Photo/painting courtesy of the 1st-art-gallery.
This re-configured post, below, was inspired by Mike Jones' lecture 1 and 2 a continuation, which ellucidates on structural forms, creative commons etc. and is required listening for students and academics.
I have posted this in the past, but I hope you'll understand why I'm reposting
Would it take a bold person to suggest that Aristotles notion of the art of narrative: Beginning, Middle and an End may be challenged?
The arrogance of it. Oh boy!
Undoubtedly, you need to start somewhere ( i'm starting this piece), but also recognise it has its roots somewhere else - the last post here
It has a middle section, as does this post, but if I link you off somewhere we could get caught in a typhoon of middle sections becoming first; my middle section fuses into your beginning, which in itself is arbitary, as your beginnng may have be spawned somewhere else.
And then where does it end?
It doesn't. oh boy!
I'm playing with form here, but in essence this is where we are or heading replicating the very matrix structure of the web figuratevly as an illustration; a Mesh, rather than the centralised, decentralised form APRANET looked at and discarded.
But structure is what we also thrive on. Aristotle made narrative easier to comprehend and package.
Nice one Mr A or could I be so impertinent to call where I'm going with this as Digital Aristotle.
A film with no beginning and an end.
Am I being silly now?
But could I expand the window, entry points for a film?
The easiest form for me at the moment is the picture, Luca-Giordano's form, which captures the mood of the piece.
So for the report I'm producing for January, I'm pushing myself (*$£@&) to find the image that captures the multi-strandness ( is that a word) of the reportage.
If I exhaust all and get stuck I'll resort to a Giordano, I'll graphically construct the piece.
What the picture should hopefully do is provide a start, entry point into several different narratives of the story, that at some point touch/cross each other.
I interviewed seven different major themes, that's seven different films.
Nope, I won't finish those all by January.
But you get the idea hopefully, and it doesn't mean all seven themes need to reside in the frame.
Take this pic below, taken by a good friend Sajo Idrizonvic.
There are at least two obvious entry points into the story: the police and lone man.
But what about the cameraman behind the lens and the bystander almost out of shot top right?
Of course some may decline to give their story, but if we can pull all those together, is this evolving entity not richer?
Another "of course", at least for the meantime, is that we enact these scenarios online.
Which poses an interesting conundrum for me when I show any work in the future at exhibitions.
I may well end up showing a multistate film, or singular point of view, which gives more clarity when you seek the online link.
There will be instances, hopefully where I may not be able to provide the other strand, but someone does, and we agree on a shared video hyperlink.
Of course video hyperlinking still needs sorting out, but it will, it will.
I'm looking at some encoding at the moment and will also be calling on the help of some friends.
I stood there mesmerized for ten minutes, just studying the piece.
It is without question one of the most captivating art pieces you'll see at the National Gallery in room 32.
It is Perseus fighting Phineus and his companions by Luca Giordano- October 18, 1634 - January 12 1705. This picture above is a remarkable reproduction courtesy of the 1st-art-gallery who reproduce handmade oil paintings.
Our history consists of defining images, endless unique ones that capture an essence. Director Ridley Scott says the lone image of a gladiator about to slay his enemy was the key to taking on the film, Gladiator. There are many more instances like this.
This is my "kwa", my latest at least. I have seen it before, but now in my directing/producing phase it has new meaning.