Ali, the cat. The camera replaces memory. Continue reading “VFNM: Final”
I tried to make a max patch that would take something mundane, like watching a basketball game streaming on the internet, into something pretty, the way that glitchy computer compression errors often do. Like data moshing.
This is a screen shot of the post. Basically it take a video (a highlights clip of a Knicks-Bulls game from back in April) and then take this matrix array thing of two lines, separates it into the plaid pattern, then mixes that with the original video through a cross fade and then inverts the colors, and then mixes that with the a different circuit of the original video which has a thing making the brightness, saturation and contrast increasing a rate that is reset each time a new image from the plaid video thing is taken. The rate of the video also increases. The effect is the sort of glitchy computer streaming quality, but made a bit more abstract and sort of pretty. If I had more time to work on this, I would want to make the rate at which all of the different elements are changing a bit more dynamic, which might just mean throwing in some random number ranges, but it would be nice if they reacted to each other in some way. Here is some of the best parts of the resulting footage.
This would probably be pretty cool with some weird music going on too.
My remix features clips from Boy Meets World and a song by my friend _i. It’s an expansion of an idea I had when I wrote a piece about BMW for a blog. At first, for the remix assignment, I spent a lot of time with shitty streams of basketball games that I watch illegally on my computer. They pause a lot and it makes for an interesting viewing experience, but after cutting them together I wasn’t that into the results. I turned to BMW, which is the only real pop cultural thing that I have any nostalgia for, since I didn’t grow up with television (as I relate in the article). My thesis in the blog piece is basically that BMW dramatizes the process of mediocrity, it follow Cory Matthews from a funny and quirky little kid through all of the failures of his life, through which he clings to his family and friends as the only way to make sense of a meaningless world. My remix attempts to approach that idea from a new angle. The metaphor of Cory sky diving in reverse, jumping backwards into the safety of a fake air plane and the arms of his father and brother, I found to be a pretty powerful way to frame the narrative arc of BMW (though I happened on the effect accidentally, playing with various techniques of chopping up clips, playing them at different speeds and such). I chose clips in reverse order of the show, starting with season 7, where Cory has become a neurotic husband defined by archetypal relationships in the absence of any ambition or success, and going back to season 1, Cory as a confused eleven year old. The clips fade in and out of the airplane scene like memories, like someone’s life flashing before their eyes backwards. Taken out of context, these clips express Cory’s fears: depression, loneliness, angst and mediocrity.
The feedback on my craigslist story in class was helpful for realizing which images read correctly and which were “misunderstood.” I made a new edit with two new photos, the last two portraits of Toast 1 and Toast 2, to make it look more like they are on their computers, sitting alone in there “apartments.” I also redid the music, because the original track I felt was too sparse and didn’t match the emotional tone of the piece. The new track, which ends abruptly, sounds more like what the crazy text looks like. The unreadability of the text is purposeful. I like the way it looks and the images (supposedly) tell the story.
I was interested in capturing the paradox of public space in New York City. While one marble cemetery is hiddle from view, one looks like any other park in New York, perhaps a bit cleaner. Looking in through the fence, the New York City Marble Cemetery, where most of the documentary takes place, appears to be a truly tranquil place in the middle of a loud and busy East Village. But, for the most part, no one can over go in. It’s exclusivity, of course, preserves that feeling of tranquility, but it also raises the question: is this use of space appropriate in a cramped city? Who does it really serve? Our documentary doesn’t really attempt to answer these questions but attempts to dramatize the feeling of being inside and outside the cemeteries and this particular oddity of New York culture.