Thursday, December 16, 2010

535 Words on Charles Baudelaire


1.crouds
2.there
3.they
4.stand
5.chit-chatting
6.drinking
7.wine
8.talking
9.about
10.themselves
11.But
12.here
13.I
14.am
15.a
16.complete
17.stranger
18.hidden
19.blending
20.in
21.to
22.the
23.scenery
24.yet
25.I
26.am
27.seperate
28.I
29.can
30.take
31.the
32.role
33.of
34.anyone
35.i
36.feel
37.like
38.I
39.can
40.choose
41.my
42.interaction
43.with
44.them.
45.They
46.bore
47.me.
48.They
49.enthrall
50.me
51.they
52.are
53.a
54.unit
55.I
56.am
57.seperate
58.I
59.am
60.a
61.loner
62.an
63.artist
64.a
65.poet
66.their
67.meager
68.motivations
69.do
70.not
71.move
72.me.
73.however
74.i
75.can
76.be
77.amuzed
78.by
79.watching
80.their
81.debauchery
82.smirking
83.at
84.their
85.expense.
86.I
87.walk
88.alone
89.like
90.a
91.bad
92.ass
93.like
94.i
95.am
96.something
97.special
98.but
99.i
100.am
101.aren't
102.I?
103.its
104.funny
105.when
106.I
121.think
122.of
123.being
124.in
125.a
126.room
127.full
128.of
129.people
130.and
131.yet
132.I
133.still
134.feel
135.alone
136.I
137.have
138.no
139.connection
140.i
141.don't
142.belong
143.any
144.group
145.beyond
146.a
147.pair
148.words
149.are
150.pointless
151.mindless
152.chatter
153.i
154.was
155.never
156.one
157.for
158.small
159.talk
160.I
161.am
162.the
163.loner
164.at
165.the
166.party
167.i
168.set
169.myself
170.above
171.i
172.am
173.the
174.egoist
175.missing
176.out
177.on
178.the
179.possible
180.beauty
181.of
182.being
183.anonymous
184.and
185.intertwined
186.with
187.this
188.living
189.organism.
190.one
191.has
192.all
193.the
194.freedom
195.one
196.needs
197.to
198.do
199.anything
200.all
201.desires
202.can
203.be
204.partaken
205.every
206.door
207.is
208.open
209.and
210.if
211.its
212.not
213.then
214.its
215.to
216.a
217.room
218.that
219.i
220.didn't
221.want
222.to
223.go
224.into
225.any
226.way.
227.I
228.don't
229.want
230.to
231.be
232.an
233.egoist
234.anymore
235.to
236.me
237.all
238.the
239.doors
240.are
241.closed
242.and
243.i
244.shut
245.them
246.myself
247.i
248.want
249.to
250.be
251.that
252.other
253.character
254.when
255.i
256.am
257.in
258.the
259.crowd
260.i
261.want
262.that
263.swagger
264.i
265.want
266.to
267.make
268.love
269.to
270.it
271.all
272.i
273.desire
274.the
275.intoxication
276.that
277.could
278.be
279.mine
280.if
281.i
282.would
283.just give
284.in
285.to
286.it
287.whole
288.heartedly
289.take
290.a
291.plunge
292.be
293.someone
294.else
295.to
296.where
297.the
298.most
299.beautiful
300.or
301.the
302.most
303.pale
304.mask
305.and
306.just
307.move
308.through.
309.hey
310.as
311.a
312.side
313.thought
314.there
315.are
316.only
317.thre
318.hundred
319.and
320.fifty
321.two
322.words
323.in
324.crowds
325.baudelaire
326.was
327.more
328.brief
329.than
330.i
331.am
332.going
333.to
334.be
335.being
336.a
337.smart
338.ass
339.some
340.times
341.makes
342.things
343.a
344.lot
345.harder
346.on
347.you
348.than
349.you
350.think
351.it
352.will
353.anyhow
354.the
355.picture
356.that
357.i
358.chose
359.is
360.a
361.Edouard
362.manet
363.painting
364.called
365.Music
366.at
367.the
368.Tuileries
369.to
370.me
371.it
372.represents
373.the
374.crowd
375.of
376.people
377.and
378.I
379.am
380.the
381.stranger
382.observing
383.the
384.canvas
385.unlike
386.baudelaire
387.I
388.cannot
389.be
390.a
391.part
392.of
393.this
394.painting
395.or
396.time
397.and
398.what
399.a
400.different
401.time
402.it
403.must
404.have
405.been.
406.i
407.can
408.however
409.picture
410.myself
411.walking
412.through
413.that
414.world
415.tipping
416.my
417.hat
418.to
419.the
420.ladies
421.and
422.speaking
423.in
424.an
425.aristocratic
426.air
427.to
428.the
429.gentlemen.
430.its
431.so
432.dignified
433.its
434.so
435.quaint
436.one
437.could
438.wonder
439.through
440.this
441.painting
442.into
443.infinity
444.among
445.the
446.trees
447.and
448.the
449.people
450.bumping
451.into
452.them
453.they
454.are
455.pilled
456.in
457.so
458.thickly
-------------------------------------
459.i
460.picture
461.central
462.park
463.in
464.new
465.york
466.ever
467.jostling
468.with
469.life
470.and
471.i
472.am
473.dressed
474.in
475.black
476.me
477.who
478.does't
479.fit
480.in
481.with
482.my
483.little
484.texas
485.town
486.but
487.they're
488.dressed
489.like...

