Author: hoodcarravagio

Morning View – Final

My project is video work that meshes together audio and visual techniques. Using footage for a high-speed camera, I can achieve a slow-pacing element to the fast-paced movement. The visuals are accompanied by audio that is sourced from my archive. The video acts as an intimate self-portrait.

I was interested in furthering my process from a previous research path in my vogue performance. However, I have discovered a new version of performance within this vignette. The idea of breaking down movement is excellent for studying. I believe that I have created a sort of intimacy through a form of dance that is channeled through intensity.

This work will live in my archive and be further built into expansive projects. I don’t believe this is something I want to exhibit. it feels very personal, and I need to protect that safe space.

“assembly” Rashaad Newsome

I succeeded in experimenting and teasing out a single subject and idea. I believe I have unlocked a new potential in my media exploration. However, I think as I learn more techniques, more choreographed elements will nurture the dynamic narrative. Refinement is going to be an exciting challenge moving forward.

Inspiration + Connection

KELLY STRAYHORN FAIL-SAFE (11.11.22)

 

 

 

Final Project Proposal

For the final project, I have a couple of ideas that are coming from previous projects.

Option #1: Audio Capturing/ I am considering analyzing a specific genre of music (Black Female Hip Hop) to create a typology/amalgamation/poem capturing words, phrases sentences.

Option #2: Music Video/ using footage from the edgertronic / photomosh / etc. using audio to accompany the experiments to create a narrative.

Option#3: Vignettes: I would use the edgertronic and a DSLR to capture moments of bodies interacting to create a little narrative.

 

Glitter and rainbows (Person In Time)

I chose to capture my body performing. I performed for myself and the camera in front of a large-scale drawing. I decided to film myself as an extension of my previous project. Also, recording my progress has been a way to research parts of my performance practice. This method allows me to analyze and find areas of strength and weakness.

Takeshi Murata, Monster Movie, 2005, single-channel video, color, sound;04:19 minutes( https://www.youtube.com/watch?v=t1f3St51S9I)  

My process included experimentation with a high-speed camera (Edgertronic).

Phase 1: Using the high-speed camera, record clips at 10 -30 second movement intervals.

Phase 2: Break down the footage further for processing.

Phase 3: process the footage through Datamoshing program.

Phase 4: Export as a GIF

I am interested in the glitch and the experience of queering material. The slowness and movement generated by the camera are visually seductive, adding a layer of distortion.

The camera can capture a short amount of movement. It becomes a compact version of the performance. I am thinking about compression and expansion. The data moshing provides an opportunity to pull apart elements into a different realm besides just a slowed version of the vogue. The slow motion offers me the ability to understand my technique. It has the potential to be a coach to break down movement into its specificity (consider lines, facial expression, posture, etc.) However, Datamoshing gives a new level of play. The distortion becomes a tool of experimentation linked to the vogue’s improvisation. All this is formed into a GIF and animated moving g image that acts as a loop or a vignette. It emphasizes a moment of urgency and repetition.

This process exercises my level of play within my performance and the aftermath. I have discovered a new way for my performance to exist in a digital space. I am also dissecting my vogue elements, creating new forms of movement.

EDGERTRONIC (EDITED PROCESS CLIPS)

GIF:

 

 

 

Person In Time Proposal

For this project, I would like to use myself as the subject and create a continuation of the previous work from the typology assignment.

I want to capture motion in a vogue performance. Like some examples shown in class, I will use a high-speed camera to capture 2-3 minutes of vogue performance. The intended output is to have moving or still images that capture the progression of motion over time.

VOGUE TYPOLOGY

The multiple video series is a typological self-portrait of the progression of my vogue performance. The overlapping figures embody the five elements of Vogue performance (Hands, Floor, Catwalk, Duckwalk, Spins & Dips), creating a closer inspection of personal style and weakness.

What can I learn about my vogue through a typology? What performance happens when collage creates a new form?

Initially, starting with the idea of using pornography, I thought about overconsumption and body performance. This idea quickly faded out of boredom the idea manifested a new self-referential material. Frequently watching clips of my progression into my vogue has become a sort of ritual. I learn a lot by watching clips and picking up on things not visible within the motion. The figures are isolated from their original context to provide a focal point for the movement. The program RunwayMl aided me in this process by providing a green screen device. The process in which I selected the figures was to be from a single session of practice, and then by close inspection, I categorized each movement into the following element. This process worked best for my project because it allowed me to organize figures easily. I believe I succeeded in creating a typology while also digging deeper into a self-critique. However, these videos are a base that has room for more potential. I am thinking about filters and further distortion that could potentially take place.

