夏の日．．．
寂しい時、夏休みの日をよく思い出します．．．みんなは今何をしていますか？何を考えていますか？私のことを忘れましたかな．．．コランビアでストレスがたくさんある時、アートセンターのリラックスした雰囲気を思い出しまします。みんなはいつものんびりと作品を作って、私はももっと丁寧にことをやるようになりました。
さちこさん
彼女はたのぽぽの家の最初のメーンバさんです。時々私はさちこさんのアートサポートをして、彼女の作品がとてもきれいと思いました。さちこさんは自分の特別なスタイルを持ているでしょう。
アトリエで、樹里さん
樹里さんが集めた薬を飲んだ後の殻
誰かが「これは殻だけじゃなくて、樹里さんが集めたのはみんなの共同の思い出、みんなの病気史とういうことだよ｣と言いました。おもしろいよね．．．
樹里さんの書法
手織りの部屋
陶芸室の厄除鬼
象の踊り！
千愛ちゃんとゆうくん
ゆくんを描いた絵
何でも創作Workshop
待っていた．．．
so i guess this is the end
site is up and running, as done as it’ll ever be i guess, for now 
wanted to add links to everyone’s sites but didn’t manage to do that.
hope you guys have great summers
Reactive Surfaces Project
Our project is going to be a series of photographs that focus on steet vendors street art, including graffiti and murals, all around the city. By choosing these two aspects of New York city, we aimed to show how the flauner views New York. Because as tourists, we tend to notice small details and objects that we believe the average New Yorker doesn’t appreciate or tends to overlook since they see them everyday. In New York, everyone seems so busy and is always moving, and they don’t seem to stop to appreciate the details of street life.
We began by going up to Harlem, and we intend to go to at least four of the boroughs to take various shots of things around the city. For now we have focused on street vendors and graffiti but the project might expand from there to include other things. What we hope to accomplish is to have an abstract visual interface for the web user to explore our collages of digital stills. We would want the viewer to be able to interact and manipulate their online “cityscape”.
When we build our still collages we are going to put images of the same things together, and we hope to create a strong visual statement by doing so, stressing the differences and the similarities of everyday parts of the city experience.(see troyland.com for an example)
We plan to use flash for our main interface (see the 0070 Osaka backissue on k10k.net) but Amy said it might be hard to accomplish what the Osaka example showed since it required pretty advanced action script. She advised us to go to kirupa.com and look for the action script to make a rolling stage, which we will use for the main page to navigate to each collage of images.
Website comps (final versions to come later!)
Here are the links to the website comps i made in class. i’ve been in the lab from after class till closing time, so the final versions will come later
websites
i got excited today about developing our sites and making comps. I’ve spent a lot of time before just messing around on my computer making comps and designs but done of them have really made it to the web for an extended period of time. I’ve also spent much more time working with graphics in print, and I have trouble incorporating the ‘interactive’ aspect into it. Dana, here are some graphics i was telling you about today, maybe you could take a look to see what i mean. I’d be glad for any advice about incorporating these into a site.
comps:
bluebuses.jpg
orangebuildings.jpg
graphics
anotherlove1.jpg
anotherlove2.jpg
anotherlove3.jpg
lovehole.jpg
shoes.jpg
American Museum of the Moving Image v2.
sorry for the crappy last post. here is last night’s homework again
My favorite part of the museum was definitely the sculpture by George Barsamian of the dripping faucets and outstretched arms in the room with the strobelight! it was very cool, and i’ve never seen anything like it before. i think it was o appealing because i’m used to seeing animation done on a screen. And in digital format an animation exists as something you can see but can’t touch. So while digital animation doesn’t exist in space, the sculpture did.
Probably the thing i found most interesting was the 8 minute video by Weta Digital on the work that they did for the new King Kong movie. The film described how they built one movie set, a broad avenue and intersection with low buildings, but used it effectively in two dramatically different scenes. In the first scene the set was used as it was built, and in the second they built up the buildings from the ground up to recreate a scene of times square. The bare bones of the set, and the layout were exactly the same, but after the digital manipulation you can barely tell. I’m always impressed by just how much is made in movies using digital manipulation, and that in this class we’ve barely scratched the surface of all that computers can do. They also showed a digital sequence of how they were able to do an aerial shot of new york city, and i don’t know how it does it, but the program is able to mimic the way sunlight falls on the city, depending on the time of day, and the way the clouds move. its incredible.
I also learned a little about the use of green screens and matting in commercials and movies. i was first introduced to that concept in the making-of documentary of the first Matrix movie. Its pretty similar to what we do in photoshop with masking.
The thing that struck me most was again the detail and attention that goes into movie production. sometime it just makes you wonder if there isn’t some easier way to do it? In taxi driver for example, i always thought Robert De Neiro shaved his head to get his mohawk, but turns out they made a wig for him to wear that attached to his head through this latex-type stuff that looked like skin. i felt a little cheated.