one of them
no tourist
i belong
i am alone
I am solitary
i am the poet
i am the artist and they are my playground. 
that is Baudelaire's meaning this environment was his painting.

490.wow
491.is
492.this
493.five
494.hundred
495.word
496.thing
497.for
498.real?
499.i'm
500.stupid

Monday, November 29, 2010

A Few Images That Make Browsing For Stupid Stuff Stimulating

Who doesn't like Ninjas?

Nothing quite like misleading the youth of tomorrow...

indeed...

Aw,  they are just so gosh darn cute,  aren't they?

Sunday, November 28, 2010

Friday, November 5, 2010

A TREATISE ON THE STATE OF MODERN TYRANNY

"Fuck tha Police" an anthem by N.W.A. was received by the masses in in exultation and violently opposed by the republican party that was in power at the time.  The truth is Government exists not to help those who live under it, but to line bureaucratic pockets.  These legal deciding entities are simply the most powerful organized crime communities in the world.  Cops (with their tiny egos boosted to insane heights by the drinking of the power bestowed upon them) are in no position for any victory in any popularity contest.  However,  they still have the power to make the common man feel helpless against their whims, and as it was said in the film Tombstone... " just because you are the law doesn't make you right."

It is not against the thwarting of violent crimes or robberies that we are opposed but the harassment of the standard  taxpaying citizen through the petty use of intimidation.  These bullies with guns are becoming exactly that which they were first put in place to prevent. The system has become self serving and fat from feasting on ease.  The little blue men in little blue caps are little more than a gang who have taken a position of robbery by quotas, crawling like cockroaches around gentrified areas,  acting macho in areas where they know they won't get shot.  Billboards  heavilly recruit cowards behind a badge to round up cattle and feed from them, enforcing the law for the tiniest infractions, especially those with no victims, and those that endanger no one.   The scribble on the side of the Pigmobile reads "to serve and protect" but "to intimidate and enforce" is more appropriate. 

It's hard for us to comprehend that cars run on fuel not on rules and regulations,  parking tickets, traffic tickets,  registration, all of these pay for the institution which enforces their necessity,  If we, the victims of this game, collectively refused to participate,  the system would crumble,  the mock authority would vanish.  Much like the world of THX 1138 it is the inhabitants of the system trapping themselves in it.

