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

liz sterry lizzsterry at googlemail.com
Tue Feb 16 20:28:59 CET 2010


thanks so much marc!
thats really helpful



On Mon, Feb 15, 2010 at 10:26 AM, marc garrett <
marc.garrett at furtherfield.org> wrote:

> 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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