, coming from drawings, mingling nomadic curves drawings and a special fx architecture of life footage. i am sorry i can't explain any better, i will end this like that. of annecy i remember the lake at night: the animation of Oshi on the inflatable giant screen in 1997 and the organizators which were always hiding in the Castle parties, the talks, the idea of a crowd united there and the impossibility to reach there. i try Antony Lucaz but can't find it for the moment yet. Sorry again for this gloomy aspect> the televisuale is immanent to life in the big demoniac city of the > birds I picture something like the lucas deathstar, zooming out of a silicon-chip planet. > monsters with blue furr legs > arrive > and steal souls of everything, birds, buildings, Inana the painter This "soul" which is stolen, what is it? Is this action an analogy for some other kind of action, or is it literally "soul stealling" that is occuring? I am also curious abou tthe monsters... is it only their legs that are seen or must their faces be seen as well? I don't particularly want to see their faces, I like their blue legs, but is that enough to convey their role? Other then "stealing souls" what is their role? > Innana travels in atari pixelised spaceships to where she can > get her soul back. as if on the other side of life as does she leave out of confused desperation or does she have specific intent to travel to a specific place to retrieve her soul? What is this other place, earth(?) and does this other place need to be represented or could it be only indicated, ie do we ever see her there? > possible on earth she discovers these monsters are attractive, and can > help > her is fashioning her paintings. > what is this attractive discovery? Is it physical, beyond their knees perhaps? So at the end of the story we see her working on her paintings, what has happend to the birds? does she ever return or has their tele-mech-planet already been lost? > originally it was to set as mute, but now consideri ng adding some voice I know one thing for certain, animation is directly tied to the audio. I don't know what kind of animaiton production exp you have, but there is an ideal production methodology: 1st get the audio "set-in-stone" and then animate according to the audio track - this is a standard approach. of course "it" can be done any way imaginable, but this is an ideal starting position. why? In order to make the picuture come alive it must be grafted to something which is alive (ie full of chronos). The aieon is not helpful here, the agenda of the animator is to create a "zone" of play where you can release your creativity in a productive way, save the aieon for the important parts. That creativity is specifically the "expression of the story" and that involves representing character psychology, landscape, etc (re aristotle's poetics for useful hints). Animation is a practical art form that is ultimately limited to the chronos of roughly 24fps, so once you have dealt with that you are now free. the most effective way to deal with "territorizling" the 24fps is with "music", if its 3min, then thats 1440x3=roughly 4500 frames of music/voice/sfx/etc. This audio track does not have to be perfect, call it "scratch". The scratch track is the starting point for production. Before production begins the aieon can roam free to stech out as much as possible, story ideas, visualizing characters, spaceships,.. but none of these things are "useful" for actual animation production until the chronos has been set-in-stone. But dont take this rule as hard, it is just a point of departure, it can always be changed after the fact, audio tracks are always changing in the end, lip-synch almost always needs to be shifted around to match new dialog that has been written in the last 5min of production, so it is just about getting production into gear. ...blahblah... what I am saying is basically the scratch/audio should be a complete experience and it should "read" like a radio play (ie w/ music, sfx, dialog, narration,etc) that doesn't need any pictures. If you got that, then you're golden... and then you are free to fuck it up to the nth degree.... > and think about holes in relation with Elie > Faure famous passage on > troglodites going through membranes of mountains in a century or two and > nothing can stop them appear the other side. > such holes are to me tracable till the televisual complex and other > visibility aspects of the demoniac megamachine. this is very visual for me, I see the red-green-blue holes of a projected light spectrum thru the tv phospher-screen. So, is this story of the troglodites also to be "inserted" into the innana story (above)? I am interested in reading more about the troglodites's journey, where can I find more? > do you > find room for inflation in you in this story. if you participate and use > your ideas you will be then > part of the online team of scriptdirectors. i will start shooting with > unrealistic, experimenting processes animation personally i find it difficult to work on stories where I have made a conscious effort in trying to make them reflect my true identity, I mean, all stories that I "touch" will necessarily reflect my individuality, whether intentionally or not. But to make the conscious effort, the effort to make them accurate or true expressions of myself, I am not concerned with this. B/c it occurs anyway even w/o my intention but because of the bleeding of physical vibes/poetry/etc. Anyway, the subjectivety of the audience will destroy such an effort, so as an artis-character, i strive to meet such subjectivity head-on as "the artistic issue" and strive to complete the communcation process, communicating those non-personal elements of the story/character/place/etc using the "palette" of the physical medium. Consciously, I would make the effort to choose a story that would reflect my position, y'know? bla-blah bla-blah, it just how I personally approach artsy-ness, its not necessary to actively "give of myself" to the art-zone. the zone is seen as a false projection for me, as I remind myself "I am already there, always & everywhere" so no intentional extra effort is needed except on the level of communication... that is important... bla-blah bla-blah... what "experimental" approaches are you concidering for this project? maybe you have some reference? here is a beautiful animated film that i enjoyed last year at the Annecy festival... "Mysterious Geographic Explorations of Jasper Morello" by Anthony Lucas (2005) The download link is: http://www.sendspace.com/file/ajnls8 -- adline vanlindenbergh bisouxnoursfast-AT-fastmail.fm -- http://www.fastmail.fm - A fast, anti-spam email service. _______________________________________________ List address: deleuze-guattari-AT-driftline.org Info: http://lists.driftline.org/listinfo.cgi/deleuze-guattari-driftline.org Archives: www.driftline.org
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