In this section of reading, the part that interested me was the examination of film and editing.
It was the little bit on tempo that I found interesting, though it felt a little redundant to say that editing clips can lead to slower or faster scenes.
Rapid cuts would create a rush to the scene, especially when complimented with fast movement of the characters.
I liked the example of Star Wars, not because I felt it was an especially great example, but because the scene described is very much in the "middle". It isn't a fast or slow scene. To be honest, when I see that scene, it doesn't feel much like a fight scene.
Now given when it was directed, maybe I'm just overly saturated to movies with brutal fighting and constant fight music. But I can still look at it without that lens and see the tempo as it is.
(This was written a while ago but when I hit publish it went to drafts).
-Thomas Holland
Wednesday, November 13, 2013
Making a New Art Form
I came across this article the other day, and I thought it was pretty interesting.
I haven't had the chance to read the full thing, just the first two sections.
But I liked the first section about trying to create a new art form, and how anything that is made can't really be "new" or "original" because everything is invariably based off of something else.
We discussed this same issue of "originality" in art a few weeks ago, but I thought it was interesting to see it pop-up elsewhere.
I mean, it's a true statement, we can't separate ourselves from our backgrounds and knowledge. If you sit down to make art, you can't just "make" something original (and if you think you do, it's extremely unlikely that it hasn't been done before).
But it is interesting to see it elsewhere because you don't hear people talking about this kind of thing often.
Anyways, here's the article, take a look.
http://home.earthlink.net/~hsbecker/articles/lisbon.html
-Thomas Holland
I haven't had the chance to read the full thing, just the first two sections.
But I liked the first section about trying to create a new art form, and how anything that is made can't really be "new" or "original" because everything is invariably based off of something else.
We discussed this same issue of "originality" in art a few weeks ago, but I thought it was interesting to see it pop-up elsewhere.
I mean, it's a true statement, we can't separate ourselves from our backgrounds and knowledge. If you sit down to make art, you can't just "make" something original (and if you think you do, it's extremely unlikely that it hasn't been done before).
But it is interesting to see it elsewhere because you don't hear people talking about this kind of thing often.
Anyways, here's the article, take a look.
http://home.earthlink.net/~hsbecker/articles/lisbon.html
-Thomas Holland
Wednesday, November 6, 2013
DTC 356 POL 337-343
In this section, I read about the built environment, and what meanings can be derived from the changing styles of buildings.
For me, this section really bound together art and the rest of the world. Art infiltrates each and every aspect of life, even in places you wouldn't expect.
From branding to furniture, buildings to maps, the world is articulated visually by the arts.
While art is often seen as an exclusionary area of interest, its the creative ones in society who create representations of values and the current view of the world.
The AT&T building in New York on page 341 is even a social statement.
I feel like too often are artists undervalued, pushed below others in the social ladder.
-Thomas Holland
For me, this section really bound together art and the rest of the world. Art infiltrates each and every aspect of life, even in places you wouldn't expect.
From branding to furniture, buildings to maps, the world is articulated visually by the arts.
While art is often seen as an exclusionary area of interest, its the creative ones in society who create representations of values and the current view of the world.
The AT&T building in New York on page 341 is even a social statement.
I feel like too often are artists undervalued, pushed below others in the social ladder.
-Thomas Holland
DTC 355 Stewart pg. 311-331
When I got to the end of this section and read about causality, I knew what I would blog on.
Causality is a story's progression from A to B to C through one event causing the next to happen.
So naturally, my first thought was Quentin Tarantino. Specifically, Pulp Fiction.
That movie jumps around, proceeding in a non-linear manner. But the real beauty of the movie lays in how the events all interact.
While the viewer may not know by the end of their first time watching the movie, over time you realize each of the events snugly fit together. In a way, he is a master of causality. Each event chains to the next, explaining why each person is in the scene and how they got there.
I thought it was interesting to see this connection to Causality.
