The frame started its history accompany with the image. It shifted its form from the spatial environment, virtual image, spatial object, and once again into the spatial and time-based environment.
In cinema, it is possible to speak message through the narrative or by actor’s line. The narrative consists of the movement of the shot and changing the scene, and linear timeline. In design, rhetoric leads a role as a speaking person. Meaning of the term rhetoric “the art of using language so as to persuade or influence others.” It could be a colour and a form which contains information about the speech. As soon as the move from concept to visible manifestation is made, and especially to a manifestation as highly organised as a timetable, then the means used become rhetorical. Another definition of rhetoric might be tried, the art of directed communication – directed, that is, both internally to organise the material communication and externally to persuade an audience. Moreover, rhetoric in design can be delivered by another form/medium. To persuade or influence, narrative and rhetoric are shifting the form ‘frame’ as a directed vision. As the frame guide the order of the image in the comic books or traditional Egyptian wall painting, it implies the order of the event and strengthens the message, as narrative and time does in the cinema frame.
Technologies open narratives and make the construction of navigatable and immersive narrative environment. Now, each frame does not shows fixed and decided narrative, but exchangeable and discovered. Now, not only viewers gaze moves, and subject in the narrative’s movement influence message. However, The movement of the UK’s government shows that the frame could make two separate stories into one. The frame in the Youtube channels applied cinematic language, for example, ‘cinema mode’.
The impact of the frame, I believe, is not only limited within the interface but also individual laptop screen. The narrative or rhetoric is already made to some degree and the user opens their device up. The physical frame is not playing a role as a spatial environment that configuring the image. Expanded physical frame space, such as multi-user, distributed, mobile, ubiquitous, wearable, mixed reality, increasingly broaden the range of experimental representation.
On the other hand, within the interface, which is controlled by system and operators offered imagery inhabited information spaces, ‘typical results are self-reflexive products where the ideological underpinnings of their commercial stratagems remain unchanged (Shaw, 2012)’. No matter how much new digital technologies seduced the user with an enhanced image, ‘they tend to promulgate reactionary paradigms of the cinematic experience and of societal engagement with new media (Shaw, 2012)’. This comment can be interpreted in a way that, this is the time to design language at interface should be studied toward a new type of the language.
The cinematic imaginary dominates screen world. However, the distortion of the experience derived by the physicality of the frame, the immateriality of the new media, and old design language is greatest ever before. The messages easily become perverse and misdelivered. The noise of the language widens the creativity of the imagery. However, we should wisely distinguish between noise and distortion.
Shaw, J., 2012. New-media art and the renewal of the cinematic imaginary. Technoetic Arts, 10(2), pp.173–177.
- Setting Takes too long time -> need to change to wire
- Window cabinet between the office offers the poor environment for projector -> technician(Mike) advised, real space at the Lethaby will have better light.
- the wire between the panels slightly disrupting the beauty.
1. SYMBOL – Causality – Moving Image
ver 4. test
2. INDEX – rules & laws – Frame
Conceived for Fabergé’s Easter storefront display, the 360-degree mapped 3D installation is based on the company’s pendent designs – which are 1/100th of the size of the 1.5m model – and incorporates an interactive touchscreen element to showcase the detail of the jewellery.
3. ICON – resemblance – Bubble
Oil Spill – OEFNER
The physic of the bubble collapsing
Thin-film interference – Wikipedia
3D Alcubierre warp bubble collapse – YouTube
Shocking Bubbles – YouTube
Mach 3 Bubble Shockwaves – YouTube
대한민국 1등 과학브랜드, 동아사이언스
Surface Evolver Examples
5. Plateau’s laws
Tutorial Video on 3D
Tip 114 – How to create soap bubbles in Cinema 4D Release 18 – YouTube
How to make a cool bubble in Cinema 4D | Tutorial – YouTube
CGI 3D Tutorials : How to Create Soap Bubbles in Cinema 4D – YouTube
Shock-Induced Bubble Implosion (Six Bubbles) – YouTube
Dytran – Bubble Collapse Simulation – YouTube
Screen-based sculpture and experimental artworks in the late 1960~1970s in which the cinematic process and the screen itself emerge as an object of investigation.
