Sunday, 18 April 2010

MPR feedback

Here are my colleagues feedback on my MPR.
I will be reflecting on the below information and post my comments soon.

Maya Chami: My research question ‚ 'foot kicking a ball: Narrative falling apart in the playground'‚ portrays the project I am developing: as an eye candy challenged into a narrative form.
I am interested in using the old habit of intermittent communication or my inability to tell a story in a shortcut way as a form in the narrative.
I am working now on narratives' 'leftovers' or the stories that come out and revolve around a theme, but not specifically portray it.

Jonathan Kearney (jkearney): several comments here about how this is a similar project to Jean's, good idea to creae a dialogue between you 2
Jonathan Kearney (jkearney): Jean asks, how is sound incorporated into this?
Jonathan Kearney (jkearney): or is the plan to include sound at al
Jonathan Kearney (jkearney): VJing is also repsonsive, reponding to the sound - like a DJ responds to the crowd....
Jonathan Kearney (jkearney): so is VJing actually the right word to use at all
Jonathan Kearney (jkearney): is there another term that can be used
Satbinder Kooner (skooner): can anyone explain VJing - sorry not familar with the term
Jonathan Kearney (jkearney): what about looking at the history of hip hop to give a context
David Tatnell (davidtatnell): I like the autobiographical sense of a vj set - not entirely documentary but hinting more to memory flash backs
Jonathan Kearney (jkearney): hip hop is also responsive, often to local issues, verbalizing what is going on
Jonathan Kearney (jkearney): Jean - VJing is manipulating video in real time
Jonathan Kearney (jkearney): but Jean also points out that VJing (VJ = video jockey) can be different in clubbing type setting rather than a cinema type setting
Jonathan Kearney (jkearney): there is a feel of improvisation - influenced by what is going on around the VJ
Jonathan Kearney (jkearney): the concept of 'input/output' is important to VJing, along with manipulation the footage you are working with
David Tatnell (davidtatnell): by taking it out of the clubs and into the gallery, how/will its context change?
Melanie Menard (m_menard): Do VJs normally work with D?J/musician (they agree beforehand on type of visual that match music) or usually completely separate ? If so, would you work with specific musician Maya ?
Jonathan Kearney (jkearney): also Jean points out the differences between simply 'live editing' footage just creating a sequence, and manipulating for example by adding effects
Melanie Menard (m_menard): I thought Maya wanted to perform in clubs, but maybe I misunderstood
Satbinder Kooner (skooner): What will the content of the video be - what is it's focus?
Andrew Stiff (astiff): if thisnk this is an interesting dialogue that we are having here - the response mechanism within vjing - input and output and feedback
Andrew Stiff (astiff): how does this work within a narrative
Melanie Menard (m_menard): I think it's childhood memories but sort of abstracted + external images she relates to them for some reason ?
Satbinder Kooner (skooner): ok that sounds good
Melanie Menard (m_menard): (was answer to sat)
Satbinder Kooner (skooner): thanks Melanie
Jonathan Kearney (jkearney): do you want this to be a performance in a club or a gallery or both - does this raise stylistic issues, what are people expecting in the different settings?
Jonathan Kearney (jkearney): Chan, suggests the visuals in a club setting might not be the best setting if you wnat people to focus and give atention to your images
Jonathan Kearney (jkearney): but maybe it is possible to make a club setting the right space, by thinking differently about how a visual narrative is constructed
Andrew Stiff (astiff): ok time .....
Andrew Stiff (astiff): thanks Maya - again many more questions
Andrew Stiff (astiff): definitely strike up a conversation with Jean
Maya Chami: thank you, i will!
Melanie Menard (m_menard): personal experience only, why not experimental music concerts? there's nothing much going on on stage (guy fiddling with machines) so they always look for VJs. SO you keep the not-art-world/festive setting, but people usually pay attention to the visuals and appreciate more, and are not so, hum, drunk or other :)

on another note, Matt emailed me his feedback, here it is:

Hey Maya these were my thoughts on your project...

- What is it that makes this medium eyecandy? This seems to be an easy trap
to fall into - how can this be avoided?
- Can there be certain sections of the narrative that are ‘corner stones' or
repetitions through which the non-linear parts happen?
- Maybe look more into the idea of memories and how these can be visualized.
How memories distort/ mix/ fade/ abstract/ fragment over time.
- Maybe look more into the concept of time in relation to memory and also
film theory.
- Play with time and pace - Run shorter clips alongside/ over the top of
longer clips? Check out...
- Vertov – Man with a movie camera (sequences layered on top of each other)
Able Gance - Napoleon (running narratives Simultaneously alongside each
other/ triptic)

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