A studio art course taught by Amber Frid-Jimenez on the use of computational methods and techniques to produce critical art projects about society and culture.
The descent into the unknowable and the traces left upon return.
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on Wednesday, February 18th, 2009 at 12:18 pm and is filed under Assignments.
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This piece is very successful in portraying “the descent into the unknowable.” The viewer is taken on an adventure with your use of powerful images such as the strange sea creatures and the water well. The gothic architecture adds to the eerie mood and setting. Overall, the soundtrack fits well, however, some of the sounds are quite irritating (around 35 seconds). Maybe the choice of these sounds relates to the concept?
Overall, this piece works well and is very interesting to watch.
I was struck straight away by the way you mixed media in your collage, and I really like the way you brought this into your stop motion. As the watcher I feel like I’m being lead around some creepy, unknown world, which is I think what you intended. I’m not so certain about some of the sound effects as I think that at times they draw one out of mood. An example of this is the bubbles – I think they’re a great accompaniment to all the circles when taken out of context, however they don’t really fit the mood of your piece.
The animation of this film by itself (with no sound) is very powerful and has a lot of rich visual elements. I think the sound made this piece even stronger by adding a feeling of chaos at some points and by accentuating the aquatic atmosphere. Like others have mentioned, at some parts of the movie the sound is not as accurate and as representative of the imagery as it could be but I think the overall presentation is successful.
Perhaps in my opinion one of the strongest films, your stop motion impressed me from the first viewing. One of many reasons for this is that your stop motion, take the swimming bug for example, appears not to be created from single fragmented pictures but instead lives as an actual moving animation. The time, effort, creativity and skillfulness that this film took is very respectable.
When you added sound I at first was not convinced that you needed it. However, after your explanation of how you produced the varying elements I was again awestruck at your ingenuity and imagination.
I personally feel sometimes when adjustments are made in the editing process certain elements of “un-planned-ness” seem to disappear. When I first heard your sound I was afraid this might be the case. However now, after viewing your final version on the web and the changes that you have made with the sound and the video, I think your piece is even stronger than your earlier versions.
Diana, the sounds that comes in at 35 seconds its irritating, I agree, but it is supposed to be. I wanted to show a rupture that occurs when the attempt is made to pinpoint the unknowable. That is why the sound comes in during what I consider the climax of the underwater part (also why the switching fossils are removed from the background).
Rhianna and Daniel, I kind of agree with you about the popping sounds. Conceptually, the fact that they are a little lighter in tone made sense to me because the point when their popping gets distorted is the actual point of descent. Overall though, I think you may be right in that the piece would be stronger with something more fitting in its place.
Lissa, Thanks! I know what you mean about the loss of spontaneity. Honestly I think I like the piece better silent myself.
February 24th, 2009 at 3:58 pm
This piece is very successful in portraying “the descent into the unknowable.” The viewer is taken on an adventure with your use of powerful images such as the strange sea creatures and the water well. The gothic architecture adds to the eerie mood and setting. Overall, the soundtrack fits well, however, some of the sounds are quite irritating (around 35 seconds). Maybe the choice of these sounds relates to the concept?
Overall, this piece works well and is very interesting to watch.
February 24th, 2009 at 5:55 pm
Michael,
I was struck straight away by the way you mixed media in your collage, and I really like the way you brought this into your stop motion. As the watcher I feel like I’m being lead around some creepy, unknown world, which is I think what you intended. I’m not so certain about some of the sound effects as I think that at times they draw one out of mood. An example of this is the bubbles – I think they’re a great accompaniment to all the circles when taken out of context, however they don’t really fit the mood of your piece.
Rhianna
February 25th, 2009 at 6:34 am
Michael,
The animation of this film by itself (with no sound) is very powerful and has a lot of rich visual elements. I think the sound made this piece even stronger by adding a feeling of chaos at some points and by accentuating the aquatic atmosphere. Like others have mentioned, at some parts of the movie the sound is not as accurate and as representative of the imagery as it could be but I think the overall presentation is successful.
February 25th, 2009 at 7:45 am
Perhaps in my opinion one of the strongest films, your stop motion impressed me from the first viewing. One of many reasons for this is that your stop motion, take the swimming bug for example, appears not to be created from single fragmented pictures but instead lives as an actual moving animation. The time, effort, creativity and skillfulness that this film took is very respectable.
When you added sound I at first was not convinced that you needed it. However, after your explanation of how you produced the varying elements I was again awestruck at your ingenuity and imagination.
I personally feel sometimes when adjustments are made in the editing process certain elements of “un-planned-ness” seem to disappear. When I first heard your sound I was afraid this might be the case. However now, after viewing your final version on the web and the changes that you have made with the sound and the video, I think your piece is even stronger than your earlier versions.
Very impressive.
February 25th, 2009 at 11:27 am
Thanks for the comments everyone!
Diana, the sounds that comes in at 35 seconds its irritating, I agree, but it is supposed to be. I wanted to show a rupture that occurs when the attempt is made to pinpoint the unknowable. That is why the sound comes in during what I consider the climax of the underwater part (also why the switching fossils are removed from the background).
Rhianna and Daniel, I kind of agree with you about the popping sounds. Conceptually, the fact that they are a little lighter in tone made sense to me because the point when their popping gets distorted is the actual point of descent. Overall though, I think you may be right in that the piece would be stronger with something more fitting in its place.
Lissa, Thanks! I know what you mean about the loss of spontaneity. Honestly I think I like the piece better silent myself.