For you shall go out in joy and be led forth in peace; the mountains and the hills before you shall break forth into singing, and all the trees of the field shall clap their hands. - Isaiah 55:12
I've listened to it non-stop all weekend and to listened to the whole CD, which is also a good compulsive listen.
Now I'm going back and forth between this and Dead Leaves and the Dirty Ground by the White Stripes. They're shockingly different.
Don't know if you check back on comments, but in case you do. Check out the White Stripes video I've just put up - the first one for Dead Leaves. I like the projection effect (which I know is a lot easier when you're manipulating it for a video than for performance), but it reminded me of what you said in the read-thru the other day about projecting some of the films on the wall so they're more organic to the stage action. It also reminds me of what you were trying to do in HNT with the film projector. It would be neat to play around with projecting the film so that it creates that kind of shadow/layered effect on the set, walls, etc. Kind of a visual cue to the way time is layered in the play.
RE: Music. Yes, I bought the album (and I'm considering Illinoise) and now can't stop listening to it.
And yes, so different than the White Stripes. But I think both are necessary. You need what's moving and what's violent. And Sufjan could just be twee but White Stripes can just be... well, Jack White hip. But they both capture something essential. And you can't have one without the other. Well, you can. But yeah.
Re: Projections. Yes, yes YES!
Exactly.
I'm trying to set-up a meeting with a co-worker of Torbin's who he highly recommends to both shoot and do After Effects. He has two people in mind, actually.
But what I'm still looking for is the perfect combo of media techie/installation artist to figure out and collaborate on the myriad ways to project these films. I feel like the material is so organic (pun intended). Film is cold. And sometimes that's necessary. But also: how can everything transform as she does - as the play does? How does the whole space transform?
I mean, shit, Ashby Stage has that cathedral-ish ceiling - how do we make use of that?
"I feel like the material is so organic (pun intended). Film is cold. And sometimes that's necessary. But also: how can everything transform as she does - as the play does? How does the whole space transform?"
I'm interested in the relationship between the live and the recorded - something organic in the disconnect between the two. How can you call people's attention to it?
Because we're kind of numb to it.
We take film and video for granted.
It's something we "know."
But it's actually kind of disorienting. What it really does. I find the White Stripes video very disorienting.
Oops. Forgot. I like the idea of monitors because they enforce the coldness and distance. But the image is very present. Projecting on the walls creates the opposite effect - you get a ghosting. It's undeniable that you're looking into the past. So I'm interested in the combo.
7 comments:
And I am now obsessed with this song...
I've listened to it non-stop all weekend and to listened to the whole CD, which is also a good compulsive listen.
Now I'm going back and forth between this and Dead Leaves and the Dirty Ground by the White Stripes. They're shockingly different.
Don't know if you check back on comments, but in case you do. Check out the White Stripes video I've just put up - the first one for Dead Leaves. I like the projection effect (which I know is a lot easier when you're manipulating it for a video than for performance), but it reminded me of what you said in the read-thru the other day about projecting some of the films on the wall so they're more organic to the stage action. It also reminds me of what you were trying to do in HNT with the film projector. It would be neat to play around with projecting the film so that it creates that kind of shadow/layered effect on the set, walls, etc. Kind of a visual cue to the way time is layered in the play.
RE: Music. Yes, I bought the album (and I'm considering Illinoise) and now can't stop listening to it.
And yes, so different than the White Stripes. But I think both are necessary. You need what's moving and what's violent. And Sufjan could just be twee but White Stripes can just be... well, Jack White hip. But they both capture something essential. And you can't have one without the other. Well, you can. But yeah.
Re: Projections. Yes, yes YES!
Exactly.
I'm trying to set-up a meeting with a co-worker of Torbin's who he highly recommends to both shoot and do After Effects. He has two people in mind, actually.
But what I'm still looking for is the perfect combo of media techie/installation artist to figure out and collaborate on the myriad ways to project these films. I feel like the material is so organic (pun intended). Film is cold. And sometimes that's necessary. But also: how can everything transform as she does - as the play does? How does the whole space transform?
I mean, shit, Ashby Stage has that cathedral-ish ceiling - how do we make use of that?
Anyway: yes.
"I feel like the material is so organic (pun intended). Film is cold. And sometimes that's necessary. But also: how can everything transform as she does - as the play does? How does the whole space transform?"
I'm interested in the relationship between the live and the recorded - something organic in the disconnect between the two. How can you call people's attention to it?
Because we're kind of numb to it.
We take film and video for granted.
It's something we "know."
But it's actually kind of disorienting. What it really does. I find the White Stripes video very disorienting.
Oops. Forgot. I like the idea of monitors because they enforce the coldness and distance. But the image is very present. Projecting on the walls creates the opposite effect - you get a ghosting. It's undeniable that you're looking into the past. So I'm interested in the combo.
So clearly, we need to look at each film and have distinct, specific choices of how we project based on when, where, what is taking place.
Specific choices, imagine that.
umm yeah.
That's the tricky part.
The films aren't arbitrary. There's a specific reason for putting them where they are. They do something particular to the moment.
or we could, you know, do whatever looks cool.
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