Ideally one could take a peaceful approach,   The simplest action would be to deny they have any authority what so ever,  Refuse to pay parking tickets,  refuse to pay traffic violations or even to stop for the sake of flashing red and blue lights,  refusals to participate in paying taxes,  If all would participate, this would effectively change the way the system worked.  However the sheep and cattle mentality simply will not allow such forward thinking,  The few that would take the simplest and cheapest route of not doing anything,  ignoring the nuisance,  would be the first punished thrown in prison and generally bullied into not upsetting the system.  Instead we are left with the option of following legal paths.   One can fight these infractions in court, never admit guilt,  never allow them to get away with a no contest and assumed guilt. However, courthouses have cut employment on clerks and information,  resulting in day long waits to contest in court, while placing rapid payment options online and by telephone.  This is the system showing its vicious thieving face. To resign yourself to the wrong and try to move on with life becomes the easiest path.  Remember though, If you do choose to contest, you are not only wasting your time, but wasting the time of the system and the police officer who will not be out on the streets while testifying against you, as well.    Petitions to limit the powers and fines for non victim crimes could probably safely be started and civil liberties groups have already begun this, So please join up.  I will not dissuade this but feel that unfortunately all actions that are effective will be met with a punishment to prevent their happening.

Yet, It's important that we the thinkers,  the offended,  do our part still,  though the world will not yet collectively rise up and refuse to be victims. Leaders of the minds of the masses are needed.  This, of course, will be met with force,  no matter what our stance against it will be.  It is the proof of the Tyranny.  The more extreme action would be met with an even more extreme action,  But civilians must not be injured by us in this war,  this is what we are trying to prevent,  and so this movement must begin underground and be directed only at police, court, and infrastructure property.   Guerilla factions must retaliate as to show that we are not helpless against oppression. Leading the way and chipping away at police dignity and power.  Yet while acting as a warrior for the better good, the victory is to not get caught,  to oppose the establishment is to become an outlaw.  Becoming an outlaw makes the mind sharp aware of its surroundings,  it finds opportunities for first strikes, the outlaw knows the law and the inner workings of that force set against them.

simple acts of the vigilante,  the bravery of the night vandal,  are all at your finger tips...

pointing out these faults through clever street art, slashing the tires of pigmobiles,  a hand full of sugar cubes into a cops gas tank will put a unit out of service and a thrashed engine will cost them the money of at least three tickets to repair, the cash they must spend to maintain the infrastructure, means the less rewarding the position will be for the individual doing the enforcement.   By choosing to become an enforcer,  the human has forfeited their right to be human.  The Police should be seen as the first weapon of Tyranny, having set themselves in opposition to humanity.  Do what you will.  don't get caught.  You are not the Bad Guy.

Wednesday, October 20, 2010

A Rainy Day in Los Angeles

Its actually been a rainy gang of days, but just at the right time. After months with out internet, the Internet's long awaited reappearance makes the prospect of hiding behind glass and admiring the gray from a distance seem swell.  

"Nighthawks at the Diner" is playing in the back ground, and Tom Waits is spitting out a fitting "Emotional Weather Report" as I shuffle files from hard drive to hard drive,  expecting that all meetings today are off,  and pondering effect that the thickness in the air will have on rehearsal later tonight. 

The buses outside noisily sludge through the streets of Korea-town but everything smells cleaner,  gloomy faces, no gloomier than usual, seem to fit the mood.  I of course am imagining faces on the pinhead characters I can see wandering from the subway lines down by Wilshire.

We are doing well to be out of bed, sipping coffee, wearing sweaters, letting cool air and soft light in for fresh rejuvenation.   Its funny when LA feels like this, like it could last till winter this way, like there might be a seasonal change upon the winds. 

Should be back to normal in no time... That's sort of what makes me sad,  I was getting into the idea of wearing London clothes,  or a cold weather Montana Mountain Man coat.  I miss the soul that is missing here. I keep hoping that the moisture will warp and crumble the cardboard cutouts that prevent us from seeing anything real in this god forsaken city of angels...

