April 15, 2017

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Document (with expanded afterword in 'theoretical concerns and praxis' section) is posted at:

https://sites.google.com/a/hawaii.edu/journey/

M506 - Project Journey Map and Documentation

May 16, 2017

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January 15th posting: Winter Skype Crit

January 15, 2016


Skype Session 1/14/2016

Raphael Raphael

Gabriel Deerman

 

 

 

Gabriel and I had an effective Skype session.  While we lamented not being "part of the action" in NYC, we were able to have a focused,  intimate exchange about our work.
 
Gabriel's work:

We first examined Gabriel's work. Looking at his work, I noted how it seemed to combine the organic and the machine.  The selection we considered, with its  representational landscape and overlaid grid evokes the feeling of "reality" viewed through the prism-ed  eye of the machine, e.g., HAL  looking out the window on the sunny winter’s day. The work, with this combination, somehow always seems to carry a certain sense of loss and nostalgia, images of spaces and places that one can never quite touch, no matter how close one is.  At the same time, the juxtaposition of the organic and "machine" feel like a humanizing of technology; instead of  something simply mediating our experience with the "real" world, that somehow the image suggests the lenses share human desire, that it somehow wishes to share the feelings and experiences of the natural, of the sensual world.
 
This blend between nature and artifice continued to run through Gabriel's  second piece (untitled as provided). It offers a deceptively simple representational monochromatic landscape, overlaid with a structured white grid of  slightly uneven, clearly organic lines.  ​

 

The bulk of the "real estate"  of the approximately 5' x 7' painting is the water and sky. ​​Intermingled  with analysis of the painting, we talked a good bit about the ways in  which Gabriel's other professional demands structure his time for  working on his creative practice, as well as ways in which this  particular painting was saved by it. To accommodate a challenging  professional schedule, Gabriel developed a methodology for the piece  that allowed him to work on discrete micro-sessions at a time on it. The  resulting image, marked by contrast, gives a seemingly hyper-representational look with an impossible 'analog-ic' feeling form the grid laid  upon it.  I suggested that it felt as if the image was a treasured photo that some deliberate, perhaps neurotic soul had carefully and  methodically folded into triangles and carried in his breast pocket for  ages.  We brainstormed ways in which the image could be a platform for  explorations with organic "aging" of prints of the work, via for example  burns, water, folds, as well as creating 3-D shapes taking advantage of  the work's geometrical patterns. We also discussed ways in which analogies with cinematic montage might dialogue with a series of the piece.
 


Raphael's work:
 

 

With respect to my project, we focused on ideas related to my story  outline, specifically ways to explore the "loop" of the initial  childhood memory that, in this iteration of the work, will be used to  structure the narrative.  Gabriel made the useful suggestion that,  (inspired by his recent viewing of a Brian Eno documentary) that I might  explore ways to create corollary looping feedback expressions within the  soundscape of the work. That such aural spaces/events could turn out  unexpected, organic/’analog-ish’ results.
 
On a similar note, we  also spoke at length about the relationship between some of the intended  "psychedelic – like" experiences in the work and  mathematical/geometrical corollaries.  This connection is important especially because of the central character's "unnatural" obsession with  numbers and a belief system that sees/experiences all through  mathematical frameworks.

 

Some of the images that Gabriel provided me in feedback to my project (moire patterns that look as if they are close-up of a television screen) sparked the potential idea of having the central character having a compulsive "artistic" practice, such as close-ups of television screens and the resultant expressive morie patterns produced.  At the same time I have been hesitant to give the central character an expressive artistic practice for two reasons: 1)  Within the narrative  it would provide the central character obvious psychic release that  would provide solace for him, being able to express his otherwise in  communicable experience, consequently dampening a great deal of the present narrative tension; and 2) it could easily invite the audience to  re-frame the viewing of all non-representational,   non-realistic sequences that I place in the film as just projections of  the character’s work.  This could easily ‘de-fang’ any disorienting  elements of the film, and would be inconsistent with my attempt  to invite the viewer to experience the disorientation the character  himself might actually be experiencing, directly as possible.  Finally, with respect to considering the relationship between imaginary altered spaces and mathematical theory, Gabriel suggested I consider works associated with sacred geometry.

 

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