[NetBehaviour] Digital Art and Design at Writtle School of Art.

[marc garrett]

Hi Liz & other students at Writtle...

I was watching the work 'System and Chance Experiments'. I think the 
cutting of images and film work really well. But I think the music is a 
bit too tinny. Also, I am wondering if you need this music at all - my 
suggestion, which is only a suggestion is to, put an ambient track there 
instead. Not only that, have a look at how other artists have dealt with 
communicating their concepts using similar process for expression, such 
as the situationists. The reason I am mentioning this is that you could 
explore either cutting up other conversations relating to the subject of 
your video and then adding them to the visuals. Or add alternative form 
of music and sound.

Here are some examples you may find interesting:

Stewart Home, on the Blissett Enigma. nice little piece from Stewart 
Home which gives a good insight into the origins of Luther Blissett. 
Musical Score from the WoT4 CD "The Open Pop Star" by Luther Blissett 
1999. Audio by Radio Eye (AUS) 2001 An extract from film The Luther 
Blissett Enigma taken from the "What happened to Luther Blissett 10.5 
years DVD also by, would you believe it Luther Blissett.
http://www.youtube.com/watch?v=92L0DtbjuZY&feature=related


Excerpts from the LB Enigma (4): Luther Blissett.

The evening of December the 31st 1999. Luther Blissett's last night, 
well maybe anyway here's his version of events. Taken from the LB 10.5 
ANNI DVD.
http://www.youtube.com/watch?v=dlExGRcOTGI

and...

Can Dialectics Break Bricks? 1

"La Dialectique Peut-Elle Casser Des Briques?, in English, "Can 
Dialectics Break Bricks?", is a 1973 Situationist film produced by the 
French director René Viénet which explores the resolution of conflict 
through dialogue as opposed to violence.

The film uses a much older martial arts film ("The Crush" from Doo Kwang 
Gee) for its visuals which has been dubbed over by the filmmakers in an 
attempt at detournement. The concept and motivation of this film was to 
adapt a bourgeois film into a radical critique of cultural hegemony and 
thus into tools of subversive revolutionaries ideals.

The Narrative is based upon a conflict between the proletarian and 
bureaucrats within state capitalism. The proletarians enlist their 
dialectics and radical subjectivity to fight their oppressors whilst the 
bureaucrats defend themselves using a combination of bribery and 
violence. The film is noted for its humorous approach to this serious 
subject matter.

The film also contains many references to revolutionaries who thought 
and fought for the realisation of a post-capitalist world, including 
Marx, Bakunin, and Wilhelm Reich. Also Subplots dealing with issues of 
gender equality, alienation, trade unionism, May 1968, and the 
Situationist themselves are riddled throughout the film."

Be patient, the film really starts after a few minutes...

What is interesting regarding Situationist film-making is the 
appropriation of film and other materials created by others, which have 
been remixed to get their own ideas across. You have naturally done this 
in your own work, which is interesting but I think you need to go one 
tiny step further. I think what would also make the work more dynamic is 
not making it a pop video, but something else.

I hope this helps, others may have completely different suggestions.

will have a look at other works on the blog :-)

wishing you well.

marc



> Hi.
>
> I’m studying Digital Art and Design at Writtle School of Art.
>
> We have been keeping a blog of our work and would be really appreciate 
> it you could take a moment to have a look and share your thoughts
>
> http://www.furtherfield.org/inspiwrit/
>
> Thanks,
>
> Liz.
>
>  
>
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