Week 2 Seminar

Using fast color corrector and three way color tool i can adjust the entire scene of each emotion into a particular color filter and preset to present each individual look differently and be able to adapt various style of film and contribution.


Come to class ready to discuss your project's progress. To do this, make sure you have taken the time to make a note of:

• challenges this week 
• particularly hard to film on the streets as it is hard to be stable with very strong wind, have to develop ways to stabilise film in after effects, through using wrap stabilisation in after effects. 
• learn to use kinetic typography, choosing appropriate style for each individual scene
• Particularly hard to find appropriate style and colour to isolate particular aesthetics for each individual scene and emotion

• successes this week
• Found ways of editing that can easily manipulate the texture of the video, and develop ways of transition, and synergy between the two screen using continuity editing, which aims to create five emotion. With this installation that tries to portray each with a different and unique style inspired by different eras of style and film genres
• For instance use of iPhone footage that is hand held and is shaky in some ways shows the human eyes view and the unstable mind, constant worry and nervousness that shows how people that lives in urban cities can be particularly hard to focus on subjects and is unfocused while walking, as one is not aware of its surroundings. 
• how these affect your progress toward the final completion
• This research contributes to the entire piece of work, as to create a unique and varying style with multiple perspective of space and time.
• development of kinetic typography that ties each scene together through words that correspond to each individual topic to spark ideas and reflection towards audience decisions of living in an urban city.
• the portrayal of human conscious through both films show in a dual screen format suggest by my tutor is particularly useful as it is much easier to view online, when there is not an exhibition that is held to display work. helps develop my final ways of displaying the film. 

Kinetic typography use of subtitles and words to connect the screen together that ties the two screen together, in order to provide the spectator a continuous flow of emotion that goes up and down.

use of kinetic typography to put many of the words related to each theme and scene to create synergy between two screen using words combined with a corresponding sound track that manipulates the audience conscious through the imagery provided and correlation towards each theme and critic of capitalism, through individual identity.

week 4

• challenges this week 
• Particularly hard to focus and to narrow down the scene in to clear narrative, and show how the use of power is portray through constant manipulation. 
• successes this week

• develop effects and imagery for second screen 
• how these affect your progress toward the final completion
• this contributes to the second screen and its all five colours 
• research on editing, and films jump cut and transitions from earlier films from George Melies, to Jean Luc Godard. 

i developed the iris pattern through an aftereffects tutorial on youtube, 

it showed ideas for me to create the pattern through using fractal noise, sphere, and to incorporate other effects. 

 

as well as using different layering techniques that puts the video in to incorporate layers, as well as experimenting the hue and saturation of the clips to manipulate and try to create a feeling of depression. 

Through portraying traveling showing everyday life, though constant time running, it can show that time can be subjective especially when you are traveling alone.  The use of jump cut inspired by Jean luc godard and earlier pioneer of film like George Melies, which in operates jump cut as part of its illusion, as his background as a magician. His use of jump cut was used as a way to create illusion, it became an essential part of film as it provides transition and effects that manipulated the audience perception. However, later continuous editing appear where cuts were mostly hidden to create a illusion of constant motion with out any temporal disruption of time. In french new wave Jean Luc Godard uses this to particularly show the transition of time, and how time is experience subjectivity in everyday life. It was operated to show manipulation of time, imitating the blink of the eye, metaphors how time can shift in a blink of an eye that often memories are pieces we put together, and is fractured. 

No doubt, you are familiar with the "jump cut," even if you didn't know its name. Simply put, a jump cut is, "an abrupt transition, typically in a sequential clip that makes the subject appear to jump from one spot to the other, without continuity." Continuity in film and video is really an illusion, just like the essential mechanism behind film (i.e., a series of still pictures, projected at 24 frames per second to give the sensation of continual and life-like movement.) At the birth of cinema, most films were composed of one shot, and were essentially documentary, showing real life events. Some of the first examples of jump cuts occurred in the work of French magician and filmmaker Georges Méliès, who is credited as the "father of the jump cut," which he discovered by accident and first used as a special effect in his 1896 film, The Vanishing Lady. 

discuss with class mate some of my intentions and goal

use of material to categorise footage
may clips of one narrative pairing with another
tutor suggested to narrow down the emotions from six to five as 'Joy' cant be felt as a portrayal of a critic of capitalism.
therefore the anger, annoyed, excited, sad, and inspired were left.
furthermore Tutor also suggest to display the film final as a dual screen perspective which clearly shows the two screen side by side in order to have audience experience both screen while not viewed in an installation. 

