My research question ‘A foot kicking a ball: Narrative falling apart in the V.J.ing playground’ portrays the project I am developing: V.J.ing as an eye candy challenged into a narrative form.
Up to this point, I was concerned with realizing what made me decide using V.J.ing as the medium of my project. I was questioning V.J.ing as a form of digital moving image and the restrictions that are natural extensions of this technique, having the scenes extracted to one minute each so that the software does not fail on the performer during practice.
I found out that my past habit of intermittent communication or my inability to tell a story in a shortcut way, played a main role in the decision-making, leading to a higher interest and deeper research in narrative styles in digital moving image, and later on to an appreciation of the idea of narratives’ ‘leftovers’, or the stories that come out and revolve around a theme, but not specifically portray it, this point liberated the way I am looking at my project.
Across the many theoreticians/practitioners I have visited so far, I have came across 4 main influential and inspiring ones:
- Lev Manovich’s ‘Soft Cinema’ project > database as a main essence
- Lev Manovich’s ‘Deep Remixability’ theory > software like species within the common ecology, once released, the start interacting, mutating, and making hybrids
- DJ Spooky in his album ‘The Secret Song’ > sampling as a collage, an art practice based on centuries taking out text out of context...
- Mark Amerika in his ‘Cyberfictions’ > working on expanding the concept of writing to include multimedia formats; starting with a written then trying to locate different kinds of audiences whether through the Internet, in nightclubs, museums, galleries…
- Laura Marks in her ‘Haptic Visuality’ theory > intercultural films and video allow the viewer to experience cinema as a physical and multi-sensory embodiment of culture, not just a visual representation of experience.
At this point of the course I became convinced that theory leads practice, and that ideas come out of theory. With the technical background I have, any software would become accessible.
I wish to explore the concept of fragments further. Being able to construct scenarios from any picture or scene is giving your audience the liberty to imagine instead of spoon-feeding. I should be expanding further the research on performer / audience in relation to participation.
What I will be doing next:
- Continuing the research on the breakdown of narrative in digital moving image.
- Looking more at narrative techniques, and have written narrative sequences as a start that will be the support to build up from.
- Start filming, editing, animating and going back to archives of memorial places.
- Developing loops and get myself a training with a practicing VJ before the middle point of Unit 2.
Raising questions about how will the leftover idea be clarified, what kind of footage will I be taking into consideration, the length of the V.J.ing show, is it too obnoxious for a performer to project herself on the screen, why will I go into a domain that does not fit in the mainstream?
To check the beginnings of written narrative along with a mood board experiment please check the below presentation: