My first initial idea is the idea of infinity, a theme that I believe links well with the overall topic of Void. Life.Void., I was able to study some primary resources of what this could mean, and used these to further understand the meaning.
Researching other artist's installations such as Jo Baer, Chiharu Shiota etc. highlighted the idea that negative space is key for such an installation involving existentialism. I believe that one of the actual properties of existentialism would be the fact that there is such a large amount of curiosity and questioning that it is very much a personal viewpoint. Therefore from such research, I have decided that my installation needs to isolate the viewer in order to progress to their deep depth of thought. I want them to feel in an isolated state of mind to be able to question the very aspects of existence and why they were in fact existing.
Other considerations I have made about such work include:
- The shape and size of the installation- it would preferably have to isolate the viewer in order to lead to more of a restriction to just their viewpoint. It also would highlight the independent journey that we all take through life and death. (Alternatively the larger sized installation could do the same, but would have an alternate effect that I don't feel will be related to the theme)
- The way in which the piece is viewed (Height, Distance etc.) - a key to a success in an installation, considerations of how different heights can effect different pieces of work needs to be considered throughout.
- Lighting of the installation- how the subject is lit. How drop shadows could be produced through the work to produce a completely different effect. How could this represent the viewer's thoughts?
- The viewer themselves- what representations would have to be made to either get the literal or metaphorical point across? What impact will the work make? Perhaps a plaque against the work would help to elaborate the viewer's thoughts or push them in the right direction for when they view the piece. The culture of the viewer is also an important factor- for my installation the viewers have been brought up in a Western civilisation, meaning we stereotype certain symbolisations to mean different things to alternate cultures. For example, we see black as a representation of darkness, or evil (such as the void) whilst we see white as good, light, (such as life representation) These colours also resemble mythological characters such as black for the Grim Reaper, which is death, but in contrast white for angels, for God and for Heaven etc.
Personally I think that there can be a challenged convention of what animation is, and I believe that if the viewer is transported to an alternate world by the viewer, I think that counts as a form of animation and that is exactly what I would like my piece to achieve.
For my own installation, I would like this to be present in the piece, that aspect of infinity needs to be highlighted through the effect of this. Mirrors were an aspect that I have previously considered with reflecting an animation to repeat it to give the example of infinity- so perhaps- a box is something I could introduce as well as the mirrors as I was really inspired but this idea.
After having produced some sketches in my sketchbook, I have further produced the idea for a mirrored box installation, as I think this is a more personal and secluded way of producing the aspect of infinity. In addition, I also love the fact that the peephole could be included to be a more personal experience. I also have the idea of maybe using sound to further seclude the viewer and produce an idea of thought provoking existentialism.
I think that the overall idea is getting more inspirational and I can't wait to research more into the idea and what effect it could have. My thought is to have an animation, perhaps to be projected around the box, or on some sort of digital screen but I will have to research this further. Additionally, I'd like mirrors all in the interior of the box and a peephole on one of the sides. Perhaps a test to see which side is best and what shape to do the box- square or rectangular?
Animation for interior
I have identified some traits that I believe would be effective for the animation that will be shown inside the box.
- Something repetitive- gives the idea of infinity
- Something simplistic- a minimal approach, that ultimately will transpire thought provoking sources of existentialism.
- Basic colours- colours that can illuminate the box itself
- Transporting the viewer to an alternate world in motion
- Rhythm, a change in rhythm representing the speed of life and void.
Wednesday 21st January 2015
When discussing and researching the idea of infinity and travelling into the void of thoughts and existence, I envisioned the idea of lights and shapes immersing the viewer in the situation.
Through studying this, a suggestion of this 1968 film called '2001: A Space Odyssey' by Stanley Kubrick, there was a scene that involves the use of slit scan photography to capture the idea of travelling in time and space. The special effects producer of this piece, Douglas Trumbull, allowed the technique of slit scan photography to lead the seen of character 'Bowman's trip into the outer space time travel. Trumbull is said to have been highly influenced by the work of John Whitney, an animator who developed the idea of slit scan effects and further influenced other animators as well as Trumbull.
After having successfully collaborated with Stanley Kubrick for the film, Trumbull spent 4 years perfecting the technique in order to give the effect of the travelling through space and time. I think that the overall outcome of this scene is extremely effective, due to the sheer speed that the shots come out to the viewer, yet they still sustain an abstract possession of delicate and intricate composition. The scans zoom outwards from the centre, mimicking an almost void like state, reminding me of the theme of infinity that I have referred from the initial brief of Void. Life. Void. I think that the overall effect fully supports the emotions of the character's overwhelming encounter with the outside world, as well as immersing the viewer in the composition.
In accordance to this scene, I have just watched a documentary following the impact that this technique had on the motion design industry, further establishing more animator's work due to this powerful image being portrayed in an entirely different way. The documentary follows the intricate technique as well as highlighting just how much time Trumbull must have spent carrying out the work involved.
This production of the research process has helped me develop the alternate animation and sequences out there, and it has shown me how effective geometric shapes are in representing a void like state which is in fact very appropriate to my research into infinity.
The History and Science of the Slit Scan Effect used in Stanley Kubrick’s 2001: A Space Odyssey from FilmmakerIQ.com on Vimeo. The documentary additionally, involves the narrator trying to carry out his own intricate slit scan photography, highlighting the history of the technique as well as showing the viewer just how hard it is to carry out. This further made me admire the fact that Trumbull successfully managed to visualise and capture an era that had not been seen yet. Not forgetting that the film was produced in 1968, the producers involved had no idea how 2001 would actually look, but producing a futuristic, modern abstract setting was successfully captured due to these used techniques.
John Whitney- 'Catalog' 1961
Through the documentary and in research I have carried out over Trumbull's use of slit scan photography, it is made clear that Trumbull's main source of inspiration was the influence of John Whitney's work (an animator who altered the perspective of digital animation by producing his animation with an old World War computer) His famous piece 'Catalog' 1961was a demo reel of the work he produced and created on his analog computer and film camera machine that he actually built from a WWII anti-aircraft gun sight.
The piece really impacted animation due to it's primarily digital form, one of the first of it's kind the computer shot slit scan's beautifully. When looking at John Whitney's work it ultimately reminds me of a more digitised outcome of Norman McLaren's films. The abstract movements of the shapes and colours immerses me in the film, which I think is a key factor for the theme. I can imagine a similar composition representing Void. Life. Void. and using such a comparison to represent the abstract source of infinity such as geometric shapes and line forms. For me, this research has inspired me into looking more into how I could expand on the primary technique of scraping into film I did in my Animate? project at the beginning of the academic year. I feel this technique allowed me to use geometric shapes to provoke deeper thought, and could maybe look really effected when reflected around the box itself.
I'm looking again into the work of Norman McLaren and I think there are ways that I could immerse the viewer into the installation I produce with a more intricate establishment of previous techniques such as Norman McLaren inspired pieces.
Norman McLaren- Begone Dull Care 1949
The film technique reminded me of the previous studies we'd done on Norman McLaren- who perhaps was himself an inspiration on the technique of slit scan photography. Perhaps, Whitney himself found inspiration from these forms of motion such as McLaren's 'Begone Dull Care' in 1949.
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