Art Critic, Lucy Lippard said "in the visual arts say the media arts, artists were free to let there imaginations run rampant"
and as it happened, artists through out without doubting what the response would be went with it.
Walter Wright: Over lacing two corresponding footages created something a little more paradoxical then the orignal footages, in this case some clips from the japenese horror films and under-lacing it with looping optical animation creating something else keeping within the essence of the orignal film.
I can familiarise myself with this approach is because a couple of years back i saw this episode of "Southpark" animated R rated cartoons. And the whole idea of that episode was the mashup of two ingredients to experience something "larger then life" if you will, where students from a tv/filming/interviewing department used high amount of Cough syrup to hallucinate and come-up with idea's for there scheduled film screening, which obviously was a hit as everybody in the school was taking Cough Syrup to trip. So those swirls, and heavy patterns hit me right back to that episode and the idea of it was so catchy that i still love that cartoon show to bits. But to the point where Walter Wright uses heavy hypnotic patterns under the content of the film gives me a whole new experience.
Last Monday in our New Media Seminar class we saw some works of the early video artists and there were 2 in specific that ive had nightmares about.
1. Eugene Grayson
2. Gerald Byrele
1. Eugene Grayson, where he shot the film from a POV angle and was in continuous attempts to make his camera fly pretending it was an airplane.
It was a black and white film where he started from an insect point of view and accelerated the speed as the minutes lapsed the attempt grew harder, with his voice being in the recording requesting emergency landing even when the air-plane say the camera was not even 6 feet from the ground, judging from the trees in the forground shot. I just thought it was a poorly executed shot with his voice making it worse than it alreay was.
2. Gerald Byrele, where upto 10 minutes of taking binding/duck tapes of in diffrent shapes, surfaces, and angels. Where a viewer would try to like the video or so much as so the effort, the duration of the video puts any possible likable thoughts off in a way i actually thought i was stoned while watching this video and i did not have to pay any attention to it and thinking all the way through the video i knew what was going to happen next and i tried exciting myself, telling myself that there's going to be a sudden element of surprise in the video that's going to make it better, but knowing how impossible it actually was i could not care.
Though, as discussed in the class there were some very effective works that completely had me intrested. Like, Joan Johnson
where she recorded herself infront of the camera pointing her fingers to either side of her face and telling which side of the face it was, with the addition of mirror it just made it a little more intresting. and she re-recorded this while sitting infront of the T.V with this footage playing and played along the video touching the screen where-ever the part of the "This is my left/right side" was, i mean this added another layer to the whole web of thought and i wanted to see what she did next, had me curious.
Peter Campis was another artist that had me holding on to my thoughts the entire time, given the time the video was recorded and the way he played with the green-screen and he kept him-self as the target of his video's. The actions were very suttle, but the context of them took it to an entire new level. eg.
the shot began as a portrait shot looking himself in the mirror reflecting himself which he was holding in his hand, seconds later he torches the mirror like thing on fire and as-it-turns out it burns like a paper his own reflection. Now ive always been a big fan of the conceptual and psychological side of the personality and Peter Campis delivers a very intresting eye to it. Another video where he again started with a portrait shot and start's rubbing cream on his face, and as face cream is a symbol of beauty or hetrosexuality perhaps and as he rubs it on his face that particular part of the face erases and beneath it is another layer of himself but a little distant.
I personally really enjoy the concept of everything foremost then the product itself, but ofcourse one's incomplete without the other, the way Peter Campis targeted himself in the most calm way was quite an intresting way to look at it, usually when it comes to self targeting its usually related with violence and noise.
and as it happened, artists through out without doubting what the response would be went with it.
Walter Wright: Over lacing two corresponding footages created something a little more paradoxical then the orignal footages, in this case some clips from the japenese horror films and under-lacing it with looping optical animation creating something else keeping within the essence of the orignal film.
I can familiarise myself with this approach is because a couple of years back i saw this episode of "Southpark" animated R rated cartoons. And the whole idea of that episode was the mashup of two ingredients to experience something "larger then life" if you will, where students from a tv/filming/interviewing department used high amount of Cough syrup to hallucinate and come-up with idea's for there scheduled film screening, which obviously was a hit as everybody in the school was taking Cough Syrup to trip. So those swirls, and heavy patterns hit me right back to that episode and the idea of it was so catchy that i still love that cartoon show to bits. But to the point where Walter Wright uses heavy hypnotic patterns under the content of the film gives me a whole new experience.
Last Monday in our New Media Seminar class we saw some works of the early video artists and there were 2 in specific that ive had nightmares about.
1. Eugene Grayson
2. Gerald Byrele
1. Eugene Grayson, where he shot the film from a POV angle and was in continuous attempts to make his camera fly pretending it was an airplane.
It was a black and white film where he started from an insect point of view and accelerated the speed as the minutes lapsed the attempt grew harder, with his voice being in the recording requesting emergency landing even when the air-plane say the camera was not even 6 feet from the ground, judging from the trees in the forground shot. I just thought it was a poorly executed shot with his voice making it worse than it alreay was.
2. Gerald Byrele, where upto 10 minutes of taking binding/duck tapes of in diffrent shapes, surfaces, and angels. Where a viewer would try to like the video or so much as so the effort, the duration of the video puts any possible likable thoughts off in a way i actually thought i was stoned while watching this video and i did not have to pay any attention to it and thinking all the way through the video i knew what was going to happen next and i tried exciting myself, telling myself that there's going to be a sudden element of surprise in the video that's going to make it better, but knowing how impossible it actually was i could not care.
Though, as discussed in the class there were some very effective works that completely had me intrested. Like, Joan Johnson
where she recorded herself infront of the camera pointing her fingers to either side of her face and telling which side of the face it was, with the addition of mirror it just made it a little more intresting. and she re-recorded this while sitting infront of the T.V with this footage playing and played along the video touching the screen where-ever the part of the "This is my left/right side" was, i mean this added another layer to the whole web of thought and i wanted to see what she did next, had me curious.
Peter Campis was another artist that had me holding on to my thoughts the entire time, given the time the video was recorded and the way he played with the green-screen and he kept him-self as the target of his video's. The actions were very suttle, but the context of them took it to an entire new level. eg.
the shot began as a portrait shot looking himself in the mirror reflecting himself which he was holding in his hand, seconds later he torches the mirror like thing on fire and as-it-turns out it burns like a paper his own reflection. Now ive always been a big fan of the conceptual and psychological side of the personality and Peter Campis delivers a very intresting eye to it. Another video where he again started with a portrait shot and start's rubbing cream on his face, and as face cream is a symbol of beauty or hetrosexuality perhaps and as he rubs it on his face that particular part of the face erases and beneath it is another layer of himself but a little distant.
I personally really enjoy the concept of everything foremost then the product itself, but ofcourse one's incomplete without the other, the way Peter Campis targeted himself in the most calm way was quite an intresting way to look at it, usually when it comes to self targeting its usually related with violence and noise.
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