Saturday, July 17, 2010

Andres Salaff's "Lifeline" Maintains An Orderly Progression As A Wave Of Depolarization.

Lifeline is a beautiful animated short film about an aging scientist using a machine to allow him to search time and space for his deceased wife.   This winner of a Student Academy award, written and animated by Andres Salaff, details the lengths that love will drive a person too.  The CalArts Character animation short film has no dialogue and is accompanied by a haunting score by Blanton Ross.  The source material used to create the ambient soundscapes of Lifeline have been collected into an album called Dream Travel.




 For more information on festivals Screenings etc. please visit lifelinefilm.blogspot.com


Saturday, May 29, 2010

Ferro Fluid 1.2




My time in France resulted in lifelong friends and great collaborators. Here is an Experiment in animation with the magical substance Ferro Fluid i had the opportunity to Cut some experimental music to. Ferro Fluid is a liquid that contains particals that become magnetized in the presence of a magnetic field.



Manipulation: TEURK & DIRECT420
Editing: Thomas Hardouin
Music: Blanton Ross (as Mouth Of Ash)


Wednesday, May 12, 2010

IN STILLNESS

when all these worlds collide
each lonely star in the sky
makes a clever design
side by side and far enough away
in the wash of old and promised place

where would you like to focus your beam
says the scattered dream king
cause i promise it all rests on you
you are the viewer
you're the point of control
you gotta shake off the heavy
and let the path take its course
take the blessing in the lesson
and forgive all the parts
and do exactly what needs to be done

Tuesday, March 30, 2010

Whale and Bird Song - The Biological Music of Sea and Air



The social ties of whales are strangely similar to those of a community of humans.  Humpback whales continuously migrate thousands of kilometers throughout their life times back and forth, north in the summer for food and ever south towards the equator in the winter where they breed.  They accompany their journey by singing elaborate group improvisations that actually seem to be the same songs over and over.  The songs are usually 5 to 35 minutes and range from 30 to 4000 hertz.  A song contains up to ten themes that are always sung in the same order.  A pause that lasts over a minute is considered a cycle.   The longest song cycle recorded (by Howard Winn) lasted 21 hours.   The Choir of whales with no leader will change phrasing, often staying on a certain phrase for a long time or shortening others.  Phrases evolve over time a phenomenon known as song drift which is closely related to language drift discussed in  "A Language" by Edward Sapirs.   Over time portions of the whale group songs will become completely different, sometimes unrecognizable from their earlier versions.   However, the main context often remains the same. It has been observed that the song cycles have start and stop themes for the most complex songs.  So why do the whales sing, maybe they just like the sound of it swelling in the water bouncing off under water mountains.  Perhaps whales make aesthetic choices. It has been speculated that the chorus of whales sing for the purpose of building bonds between pods of males,  but honestly no one knows why they sing the songs. Some think its for mating reasons but no one has observed those particular songs while mating.  instead in the tropics during the mating time the whales will sing territorial songs. 
     This is about as close as I think the songs of whales come to those of birds, which sing to repel males and to attract females.  Males sing songs to other males as a competition an alternative to going to physical war over territory or any other resources that could be used to attract mates.  The reason that the singing wars work is because signals that are more costly to produce are likely to be "honest". A weaker bird will be outclassed on every front physically and intellectually and instead of chancing injury will just leave. The intimidations of song rivalries can be seen through increases in intensity which take more energy & show the male condition. Overlapping another bird is a very aggressive move.  It has been learned from territorial playback and observation that territories brodcasting song stay unoccupied longer. 
    The other reason birds sing is to attract mates.  The number of songs that a bird knows shows the ability of the birds survival because an older bird will live longer and thus be able to learn more songs. Birds that match their neighbors songs are better breeders because we all know "chicks dig the songs they hear over and over again" (thats why Pop Music works) My real interest is in song switching which serves to confuse both birds and human observers.  Different birds use song switching differently.  Often birds will just sing a going through song where they say "hey I'm a robin, hey I'm a robin, hey I'm a robin"  According to the Sarah Collins "vocal fighting and flirting"  the song sparrow switches more frequently when aggressive, Redwing Blackbirds and Banded Wrens switch less.  In other birds the female is more likely to switch to attract males.  It all depends on the default non-aggressive state of each bird.

