File deleuze-guattari/deleuze-guattari.0611, message 5


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.

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