4 Minute Video Presentation
Our idea started when Susana wondered aloud how our perspectives of New York City would differ since the three of us came from different countries. Maria is from Spain, Susana lives in New York but is originally from Taiwan and Wei-Ling is fromSingapore. Our different cultures and circumstances would invariably lead to different views of New York City. For our video each of us will film a specific area or thing about the city that we like, or that is especially important to us, so that at the end of filming we will have three different sets of footage. Our video will consist of music with voice-over, somewhat similar to the Jem Cohen video. While each persons´ video footage is showing, their voice-over will be played first, followed by the thoughts of the rest of the group after viewing that footage. We will bring each other to see and experience the parts of New York that we like, and we will view each others´ videos throughout the entire process, so that we can share our perspectives with each other. What we hope to create is a dialogue, an exchange of thoughts between the three of us through video.
Since Susana lives in NYC already, she wants to capture peoples´ suffrage in her neighbourhood. She also wants to capture the environment that she lives in so her partners from foreign countries will see how an immigrant’s live is. The place that she will film will be in the supermarket, under the bridge, sea port, and tenement in New York.
Wei-Ling wants to capture the sense of ´´homelessness´´ she feels in New York City, of not really having a home to return to after everyday of class, of constantly wandering around, of having to go out into the throngs of people just to buy a bottle of water or some tissue paper. She wants to film the open spaces in New York City, the ´havens´ and quiet places, Central Park, Coney Island, and the Brooklyn Botanical Gardens.
Maria wants to record footage in Washington Square Park. She has gone there nearly every night, she has met homeless people, she has been sitting there for hours listening to the bands and watching people walk. She would like to express how she first felt in New York by telling her stories from the park. She was very scared at first of being alone in a park were there were a lot of drugs around and many drunk people, but she met some people and started to feel safe around them. This is what she felt when she came to New York.
We currently have two cameras checked out, a one chip and a three chip camera, so shooting can take place simultaneously. On Monday, Maria and Wei-Ling will follow Susana to Chinatown. While Susana is shooting her footage, Maria and Wei-Ling will follow her to get a feel for the place, and to collect thoughts and ideas. We have also checked out a lavalier mike, so we can talk as we walk and collect footage. The sound can be edited and recorded later in the lab. On Tuesday and Wednesday we will follow Maria and Wei-Ling respectively. So our concept is pretty concrete, but the process itself can be organic.
Hollywood Sound
• How does music seduce the audience and change the meaning of a film? • What role does sound play in remembering a picture? Give an example from the film or from your own memory • What material were composers given in order to compose the score? How did this process take place? • How did the Music Editor “spot” the picture? What is the difference between a ’streamer’ and a ‘punch’ and how did they help the conductor to create the musical score?
In Hollywood Sound it is suggested that music can seduce anyone on an almost subliminal level, the audience can be convinced of something through music. In a particular scene, the music can help to set the mood, to create a sense of tension, happiness, sadness, anger, anxiety, desparation. Music can be linked to a specific image or set of images, and when you hear the music, you remember the associated image. In a more direct way, music helps us to communicate what the character is thinking and feeling without them having to actually say it. The example they give in the movie is during the film Laura, when the detective is looking at a portrait of a lady hanging on the wall, and while he isn’t saying anything, the music communicates to the audience that he is actually falling in love with her.
In terms of what role sound helps to play in remembering a picture, there are very obvious but good examples, such as Star Wars, or James Bond. As soon as you hear the soundtrack to the film, without seeing the images themselves, you are immediately reminded of the movie. I guess that is the sign of a susccesful soundtrack, the music doesn’t and cannot exist on its own, because its existence is intertwined so perfectly with the movie itself.
For me, good music can really enhance a film. The score doesn’t have to be composed specifically for the film, but if the music is chosen well it can have the same effect. My favorite movie director is Wong Kar Wai, a director from Hong Kong known for films such as In the Mood for Love, 2046 and Happy Together. I have been introduced to so much new music through his movies, and never before have i watched movies in which the songs evoke such strong feelings and emotions. Each song helps to capture perfectly the mood of the place. In compiling the soundtrack for In the Mood for Love, Wong thought back to his childhood in Hong Kong, composing a soundtrack from old Shanghainese songs, radio clips, Dean Martin and Nat King Cole songs.
The composers and the entire music editing crew would go into a projection room where the composer could view the film scene by scene. He would make comments about where a particular piece of music would start or stop adn the music editor would mark the frame, and put a streamer to end on that particular frame, then punch a hole in it.
When the film was played, you could see where the cue began.
Spotting is the process of deciding where each cue is going to start and where each cue is going to end.
The punches show you where the tempo is while all the interior streamers go to palces that are important for the composer to ‘catch’. The composer would look at it and use the film and punch to time the music. A punch is different from a streamer in that it tells you when the new bar is when the tempo changes. It is important to distinguish between the two because otherwise the film reel would just be a mess of streamers.
