video experiment…
[youtube https://www.youtube.com/watch?v=KD79cCD9f1Q]
part of research, I guess?
It’s a process.
Category: Research
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The Adrian Miles Reading List
I and many others in the RMIT community are struggling to find ways to deal with the loss of our dear colleague and friend Adrian Miles. Adrian had a profound impact on me in a very short space of time. My current book project has a foundation in many of the challenging ideas he threw at me; so much so that picking up work on it again will be tough.
Finding words is something Adrian never struggled with. I thought I’d collate some of the hundreds upon thousands he foisted on colleagues, students, and friends. Suggestions welcome in the comments: I’ll update the post with any additions.
If you’re wondering how best to remember Adrian, maybe pick up one of the following, or take 25 minutes’ silence, with a 5-minute break.
Bogost, Ian. (2012). Alien Phenomenology, or What it’s Like to be a Thing. University of Minnesota Press.
Ingold, Tim. (2011). “Rethinking the Animate, Reanimating Thought.” Being Alive: Essays on Movement, Knowledge and Description. Routledge.
Latour, Bruno. (1987). Science in Action: How to Follow Scientists and Engineers Through Society. Harvard University Press.
Pickering, Andrew. (1995). The Mangle of Practice: Time, Agency, and Science. University Of Chicago Press.
Stewart, Kathleen. “Atmospheric Attunements.” Environment and Planning D: Society and Space 29 (2011): 445–453.
Vannini, Phillip. (2015). Non-Representational Methodologies: Re-Envisioning Research. Routledge.
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GoPros and unintentional beauty
No one ever consciously thinks of GoPro footage, ‘I will make this beautiful.’ I think the whole understanding around GoPros is that if you point it at nice things (nature/landmarks/out the front of a car), your footage won’t be half bad.
I mourned a little when the new GoPros featured phone connectivity. Part of the joy of the early GoPro experience was not really knowing what you’d got until you were back in front of your computer.
You just sort of arranged the GoPro, or held it, or strapped it to yourself or something, and hoped for the best.
I GoPro’d old school last week. I and my GoPro floated down the Yarra River in order to try and record the sense of being swept along by the tide. The results were mixed. Depths varied from about six inches to eight feet; there were rocks, sand, weeds, scrapes, cuts, and the constant underlying fear of being taken under and devoured by some as-yet-undiscovered Victorian crocodile species.
Mostly it was fun, if slightly stressful; the sense of accomplishment at the end was overwhelming. Only now am I looking over my footage. The set-up stuff I took on the bank is of course nice and composed, and properly exposed. But in the odd frame of the GoPro stuff: that’s where I find real gold. Where else could you see the sky through a thin veneer of water? Specks of dust hover in the frame as they float by the lens. A duck, up close, floats past, more bemused than startled. An unexpectedly violent splash of white water as I lose my footing: the perfectly sunlit day plunged into murky brown depths.
Get your GoPros out. Make some random beauty.
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Compass points
I’ve done some nature this week. I’d forgotten how much I enjoyed it.
Nature the first was a walk in an inner-city park on Tuesday. Nowhere to be, nothing really in mind to see: just walking, looking, feeling.
Nature the second was some experimental filming done as part of a research day in north-east Melbourne. The hastily-cut-together results of this experimentation are included below. More to follow in the coming weeks. Nice to get something in the can, no matter how out-there.
[vimeo 203390674 w=640 h=360]
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Spectres of the frame; shifting perceptions
Film theory is at a crossroads. The more I think about it, it’s more like the crazy Los Angeles freeway over/underpasses.
Is the right way intertextual/intermedial/transmedial/psychological?
Is there a right way at all?
I’ve been running a studio this semester which looks at the role of the frame in the age of digital cinema. It’s based on a conference paper I delivered in New Zealand earlier in the year, and what I’m starting to discover (in the most wonderful organic way, alongside my students) is that I barely scratched the surface of this question.
It’s not just the frame; and never really was. The frame’s intrinsic links to movement mean you have to examine the practice of cinematography as a whole; and you can’t look at cinematography without interrogating the relationship of shot to shot.
The rabbit hole I’m presently falling down is pointing to a psychological theory of cinema more akin to Bakhtin or Lacan than Bazin or Bordwell. Cinema is about perception rather than watching. We don’t just watch a film: we perceive and infer, interpreting according to our own psychological constitution.
In class last week, my students — a mix of first- and second-years — independently started discussing Deleuze’s concept of the ‘out-of-field’ and how it might relate to movement in cinema. Cinema is everything I’ve discussed: the frame, movement, editing, psychology.
Ack. The rabbit hole may not have a bottom.