Viewing regimes are literally and figuratively put on display in these environments.
emotion -> sound -> sound -> visual
structure is not making but shifting.
Text is form of the sound
Image is form of the thing
– information / James Gleick
Schutz “cognitive style”
- a specific tension of consciousness
- epoché: suspension of doubt;
- working: projected & characterised by movement
- a specific form of experiencing ones’ self
- a specific form of sociality
- a specific form of time–perspection
Space & time are merely extremes of the contraction and dilation of a signal durée, or duration.
- frame ( matter movement) mobile cut
- shot (editing with montage shots )
- What does screen frame create / means?
- What we experience within the frame?
Perception is a tool for selection.
Light go spread into all direction
- consciousness of movement
- visual rhythms
is light is the primary medium?
–> projector is a medium?
- Intensity of light
- movement within a given space
- internal balance of time
Michael snow “shaping the main ingredient.”
Peter Kubelka “quick projection of light impulses.”
Whithin the hemispherical screen, the spectator himself is the frame of reference. The rectangular screenprovides an objective frame of reference both for “representational” and for “abstract” picture.
Shaw, J. and Weibel, P. (2003). Future Cinema: The cinematic imaginary after film. Cambridge, Mass.: MIT Press.
“Reality seen on the screen is the idea in the mind of the film-maker. Organ of lumination ends adn where it has its beginning.”
To sing images, like a luminous fish does in the dark depths of the ocean, not with a reflected but with one’s own light.
Shaw, J. and Weibel, P. (2003). Future Cinema: The cinematic imaginary after film. Cambridge, Mass.: MIT Press.
Death of books “gallery-based, projected-image art.”
Video art -> film, cinema based or art based until 1960
1. Experimental artist’s film
2. gallery-based projected-image
1970 in the USA, ‘structural film overlapped with experimental filmmaker; Michael Snow, Hollis Frampton. Artist-filmmaker; Richard Serra, Robert Morris, Yvonne Rainer.
P. Adams Sitney
- fixed-frame filming, unmoving or largely unmoving camera
- loop printing ( immediate repetition of shots )
- Re-photography from the screen
ex) Andy Warhol(1962-68)
Sitney’s definition combined a technique-based, formulation of a new aesthetic with the potential for a critique-based, avantgardist political programme for the film.
The UK -> Structural-materialist
#Peter Gidal ‘theory and definition of structural/materialist film’, studio ?International 190:978(Nov/Dec 1975). pp189-96
- rejection of narrative
New theory ‘screen/space’
Michael Snow: engage with play between the physical and an illusionist space of projection
Importance of surrealism
Gallery and space
The nuanced view of the museum as a space in flux. Constantly inflected by the other space to which it is related by the works on show within it, and by new viewing technologies and the unfamiliar habits of viewing which they bring.
The light Reflection = touching
Provisionality of vision. our presumed transparency of vision, in fact, the product of complex historical conditions and cultural formation
- The movement itself mimic the object.
It likes Deleuze mentioned in “becoming” sound mimicked bird singing and becoming the bird. Screen mimicking human’s physical movement and becoming human.
2. Mona Hatoum’s testimony
This work mimic the shape of the bodily organ shown in the circular form of the projected image. Suggests a chain of associations. How much moving image can break down the vision, through this journey, mimicking the big picture of the motion movement.
3. wink mimicking
4. technological diversity and concentrated material specificity. Attention to space & apparatus
5. Bill Viola
Vision of reality in which the form his art takes creates a ground for capturing the forces of nature.
How, through the optics of a moving-image recording technology, could he create a “vision of reality” absent of form.
I see that media techonologies not at odds with out inner selves, but in fact a reflection of it.