-Thomas Holland
Causality is a story's progression from A to B to C through one event causing the next to happen.
So naturally, my first thought was Quentin Tarantino. Specifically, Pulp Fiction.
That movie jumps around, proceeding in a non-linear manner. But the real beauty of the movie lays in how the events all interact.
While the viewer may not know by the end of their first time watching the movie, over time you realize each of the events snugly fit together. In a way, he is a master of causality. Each event chains to the next, explaining why each person is in the scene and how they got there.
I thought it was interesting to see this connection to Causality.
-Thomas Holland
Thursday, October 31, 2013
Tuesday, October 22, 2013
DTC 355 Stewart Pg. 231-256
As this section covers emphasis and the factors that need to go into construction of objects/sculpture, my mind is drawn to the sculpture on page 247 by Katherine Wetzel.
She created a robot sculpture from wood, glass, and porcelain. As I looked at the photo, I initially thought it was some kind of synthetic metal. When I noticed what it was made of, I was surprised. Aside from my initial thought not being anything other than metal, it's the wires and gears that are visible that stand out to me.
Either those are remarkably crafted, or the description left out some of the materials used to create the sculpture. Regardless, I think it's a beautiful sculpture and it has a wonderfully strange aura to it (at least in the photo).
As for the rest of the section, I think quite a few of the sculptures are wonderful, using materials in ways I wouldn't have thought of. I'm hopeless at sculpture so I have admiration for those who can create these things.
I think using nontraditional materials for sculpture is more impressive in a way, it shows innovation and an ability to work with a material that hasn't been proven time and again to be versatile enough to accomplish what you want.
It's a gamble, and that makes it more exciting!
-Thomas Holland
She created a robot sculpture from wood, glass, and porcelain. As I looked at the photo, I initially thought it was some kind of synthetic metal. When I noticed what it was made of, I was surprised. Aside from my initial thought not being anything other than metal, it's the wires and gears that are visible that stand out to me.
Either those are remarkably crafted, or the description left out some of the materials used to create the sculpture. Regardless, I think it's a beautiful sculpture and it has a wonderfully strange aura to it (at least in the photo).
As for the rest of the section, I think quite a few of the sculptures are wonderful, using materials in ways I wouldn't have thought of. I'm hopeless at sculpture so I have admiration for those who can create these things.
I think using nontraditional materials for sculpture is more impressive in a way, it shows innovation and an ability to work with a material that hasn't been proven time and again to be versatile enough to accomplish what you want.
It's a gamble, and that makes it more exciting!
-Thomas Holland
DTC 355 Stewart 198-231
For this reading, the picture on page 231 stood out to me most. It's
Apennine by Giovanni Bologna. When I initially looked at it I saw a rock surface and not the sculpture. Then after a second I looked at the entire picture instead of a portion and I saw it.
I think the placement is excellent, it seems to be in nature, not in a heavily populated area. One can imagine some kind of demi-god landing on earth and encased in stone. I suppose I like that it isn't in a museum, that the context it is in allows an individual to draw more meaning from it than if it were placed in a gallery.
As for the rest of the reading, it covered composition, light, negative space, color harmonies, and scale.
What I found interesting from that is that most introductory art books devote chapter 2 or 3 entirely to color theory, while it gets a mention in this book but that's all. (I prefer it that way, I feel other books beat color theory to death before moving on)
-Thomas Holland
I think the placement is excellent, it seems to be in nature, not in a heavily populated area. One can imagine some kind of demi-god landing on earth and encased in stone. I suppose I like that it isn't in a museum, that the context it is in allows an individual to draw more meaning from it than if it were placed in a gallery.
As for the rest of the reading, it covered composition, light, negative space, color harmonies, and scale.
What I found interesting from that is that most introductory art books devote chapter 2 or 3 entirely to color theory, while it gets a mention in this book but that's all. (I prefer it that way, I feel other books beat color theory to death before moving on)
-Thomas Holland
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