An iMovie experiment for NMNF, featuring Ambrose Curry III, one of the neatest people on Earth. Google him.
[ABOVE] > Photos by PJM (2017)
PJM, 2017
Content Still 327 (PJM)
Audio and assemblage for me are intertwined. Sound is 4D+ phenomenal, dynamic, multivalent and among other characteristics, layered or faceted. In complex 4D+ environments, sound or audio acts as a binder for all other elements contained in the scenario. Assemblage is practical, and as such defines the means by which sound figures into the 4D+ sensational topography. Right now, I hear a siren outside, the air conditioning inside my loft. Other vibrations are muffled but present. A dog barks. It's after midnight Tuesday and few cars pass on the wet streets below our window. From time to time, my wife and son stir in their sleep and produce sounds peculiar to their dream-states. Other sorts of unidentifiable noise are perceptible, coming from the apartments above, below and on either side of ours. Periodically, someone walks down the hallway outside our door, with or without his/her dog.
As I indicated in my presentation in NMNF session 2, there is much to say about video. From a 4D+ artist point of view, to comprehend the potential of video as a medium requires convolutional thinking. First, optimized video must conform to sonic sensational experience. To put it another way, the conventions of seeing and movement must be made all-directional simultaneously, with the features of waveform added, so as to create a life-like, encompassing, environmental scenarios. Video without narrative only addresses light-reflective surface and light-absorptive areas on a narrow visual spectrum. Narrative may provision amplification of artistic intent, enhanced via multifaceted focal and directional effects. VR is therefore a "natural" extension of video, which itself is an extension of single-pointed, stereoscopic optical awareness, supplemented by sonic awareness. Helpful introductory classroom exercises might include teaching students to "see first with their eyes closed" in short-long duration, and afterwards scripting their "imagined movies" conceived during the eyes-shut exercise. Another might feature shutter-open video-making in natural landscapes (or hybrid topographies with plenty of moving parts) with short-long duration, and inviting students to think of these in all-at-once modes post-facto the video artifact, for the purpose of better understanding certain features of 4D+ painting, as it relates to moving image production. Keep in mind the memetic qualities of camera-based activity.