Thursday, 5 May 2011

may 3 presentations feedback

Regarding the 5 loops I showed, the comments were the following:

Ed (livestream): I thought that it is very slow, I don’t know if that’s intentional, that’s my impression of this work, that it’s almost incredibly slow, if that’s intentional that’s fine, and that there are moments of disappointment, where I feel cheated, because of my expectations, but It doesn’t matter, in particular, when the marble slides down but doesn’t roll, now I expect it to roll down the building. There are certain things, this could be a matter of taste until the marble appears, like you expect the marble to roll, unless the artist intended not to roll it, but if it’s a gravity active upon this marble and the marble is sliding down the building then it has to roll and it has to be speed up and it has maybe to bounce when it hits the bottom, I think those details are really important, up until it’s all is very surreal, and because I have an expectation and it’s not fulfilled then I started to question the process which makes the audience member somebody who is no longer engaged with the art but somehow became critical in a negative way.

One of the face-to-face students asked the question (livestream): are they called loop because they will be repeated?

Jonathan (online):

Ed, associate lecturer, likes the surreal feel but not sure why the marble does not roll, it just slides.

Gabriele is asking whether they will loop continually.

Me: not really, will try to keep the elements separate so that I could mix the marble in another clip

Another question/suggestion from a face-to-face student: Depends if there are multiple screens employed? Is it going to be a multiple screen presentation?

Matt’s feedback: I like the visual style of Maya's work - the combination of photographs, textures and drawn images. I also like how she is fragmenting space and past/present. I think she may need to work more on the movement of these layers in After Effects, which at the moment feel quite mechanical and move at a similar pace. Having said that I am not sure how important that is as I know that this will be remixed further.

I really liked how the figures come up from the bottom in the fourth clip which had an element of revealing and surprise.

A face-to-face student (livestream) suggested I use another character?

(Livestream) hearing that quite interesting use of the space of the ladder scene.

Andrew: the people, there’s this kind of interesting structure and architecture, and then there are these characters that were introduced in an effort to populate the space, the images of people are almost dehumanizing, they’re kind of lifeless, they make the piece more lifeless somehow, because they don’t move and because they’re inanimate, the people make the piece feel more lifeless.

Suggesting a software, Markerless 2? You mask the character and it could track the character’s motion effortless, video cut out of people, in after effects.

Jonathan (online):

Multiple screens?

Movement issue like Matt said

The image on the wall with the ladder very good, almost real, as in real paint on the wall, several comments really liking this element.

Jonathan (online): observation - from Andrew - sometimes the people make it feel more lifeless because they don't move - but I think he is expecting video - rather than still images

A face-to-face student (livestream): But this is based on photographs.

Ed: My expectations are defeated because children should be walking.

A face-to-face student (livestream): I’m not sure whether these are stock footage or authentic image of Maya?

Same face-to-face student (livestream): I have the same problem, that is the lack of footage problem childhood, suggesting to film walking children and cut and paste my face on the material.

Jonathan (livestream) answers: it depends if you’re doing about childhood or your childhood.

A face-to-face student (livestream): The building and the 2 kids on it reminded her of Morris Mitchell's work, the use of upside down material and perspectives.

A face-to-face person, I guess Jonathan (livestream): It’s important that the artist creates his own footage.

A face-to-face student (livestream): It’s hard to animate from still images instead from videos.

Jonathan (livestream) clears the issue: Transitional digital objects: A fluidity in compositing an autobiography or a failure to create the portrait of the whole?

Suggests that’s a very good title, and that all the discussion is embedded in the title.

Christalla’s online:

Is it not always the case with art created with the artist personal meaning to it, if you don’t have reference to that person who is creating it then you really can’t understand the context of the work, so in this case maybe a bit of background material should be presented first.

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