Wednesday, March 10, 2010

The Work of Tripp S. Nestor

I would like to share the work of a friend and collaborator I met traveling in Europe. I have used a few of his Images before but will be turning to him for whatever custom art this blog needs.

Ladies and Germs,  May I present Tripp Nestor.

"A good portion of my friends are visual artists... I have been watching and admiring them for some time.  Sound is an excellent medium,  but my jealousy of the eyes became too great.   So I got a Wacom tablet,  and tried my hand at the whole Photoshop digital painting thing... I haven't gone back since"  -  Tripp Nestor





Saturday, March 6, 2010

SPOILER ALERT: Alice in Wonderland

Expect more Disney channel than Tim Burton or better yet don't bother...it's inevitable that you will anyway,  and I cant blame you.  I had high hopes too,  A director I respect, excellent actors, a timeless amazing story to serve as inspiration.  How could it go wrong?

I keep telling myself that it was not a lack of vision that movie suffered from but an over bearing corporation shadowing that vision and reigning it in, nullifying what could have been really special about it.   Instead you get watered down Tim Burton fingerprints scattered about Wonderland: dark circle eye shadow, serpentine trees, asymmetrical jail cells, doors and so forth.   The movie achieved the stereotype yet lacked the soul.  I spent the whole 109 minutes in anticipation for the movie to be removed from its leash,  and instead was rewarded with fortunate buoys placed to save the audience from drowning on a  sinking ship.

So fair enough, the animation was well made, the acting and voice talent was on par,  though I would have liked to see more of it than the cameo like quick snippits borrowed from the heritage of  Lewis Carrol's original Tale.   Helena Bonham Carter executed her part as the pouting Red Queen perfectly,  and in the end turned out to be the redemption of the film.  Sorry Johnny... Even Elfman who is notorious for using ghost writers and continuously declining in his creativity as a composer seemed to be doing pretty well with the music,  something that I was expecting to be frustrated with.   Thus I was almost willing to except the work as at least entertaining,  and then...

WHAT THE FUCK is up with that shit song for the ugly ass end credits... it forever ruined everything... All the waiting, all the watching; right down the toilet. All the talent wasted by crap producers... For what?  So disney can masturbate all over your face and laugh at you for buying a ticket. I could not get out of the theater fast enough.

I hate the world now... Art is dead.   Are money people really that tasteless.  How is it possible to suck that much...  Do your self a favor and start leaving the theater as soon as Alice gets on a boat.  Trust me.

Thursday, February 25, 2010

The Merge of Democracy and the Insurance Company



we each play a part in the system
one to their own way
the way we fill our time
the way we teach
the way we grow
the point of living every day
to play
is to teach
the radiation
from which the power does spread
the east
in distance waves
workers on the other side
earliest film
a post apcolyptic playground
rhythm in frames per second
moving in comfortable silence
the eye watching you
the way a child sees his father



----------------------------------------------------------------

Monday, February 22, 2010

The Body as an Interface

Biomechanics is a rising field of interest for many different people from medicine to sports and even into the arts.  The human body can be monitored in a variety of ways from eegs which measure brain waves,  eogs to measure eye movement in sleep studies,  heart and breathing monitors. The depth of research into this world is an abyss that seems to be come ever deeper the more one learns about the subject.   My interest in the subject remains within the arts and with movement as a control of a non-clinical environment.   Our main limitation is that the human body can can only (as of yet) be interfaced superficially.   This leads to problems measuring human movement because joints which could be hard to measure on their own are even harder to access because they are deep to certain muscle groups and skin.  For a short example of the complications, take just the lower body from the superior structure the hips down to the inferior ankles.  By limiting possibilities to the larger movements of the skeletal system (particularly to those inferior to the transverse plane) you end up with only six large joints acting independently of all others. For monitoring, movement these joints can be looked at in 3 pairs of root sensor systems.

    - the hips
    - the knees
    - and the ankles

When standing, we can say that the body is at unity or the starting/natural state.    Most joints are in their natural state of extension in this position.  and then...

The Hips

When dealing with the hips circumduction becomes a problem because of the 3 Dimensional conic movement of a ball and socket joint.  The closest electronic analog i can think of is a joystick which measures potentiometers on two axis  and outputs both position values like coordinates (x,y). if we were to use a flex sensor we could only measure the anterior hip motion along the the sagital plane because of the gluteus maximus and hamstrings on the posterior which mask the small angle of movement we could measure if we had access to the acetabulum where the head of the femur makes contact with the coxal bone.  One might be able to measure the movement of the greater trochanter but that would still be difficult with the muscles which act as the flexors of the hip joint. This problem holds firm when you try to measure abduction(open) and adduction(closed) on the frontal plane as you would see it in Leonardo's  "Anatomy."
{as a side note measuring the medial and lateral rotation would be difficult as well}

The Knees

The knees being a hinge joint are the only joint on the lower body that can be easilly monitored using a flex sensor.   Hinge joints lend themselves to this type of monitoring because they have one state of extension and one state of variable flexion from 180 degrees all the way open down to about 10 degrees as folded as possible.  Flex sensors aren't really useful for any other type of synovial joint.

The Ankle

Measuring the ankle is weird because its natural state of extension lies between two points of flexion: dorsiflexion with the toe up and plantarflexion with the toe down.   One could put flex sensors along the achiles tendon and the dorsal part of the foot where the tibia and fibula meet the talus.  

More of the foot could be wired up to flex sensors for each of the phalanges and metatarsals but the shoe probably wouldn't be very comfortable.  For the foot I would like to develop some sort of measurement device that would be more intricate but similar to the type of system that you see in children's flashing led shoes.  the system would have quite a few pressure sensors embedded in the soul of the shoe to measure the anterior most end of the metatarsals through the phalanges and cuboid area and also below the calcaneus to measure the weight displacements as a user moved and balanced in different ways. 
So you see talking about the body could get complex, let alone measuring it. Then there is a whole new slew of fun to be had by all.  So the knees and elbows are easy bend sensors,  and then... fubar...

If you like the flexion measuring its worth a look at the MidiDancer developed at CalArts by Coniglio and Stoppiello of company Troika Ranch.   That's where it has all already happened in dance... has been happening since 1984...probably longer... at the risk of repeating the grand. 

I had original aspirations to use such a system for performance after having my brain fully warped by the book "Machine Musicianship" by Rob Rowe.   It was Morton Subotnik's work "Intimate Immensity" and his use of infra-red beams in a system technically executed by Clay Chaplin and danced by Nyoman Wenten that led me to CalArts in the first place.  My exploration of sensor possibilities for retrieving information from the human body began with the use of video to track motion, followed by research into things such as joint angles and rotations, muscle stretch or tension, and pressure for weight displacement on the plantar surface of the foot. 

anyhow...

In my search for better sensors I came across some interesting developers and their websites.

Poleema sensors use magnetic feilds to determine location.

The porcupine is made of several tilt / ball switches which recognize motion and orientation on the three planes, it could be quite useful.

I also found a similar sensor that reads full 3d motion and comes with software(very cool).  www.xsens.com.  It uses small blocks which could be fitted to the femur and the tibia/ fibula and would send out information about the orientation of those bones.  Really, useful stuff it also says how fast it moves etc.. check it out.