i showed some of my footage from the second scene sad part combined with the second screen  but the narrative does not illustrate enough of my purpose as the story is loosely based off on an emotion and the ideas each colour and emotion represent. as feeling are felt subjectively that we share objectively in reality.

week 7

This is the creative common license
that allows me to use some of the archive footage found on vimeo, and non license video stock footage from various different mie

week 5 seminar and lecture

Lecture 

Nadija Mustapic

Do I Love My Job?

this project is a video installation containing two screen one with color and words 

installation with three channels

unify yourself with protecting yourself

historic neccesetesty death how it started to artist

to inevitable unity destruction from with in 

military site 

bugkar 

hikers picnicshow the landscape of a countious 360loop

goes up at the back door of the bugkar illusion frame in frame projection looks like the viewer is in the atmosphere 

would you tell just one lie just to be safe 

my enemy might be you what have our fears become 

to ensure our safety each and everyday

kids voice no this no that

identity of city industrial to metro or urban city try to capture that internationality or globalisation

how similarities of humans
The artist 360 video that turns from left to right continuously which does not have sound, forces audience to focus on details of the scene, and to almost feel like standing inside the real space, as the sound and visual imagery creates something unique that makes the audience perception of place and time constantly shifting. It mimics the eyes of a human being and movement, through the slow 360 panning. 

1/28
Minuta šutnje / Moment of Silence multi-channel video/sound installation by Nadija Mustapić and Toni Meštrović 5 video channels (HD 1080p, 16:9, PAL, color, 25fps) 8 audio channels (PCM 7.1 surround, 48 kHz, 16 bit) duration: loop 3 x 43'15'', 1 x 40'' 1 x 116' Exhibition: May 10th – 25th, 2013 - Mali Salon Gallery, Rijeka, organized by the Museum of Modern and Contemporary Art Rijeka, Croatia
download catalogue	play video documentation
Moment of Silence is a co-authored project by two video artists from Rijeka and Split - Nadija Mustapić and Toni Meštrović. It was produced in the period from 2012 to 2013 at 3. Maj shipyard in Rijeka and Brodosplit shipyard in Split, in cooperation with the shipyard workers. The audio and video material from Split and Rijeka shipyard locations have been edited into a multi-channel installation, which is organized through eight audio and five video channels (three synchronous and two independent) to fill the entire gallery space. Unlike the classical documentary approach, the video sequences in Moment of Silence do not aim to illustrate ship-building phases nor do they intend to portray individual workers who are involved the building processes. Rather, they aim to convey sheer aesthetics of the industrial spaces and processes into an immersive sensory experience (smells, weight, tactility, sounds, tension, danger..). Rhythmic sequencing of editing and the exchange of subjective and objective film frames lure the viewer deeper into the work processes. The focus is placed on specific values of work processes in the shipyards, on the knowledge and skills that define the labor and the laborers. Moment of Silence shows how individual values are translated into local tradition and production and how they relate with national and global economies. Behind the current economic and political issue of the privatization of both shipyards and the end of the ship-industry tradition in Croatia, there is a socially marginalized intensive labor to which the shipyard workers are exposed to within the industry's processes. For that reason, workers are placed in the foreground of this piece - their movement that shapes the space, their gestures and actions. The installation's intent is to gear the attention towards specific skills and individual efforts, which compound an entire tradition, but which are overlooked and omitted from the context of a wider public discourse on the fate of shipyard industry in Croatia. The leading thread of this project is suggested by its very title. It implicates the fragility of identity, the existential and economic uncertainty and the post-transitional anxiety, and reflects the situation that equally permeates local and global contexts. One video projection shows close-up video portraits of workers, who one by one stare silently for one minute at the camera lens, i.e., at the viewer, i.e., at the opposite projection. The video on the opposite wall shows a slowed-down image of ship-launching, which, considering the current condition of Croatian shipyard industry, contains a whole new layer of meaning. Production specifications: Authorship: Nadija Mustapić, Toni Meštrović Editing: Nadija Mustapić Camera: Toni Meštrović, Nadija Mustapić Surround Sound Editing: Toni Meštrović Production of the piece was cofinanced by: Ministry of Culture, Republic of Croatia; City of Rijeka Department of Culture