Typology Machine:

Link Google Drive:

https://drive.google.com/drive/folders/17lLe670x_3Dd7cNq5c5LtQRqxyrzko2g?usp=sharing

References / Inspiration:

Disney, Ice Princess, 2005, (physics of figure skating)

Tamiyah FQ  Performance

Martine Syms: Nueral Swamp (2022)

 

 

TypologyMachine (Working Title: Black Bottom)

I propose to create a media project that contemplates dominance and submission through performance in pornography. The typology of professional studio gay pornographic film teasers focuses on Black men who are penetrated by white men, creating a video assemblage concentrating on the body’s performance.

What patterns are present in the submissive representation of the Black male body in pornography? What does it mean to take the scenes out of context?

You can tell a lot about a person based on the type of porn they watch. This form of theatrical fantasy deeply involves itself in the webs of the viewer’s psyche. I am creating an index of porn teasers developed by major companies (Men.com, Sean Cody, Falcon studios, etc.) for the section and removing the Black performers. The film trailers will be broken down into shorter excerpts that eliminate the original context besides the Black male body. I am creating a system of organization and assemblage. The use of collage relates to the overconsumption of internet material (pornography, to be specific). I must consider the pacing and interaction of the figures and the space I am enacting. I am using the video editing software RunwayMl to mask and separate the performers from their original context.

I believe the project contains a shock value that I will have to handle with care. These images transfer through multiple digital spaces, carrying inherent harm to the Black body as the subject. It is important to consider the treatment and representation of the body throughout the work. Along with the new context, visual and audio elements must curate and reflect the new narrative to create a contemplative impact. This will be further developed in the experimental capture. Repetition, rhythm, and pacing will be crucial towards the final sketch of the project.

I am thinking about …

Sondra Perry, Lineage for a Multiple-Monitor Workstation: Number One, 2015 

https://sondraperry.com/Lineage-for-a-Multiple-Monitor-Workstation-Number-One

Annie Bercy, (Mood Boards) 

American Artist, Black Gooey Universe

Legacy Russell, Glitch Feminism

Other References:

London Williams, Collage, Inkjet on canvas, Blue tape, Mixed Media, 2019

Photography and Observation

I have had more exposure to the history and process of photography than I realize. I was most interested in the photography process over the years. Through different chemical relationships and it evolves conceptual status with humans, my interest in creating an image through the photographic process is heightened for me. I am interested in this push and pull between the visible and invisible. The importance of photography and its role in documentation brings thoughts about truth and logic. I challenge the scientific method and consider the photograph a new source of fiction or bending the truth through illusion.

I think there is potential in deconstructing the scientific approach and falling into the process a bit more. I believe that the approach to observation and documentation brings up a factual quality. However, I think there is room to negotiate these ideas. There is potential to cause disruption and to tinker with systems to have new outcomes. To be specific, within a camera, maybe there are ways to develop new techniques or mechanical changes that can alter the output of an image. The scientific method is to get to an exact point or specificity, and maybe there is a new way to realize an image.

Looking Outwards

Neural swamp is a Future Fields commissioned multi-channel video installation. Martine Syms’s work engages with a wealth of digital media that challenge the gendered and racialized politics of images and systems that allow consumption and production. The piece features the use of YouTube videos, video game clips, and other found footage. Syms’s uses complex computer algorithms, known as ‘Neural Networks”, that are machine learning systems designed to mimic the functions of the human brain. Syms’s investigates the intersections of Blackness and Womanhood in a hyper-digital world. The exhibition is constantly evolving and will continue to grow as it is on view.

I found this work to be incredibly consuming and immersive. I could view the installation this summer, and it blew my mind. The room was this hyper-green color that immediately put me in the mindset of the digital. While walking throughout the space, each monitor had potent content unraveling before me. I am intrigued by the way the screen is used as this device to navigate the viewer into multiple spaces. I believe this is relevant to the class because of the challenging use of the digital lens and its growing state with the algorithm.



Martine Syms Website link