Also, there is a book called "Three Dimensional Analysis of Human Movement"  containing essays of many different scientists edited by Paul Allard. 

Its something to think about...more...

Thursday, February 4, 2010

DEFINING EXPERIMENTAL FILM

Websters New Universal Unabridged Dictionary:

experimental- a. [french experimental, from the latin word experimentum, an experiment
1.  of or based on experience rather than based on theory or authority.
2. based on, tested by, or having the nature of experimentation
3. for the sake of experiment; testing
4. tentative
5. of or used for experiments

experiment-   a trial test, from experiri to try, to test
1. a test or trial of something; specifically, (A) any action or process taken to discover something not yet known or to demonstrate something known; (B)   something tried to find out whether it will be effective;  as giving students complete freedom to to choose their courses is an educational experiment

film- n. [ME. fylme AS. filmen,  a film, membrane.]
1. a thin skin; a pellicle; a membrane;  a delicate coating or outer layer, partially obscuring what lies beneath; as, a film of gelatin; a film of lace.
2.  a sheet or roll of a flexible cellulose material covered with a substance sensitive to light and used in taking photographs.
3. a thin veil, haze, or blur as over the eyes.
4. a motion picture
5. a delicate thread, as of a cobweb


Together the words, experimental and film, seem to mean more than the definitions imply.    By following the history, one is introduced to experimental film at an almost identical point to that which film in its self as an art form is being introduced.  In a almost fanciful way one can say that any of the films being made up to and into the 1920's were experimental since making a film itself was a young and untapped art.  All of the pioneers were attempting to do something for which no template had been laid out.  Surely it must have fascinated artists such as Melies,  Rene Claire,  Louis Feuillade, Dmitri Kirsanov, and Man Ray simply to watch this machine feed tape through recording pictures.  These primitive beings, mostly standard artists had the power to capture life in any way they saw it and the possibilities were endless. Ferdinand Leger captured the machine and tied it into our human reality with Ballet Mechanique.   But at this point the experimental art of making any film can be further broken down into more aesthetic issues.  The experiment becomes:    How do i make something new and fresh even fresher?  Should I just show pretty pictures or try to shock the audience?   Should I try to tell a story?
    I will divide here into my own aesthetic categories of experimental film: films with out a narrative and films with narrative.  It is my opinion that both films without narrative and films with narrative must be looked at very differently.  Personally I have enjoyed the narrative films more.  Which is not to say that I have gotten nothing from those films with out this element of story line. Actually, almost all of the films have some form of a life running through them.  The city films show this in an interesting way.  In place of standard characters the films focus on the overall image of the city, be it though a few hours on a rainy day or through the entire day as in Berlin.  This tampering with scale does some interesting things to the mind.  These films teach you to focus on imagery and smaller things with in the whole of the film.  It becomes the subtleties that define the film.   The art resides in the dance of the hop scotch playing children in a Bronx Morning.  Its in the connection between lunch break and zoo animals in Berlin.  The tempo and musicality of the non-narrative films play an important role also.  The human body has a tie to this pulse present through all motion films.   The music of motion seems most accessible in animations.  Symphonie Diagonal by Viking Eggling even has a sonata form.  Composition in Blue by Oskar Fischinger is probably my favorite films to view though it is simple and easy to figure out the stop frame methods of creating it, it made me happy to watch it. It is fun even border line cheesy when placed with the music but hey, what can you say its an opinion.  Colour Box by Len Lye with the paintings on film is  beautiful and intriguing I enjoyed its musical quality and nature even more with out the Beatles than with the arbitrary soundtrack.  I am continually reinforcing my love for the way that almost any kind of music can be played to a film and will sync up in coincidental ways and shape the entire viewing experience of the film.
    Narrative forms hold a special place in experimental films for me, my limited knowledge of experimental film begins with David Lynch which has nothing and everything to do with my interest in the matter.  The final place I am going to go is where I was left off,  with the film The Blood of The Poet by Jean Cocteau.  This to me had that same great narrative quality as Lynch where the actual story line is experimental in its self with artistic photography cast aside. If one were to just read the screenplay the overall arch would lead you into an alternate reality where the goal is the journey which has an ambiguous place in time and space where anything is possible and all the things that living on earth teaches are rendered worthless.   In my past this type of film is what I would seek out as experimental film and to a great extent it is my preference.   Narratives for some of the experimental films I have watched have not all had this element.  Some of them are labeled as experimental on the basis of how they are filmed or edited.  You could look at the film Life of an American Firefighter by Edwin Porter and easily see something that by today's standards seems cooky and strange or at least out of a Quentin Tarantino movie.  The Idea of space and time is altered here but not in as abstract of a way withing the story.  Here we have an example of a very basic scenario, a totally realistic occurrence.  But the way that it is shot holds the integrity of the space with more value than the integrity of time continuity.  First it is filmed from inside showing one side of the drama as if it were a stage play, and then it starts back at the beginning and shows itself from another view point outside the house.  I was immediately taken by this. Les Vampire by Louis Feuillade though presented as such didn't seem to have any experimental element it them at all.  My ability to decipher films out of context with the other normal films of their time severely stunts my ability to label anything that is not extremely obvious as a an experimental film.  There is just nothing to compare it too.

