Saturday, June 19, 2004

oo
`

WHY.

"When I write a script, I lie down -- because that's the opposite of standing up. I stand up to edit, so I lie down to write. I take a little tape recorder and, without being aware of it, go into a light hypnotic trance. I pretend the film is finished and I'm simply describing what was happening. I start out chronologically but then skip around. Anything that occurs to me, I say into the recorder. Because I'm lying down, because my eyes are closed, because I'm not looking at anything, and the ideas are being captured only by this silent scribe -- the tape recorder -- there's nothing for me to criticize. It's just coming out.

That is my way of disarming the editorial side. Putting myself in a situation that is as opposite as possible to how I edit, both physically and mentally. To encourage those ideas to come out of the woods like little animals and drink at the pool safely, without feeling that the falcon is going to come down and tear them apart."
Walter Murch
laweekly
SEPTEMBER 20 - 26, 2002



HOW.

Styles more condusive to improvisation.
eg
director and animator
George Geertsen.
The sound design moves well in the space.
Sound designer John Weldon.


And then...
Funnily enough I discover that this animation is actually a 3d animation if you wear special glasses! I don't think it is improvised, or perhaps initially it was and then "fiddled" with in Post-production to make it 3d. Here is the link to contextualize the George Geertsen animation.

Well and however, I think the morphing (no cuts) style illustrates my point.
I RREALLY wish I could find some Bruce Bickford snippets to pop up as an example also. His claymation is quite psychedelic, and indeed "Baby Snakes" is drug induced. It is really quite incredible to watch.




Wednesday, June 16, 2004

yo.



An improvised animation by

Ragnar Brynjulfsson







Tuesday, June 15, 2004

Soup.


Thoughts about time, values and engagement with the process of creation.
At the moment the threads of these ideas are loose as I've not had time to digest them all, and give them clarity.

Animation is a realisation of an idea through creation.
It is also an expression of an idea through the viewer's experience of the animation being replayed.
Improvisation is a process to realise an idea.
The process is "replayable". The animation is the remnant of the process.
If the creator has refined the process of improvisation in their work
then they'd be able to realise an idea intuitively and also communicate
that idea with clarity through the remnant of their process.

Thoughts of William Kentridge.


.

Monday, June 07, 2004


Scott McCloud


Wee hee look at this little Scott McCloud thingy!



Sunday, June 06, 2004

YICK!







Happiness will be exploding from me.......
Once I've finished this "Business HOO HAA"
Presently I am experiencing an incredible
urge to flounder around with drawings and wot not.

I will be having home-made apple pie this evening.

Read a little about autistic kids animating and finding
the medium is a useful form of expressiion.
Still I haven't got the structure of my paper happening.
Its all so broad and fluffy.
Yet, I am intrigued.
'snice.


Friday, June 04, 2004

Crusts

Ooh it’s been awhile. I have so many little poignant thoughts to pop in here.
I've been reading about animators whos animations were a form of abstract expression/orchestration/composition using rhythm, movement, colour and form to do so. It’s quite an obvious step to take if you are exploring these kinds of ideas in other forms (painting/ sculpture/sound). Interesting that the Guggenheim Museum supported these kinds of animations for quite awhile.
(Skeletons of information here...keeping it brief for the function of K.notes/blog. Everything is wrapping in and outside itself as I go.)
Leopold Survage (1914)
" Coloured Rhythm is no way an illustration or an interpretation of musical work. It is an autonomous art, although based on the same psychological premise as music."
After reading about Leopold Survage's idea for Coloured Rhythm, I had an incredible urge to go watch Disney's Fantasia. With the idea in mind that all animation is an abstraction of form in some way.
Essentially Disney (in 1940) is working with the same kinds of ideas as Survage, only Disney's Fantasia is palatable for the average viewer because it spoon feeds these abstract notions by introducing them with the live orchestra and encasing them in a variety accessible imagery and narratives. Perhaps I am addressing the opening sequences in particular. Which I think were animated by Oskar Fischinger. ??
So Fantasia flopped. Commercially. Was Disney trying to sew together too many things? What if it were put in a gallery?
(Am I joking??)
What I've written here acknowledges a connection that could be placed elsewhere and everywhere to a certain extent.

I suppose in a historical context Disney's successes, failures and discoveries are the most memorable, seen and perhaps documented.


Oskar Fischinger
. His early artistic goal was to combine two of his great passions, music and the graphic arts. (Hmmm sounds familiar). He's done some pretty nifty things with wax.

Animators with a fine arts lineage.
Animator artists.
Cartoonists.
Storyboards. What happened before storyboards?
Gag cartoonists.




Oh, but I'm in a fluster coz I've not finished the business "hoo haa" as yet.
I have found the quote that Marcus fwd'd to me the other week.
Ach! Lots of thoughts swirling around this funny old quote. But I'll just leave it up for now as a "conversation piece"...... for me and my paper that is.

QUOTE:
" Improvisation is a mirage which tricks anyone who
does not know the technique needed in all creative work. Such a person thinks of inspiration as a kind of miracle, a hypnotic state that somehow settles all material problems. We aught to get rid of this legend of the inspired artist, living quite outside the world. The artist is responsible for what he does. He must use his own clear-sightedness to make something vigorous which respects the logic of the characters, the dynamic form of the film, and its technical demands. Improvisation becomes merely a certain form of sensitivity to the demands of the particular moment; for instance, when its a case of altering something at the last minute. In other words, it is concerned only with detail. The complete work must be carried out with mathematical precision".
> Frederico Fellini, Fellini on Fellini, 1976, Eyre
> Methuen Ltd. page 103


Well. I suppose this is true.

If you're a dry old crust.