Bill Viola, “Presence & Absence: Vision and the Invisible in the Media age.” 2007
6. Bruce Nauman
Nayman’s concrete actions begged questions about the structure that functions beneath language, in advance of conscious thought. He sought to connect this philosophic inquiry to the physical world of direct experience.
“Creates situations and objects that demand extended concentration from the viewer.
Laptop Frame and Screen
Compare with cinema screen environment, the laptop doesn’t require and insist a dark and limited space. It is not aiming the space as “projected-image art” in the gallery.
You already had said what you would said
The thing is existed itself. On the other hand, when we perceive it, the thing itself is pictorial.
Perception is a means whereby libing images receive movements, and perception is always linked to action, for which reason all perception is sensori-motor, and instrument for translating an external movement via the senses into an ensuing motor action.
However, user and subject view are not separable, frame transforms the character’s view… A correlation between persepective –image and a camera–consicouness “subject” that transforms it.
Out of the three-dimensional relationship, and forward to four-dimensional relationship finally space can be a solid body.
Talking about how my childhood was or my experience was, now I feel that is just additional information about me. Many texts need a context to understand, but people don’t want to understand someone with context. It seems people think “Present” shows everything about that person. Maybe that is what they believe. At least, that was how I felt. Well, sometimes there is someone who can understand me without any explanation. When I across that person I feel free from any language. One hand, I doubt that will never happen, on the other my mind, I believe there could be someone I can be there without any language. And that is the one I should stay keep.
I have a reason why I obsess about the communication, why I crazy about the image. But I’ll skip that part. Because I don’t think someone cares about the reasons that much as much I did and I do to you.
There was and is one thing I keep saying about. “Neutral Design” or “Neutral Image”. I know it is not trendy in this era. Many people believe that we need to fight for our concept, for our ideology, for our belief. Without fighting for your possession, you are letting the other to take it. This is the one I never understand. First of all, I ideology is my soul, you can have yours but you will never change mine, even if you are dominating the whole world. It is not like possession or property that you can buy or change. You can influence it, but it is not because of you. I am the one who made a change.
When I was just started my MA course, and when I spoke out that I want to be neutral, people asked me that if I spoke out something that will never be neutral. I agree. I am a stubborn person. I will try to keep mine because it is “me”. But when I was saying I want to be “neutral”, I meant that I am prepared to accept there is another ideology. That is my “Neutral”. Neutral is not means whatever it is, you keep it gray, but it means you bear in your mind there is another way to see. As much you believe something, there should be someone equally believes the other thing.
Someone told me I am Utopianist. I don’t think so. I am not Utopianist, but I am actualist. I still don’t understand why some people don’t understand differences that two things. I believe we all different. If someone believes that we all can be united by something, I want to call s/he Utopianist.
Of course, I can’t deny that I met someone or sometimes I never can understand. If you know me, you will know when I say “thinking” means literally think fully. I still don’t get it. I want to get a clear answer. As much I desire of communication, I have a hunger about the clearness. It is contradictional speech, I know. Because I believe the diversity of the meaning of communication, then I am telling you I desire of definitiveness. One hand, I promoting “Neutral”, then the other hand, I am claiming the importance of determination. I think it is coming together. As I said above, to be neutral, you should be clear what position you are sitting. Individually, we should be clear about what is individual is, who I am. Only then, it is possible who are they, and who you are.
I am trying. Of course, I am not SAINT. I have a lot of drawbacks as you have. Quantity is not the matter, but the quality is positioning us. I don’t believe any of human-decided standard. I don’t believe any of standard. It is not standard but it is culture. Depend on time, it is changing.
Fuck. I have a lot of things wanted to say. I forgot. I forgot how to put here. Maybe it is time to say nothing.
I know it is a boring theme to talk. I am a boring person. Or my interest is boring. If it is boring it is not because of this topic, nothing wrong with this topic. It could I am talking in a very boring way.
What I wanted to say, that songs talked instead of me.
Deleuze, G. (1986). Cinema 1 – The Movement-Image. Minneapolis [Minn.]: University of Minnesota Press