so...
What separates experimental film from traditional film?   In modern times where Hollywood has developed a cookie cutter example of what will make a film "good" where "good" is infinitely interchangeable with the word "marketable"  it is easy to pick out something that is different.  Ironically there really isn't any thing new going on its just a recycling of discoveries previously made through out the course of the century.  Fortunately, these lost experiments and the rediscovery and reuse attempting to expose a modern audience to a narrative of filming trick that isn't always used fits the vague definitions of experiment laid out at the beginning of this essay.  Some films are easy to watch some were more difficult, some seemed to meander about aimlessly.  Keep in mind I am not trying to offend any film.   I am mearly trying to find a definition to the combined idea labled with the name Experimental Film.  Aesthetics should not determine the expiremental nature of a film, but rather the composition should define the label.  One should ask what is it about this film that is unique or experimental in nature.  What has the director/ artist done outside of standard practices.  So in conclusion My definition falls most closely with the first definition of experiment, any action or process taken to discover something not yet known or to demonstrate something known.  Experimentation is not being the first to do something but to do something to open the mind.  perhaps?

Sunday, January 17, 2010

I have thoughts, I can write a Blog

sigh...
I just watched "Julie and Julia". It showed me something about continuity, which is often the cry of the masses, and indeed a mismatched gathering of self stimulation is in fact just that. Yet the overwhelming number of Blogs will testify to the value of self adoration and reaching out to strangers in this time of our civilization's evolution. Shall I share my perspective on the world? In time dear child, but first view this image Tripp Nestor. (I have heard the people like pictures)




Now, there is this ongoing debate about real art vs. digital art, another about real writers and throw away bloggers. Furthermore we have endless copyright issues, remixing of video and music. (by the way that picture you need permission to use that image) Yes we have worked our selves towards something, in a few hundred years they may explain the phenomenon. Will it be a modern Renaissance? What is going to be seen as the worth that comes out of this time of reckless freedom of expression? Is success to be measured by the number of google hits one has? Will those hits equate to ease of living, wealth or prosperity?

Who knows?

In the vaults of the future...

The proof will be in the pudding.

Tuesday, January 12, 2010

New Version of The Deadline in High Definition

To do it justice, Andres Salaff has released his CalArts animation "The Deadline" in high definition.  This is a excellent envisioning of a man coping with the difficulties of overbearing expectations. Ripping through time and taking a few twists and turns along the way. This film tackles tough issues like substance abuse and suicide. And Features a score by Blanton Ross