1/13
“Evacuation Plan” 17.1 ch ambisonic 3D site-specific sound composition, MKC Gallery, Split, October 26th - November 5th, 2016 18 audio channels in 3 layers (PCM 17.1 ambisonic surround, 48 kHz, 24 bit), 30'00'', 2016 Samples for composition made with SuperCollider software instrument built by Hannes Hölzl
download catalogue
Evacuation plan renders a sound document of Tijat ferry, through the synchronized 18 channels, portraying it as an acoustic object or an instrument. The production of this work includes the recording of the ship's sounds, the realization of an ambisonic 3D composition in the studio, where only fragments of the composition have been prepared in advance, and the development of the final performance of this composition as a site-specific, 17.1 channel ambisonic 3D sound composition. In this process, the space of the MKC gallery is being transformed into an acoustic object of the ferry, one of the last of this kind on the Adriatic Sea. The project is realized with the support of: The Ministry of Culture of the Republic of Croatia The City of Split, the Department for Culture, Art and Historic Town Center The City of Rijeka, the City Department of Culture

This week of the most challenging part was to organise footage, and to find enough stock footage online that incorporate my emotion of control over education, that it is constantly limiting ideas that one can't learn through traditional education system, Only through kinetic learning, sonic, or various ways of learning and through ways of creating one can develop it own ways of studying and learning with out a 'teacher' or a standard way of creating and with out boundaries and rules that are set by the society morals. That there is not a particular way to learn or to create. The scene inspired (challenges education) implies human pure and simple desires and its implication to the world how certainly silent emotions are worked through its art and desires. Some metaphors includes water dropping which can show how one thought can inspire thousands and influence entire change of perspectives. As well as light and shadows that symbolise contradiction in our very own self and the societies laws and rules, nature flowers that shows cycles of life, which is all very basic forms of reproduction of life and learning. The use of black and white also particularly shows how things are clearly demonstrated or shown through its imperfection and that life sometimes is not full of colours but fill with disappointment and decisions that are once made and can not be taken back. 

This contributes to the final results as one of the scene, that portrayals how education has not evolved as one of topics of critic of capitalism, and how fragile is its system of education. This contributes to the situation of the lack of development through years of education. this contributes to the second last scene of the installation. 

week 3 lecture

Week 3 lecture 21 2 2016

Photography

Australia photography serious

Street photographer

Expression

Walking around

Sense of echoing

Finding similarities migrating

Literature

Pre

Coles

Perel

Its relationship with history unsettle

Urbanf rabic of the place

End of the line where he lived

Nobodys out

Haven’t got a car

Too hot

Color yellow blue

Aboriginal heritage

Yellow patch further in the city

After austrlia

To I love china 2008

Buildings shadows

Control on media and places for photos

Un canny

Candid situation

Dis populated feeling

Dystopia

Theme park

Public spaces

Wires at night

Cleaning up of older parts of characteristic bad neighbourhood

The cable and wires were left behind tells story or connection

Communication between between people shows the control over freedom of speech

100 flowers

1956 mao

letting 100 flowers blossom to get socialist ideologies, cultural revolution, Olympics

flowers put in the flwoers all over the city

 over china at Beijing range finder

wow all got redone due to hot weather

the anatomy of business

melbourue archive photography city collection

failed fianicaial news sydeney 80s archive brought fair fax news

photographers stole archive market try to sell it

pointing maps buttons flow diagram

encyclopedia similar idea or with a different  news photography

hiding meaning

doing jobs 

put two images together

author and iamge valid

publication

news paper

naked city winges new photographer

publication figure prints

dust hair

archive portrait headshot hair style

screen print

two different clarity to the same

the small conflict archive

drum scanning

object to match to

archive of

crack paintjobs

super market humans construction

un done paint jobs

logic of repetition of emergency aseembly point

ruption repair

rupture

hyper reality

absence of something

a hole 

sign of a struggle

overlapping stories

too busy

city

digital wunderkukala

entiching

enching collection of art and objects

programmatic

allegory idea of star fish in the ocean

101 john smith

2009 dictionary of masculinity

lost and found

download poster personal setting to a public setting

poetry the data for the lost pet or person

location map with the photo archive of the lost and found

a exhibition a box museum

the wall

black out

screen printing

micro film picture garant function a collection of photos with

Degraded over time silver negative scan to news paper scanned back lost of images

meaning but the details is lost aesthetic twist the way we related

rescan

Week 2 Lecture

Week 2 final project  lecture

Adrian goyoolea film maker

Experimental 8mm

Multimedia installations

Documentary

And narrative

Anothology film archives art house cinema theatre experimental film museum

Jonas mekas film maker

60s- 80s catalyst new American cinema movement post war

journalist villager voice film critic

programmer screening event organizer

jerone hill funded he museum

volunteer while at sva

taking

film publicy film kck starter

stom sogo

lee elikson bruce mcclure

alex mendizable mau

funk taxi visuals

the foorts flat investiable film fevestical

the chemical brothers

dj sportify

image rash life size museo del barrio television in taxi sample of work

getting the taxi in theplace sledge hammer the sound track smashing noise became the sound effect

personal effects 2010 queer experimentakl film and video fevestial

spae does not exist space feel ouched by going in again

chilli 1979 copper mine digging under the group for copper and dead bodies recreate

memories of a blind father

vision memory materiality of film

experiemental films

scientific books vision blindness memory

theory relates to art capitalism

formal qualities interested in exploring my film

carried out months of formal experimentation with my single frame technique

sourced home movie footage to rephotograph

Robert rouscheberg

Sigmar polke

Stan brakhage

Ken Jacobs bruce baille

Michael snow

Collaborate sound artist

Snap shots of recording of everyday little ones sample

Photograph sound

Woshing sound of multiple sound track with different pace and time

Rather than black space

With film

Visual memories being lost

Pop cultural iconography

Inspired by Adrian's still life video, which is created by multiple photographs sycronized together and fade in and out in to create this smoothing experience.

This one is similar to the use of photographs seen in Adrian use of layering photographs fading in and out

Week 1

Interactive installation
installation is to create space that is site specific, boundaries of installation are endless range from indoor, to outdoor
temporirary, and permennant why?
interactive art where involves audience or spectator to achieve its purpose sometimes requires audience to be part of the work, some work with textual and visual information from outside, some times audience can influence the duration of a performence
some other interactive artworks are considered s immersive as the quality of interaction involve all the spectrum of surrounding stimuli.

my work involves two opposite screen that lead audience in to an immersive expereince drawn to react to the video and sound which is the most basic level, with in your movement and through choice one can only see one side of the screen and can be bound by its reaction to the screen, our subjective view of the screen can explicitly create emotion, and audience could puzzle up the memories that we all commonly share with in living in an urban context.
the Sound bed of the installation ties the environment/ space together, almost like a universal language, as we often find difference in what we see and observe, often it is easier to identity similarities in sounds, rather than the use of visual creating all the memories and pieces in to the spectator. Sonic information can be more universal and can evoke feelings and reaction that are more coherent between the various audience.

sound can become the use of constructive, destructive, can easily manipulate the audience senses with sound, often audience can feel vibrations and sense of touch through various low to high end frequency which is often felt through your ears or body, rather than to actually listening to it.
some of the examples of music that utilise this kind of effects particular is submission orchestra, massive attack, tricky and many more.

define meaning
this installation aims to create something that would interact with the audience everyday experience in urban daily life with in context of five emotions, annoyed, depressed, rage, inspired or clear, information overload, these are everyday experience that tie crucially to our weekly routine.
starting from a depressing first day slowly, become depressed, rage in the middle of the week, feelings slightly inspired almost to the weekend, at night after weekend we feel overload of information and purposely lose track of our purpose once again to feel depressed again.

the purpose of the installation could mean to create a mirror for the audience to reflect on their own lives through this immersive experience, almost like an out of body experience where you go in to your very own conscious or "brain" that however, is uncontrollable at times. under this controllable environment the audience can participate in an feeling of collective consciousness through the installation.

in an increasing number of cases n installation can be defined as responsive environment, especially those created by architects and designers. by contrast, generative art, which may be interactive which may be interactive, but not responsive per person, tends to be more or less a monologue.
the artwork may change or evolve in the presence of the viewer, however viewer may not be invited to engage in the reaction but merely enjoys it.

This is the current trend of the interaction pieces, however, due to lack of conversation and how
often in interactive installation the specificity of interactivity comes from the quality of proposed situations and the others involvement in the process of sense making.  nevertheless, computers and real time computing made the task easier and opened the field of virtuality the potential emergence of unexpected (although possibly pre-written) futures - to contemporary arts.
some of the earliest examples of interactive act were created as early as the 1920s. an example

the present idea of interactive art began to flourish 'more in the 1960s for partly political reason'
at the time, many people found it inappropriate for artist to carry the only creative power within their works.
aside from the political view it was also current wisdom that interaction and engagement had a positive part to play with in the creative process.

own taxonomy