re-music-ed notes

OliverMillerRe-music-edSegments from ollie miller on Vimeo.

Plenty of notes here below.....to be more brief!- I'm developing Re-music-ed to be part of an Ensemble Offspring concert coming up and fitted very well into our Zeitgeist assignment in class- being Zeitgeisty for this work was definitely the whole idea. Here are a few of the key ideas so far:

• Ryoji Ikeda The Transifinite ( youtube clip) I am more like a (Music) composer, i like to compose with light , colours and line and dots and numbers…so the composition is the key (music) composition without sound. So my visual art piece is pure composition.
• In Godard’s method, it is not question of association. Given one image, another image has to be chosen which will induce an interstice between the two. This is not an operation of association, but of differentiation: given one potential, another one has to be chosen, not any whatever, but in such a way that a difference of potential is established between the two, which will be productive of a third or of something new. The fissure has become primary, and as such grows larger. It is the method of BETWEEN, “between two images”. It is the method of AND, “this and then that”. The whole undergoes a mutation, because it has ceased to be the One-Being, in order to become the constitutive “and” of things, the constitutive between-two of images. The whole thus merge with that Blanchot calls the “vertigo of spacing”."Gilles Deleuze, Cinema 2. The Time-Image, Mineapolis, University of Minnesota Press, 1997. pp. 179-180.
•  The application of musical devices like staccato legato, repetition, colour, counterpoint, tonality, harmony, texture can all be integrated into the visual auditory narrative we all experience all of the time. Particularly sounds becoming sounds becoming music and music becoming sounds. Sounds and images are digested and deconstructed and pieced together again- that is the filmmaking process. However you choose to do that is up to you as thecreator of the work. What methods you choose to express these things is up to you.(my thoughts)
•  From Eisentstein ....“the filmmaker can base the construction of visual montage on the music’s compositional and structural elements, including its rhythmic aspects and its lines and shapes of movement, or the composer can take the same properties from the image as the ‘structural basis’ for the music (ibid: 376). Alternatively, there can be a combination of the two processes, where music and image are derived from one another. For the filmmaker and composer, this task involves paying close attention to the principles of montage defined in ‘The Dialectic Approach to Film Form’ (1988a [1931]), where montage occurs within and across shots.”AFRA, K. (2015). 'Vertical Montage' and Synaesthesia. Music, Sound & The Moving Image, 9(1), 33-61. doi:10.3828/msmi. 2015.2
• • Stream of Consciousness ie Elliot The wasteland, or Ullyses, Burroughs etc No explanation given for aesthetic choices, they just are, and they intend to be affective and powerful not necessarily in a “narratival" way or in the way of logic or verisimilitude.
•  The tension between the frames, between the seen and unseen. The nothing the black and the image, is really important to explore. Conversely the space between sounds and silence is being explored as well.
• Flickerings of subconsciousness , refer to Jungian archetypes, beneath the surface

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• So what is the theme of this work? Fracturing of time and place. An event like a performance
is no longer a singularity or a point of singular focus, of concentration. It is clearly fractured timewise,
hiphop , the Get down. Mash up
• Surrealism and Fellini, Kubrick The Shining
• In a broad sense time is the theme.
• Christian Marclay The Clock
• Doco on Channel Criswell Tarkovsky Poetic Harmony- excellent ideas on editing/long take/
sound/texture on Time! The tension of time, the pressure of time!
• Documentation is like a disruption in the sequence of time. everyone photographing/filming on their phones is kind of like a future. A mashup of this event is like a fragmentation of time, a deconstruction and re-construction. All art is a re-manufacturing or repurposing of pre-existing material/ideas. Stravinksy! Montage, Soviet cinema, Italian neorealism, collage, Fracturing/ splitting, filmic collage…Brakhage
• Great article by Grauer on Brakhage and the theory of montage essay bookmarked and book available online also bookmarked.
• Wees and Montage bookmarked pdf
• In reader Stadler article on reality and realism…
• Godard!! Histoire de Cinema
• Bookmarked montage godard articles…..the use of black space in film, the nothing of silence
visual and audible
• Forming a new reality out of fragmented pieces
• recycling
• the audience becomes part of the performance=selfie culture- we want to see ourselves
reflected back in our art
• Deleuze on Godard bookmarked -the end of narrative cinema
• Tarkovsky has his long shots, the viewer needs time the pressure of time to digest the
images properly. I imagine that you could say that it doesn’t have to be the long shot. The
frame followed be silence , has a big impact. the viewer is responsible for taking the glimpse of the rapid moment and digests it in the imagination. Therefore potentially just as emotive as a long shot?
• Tarkovsky says that music subverts the intention inherent in the image…..
• Other ideas about the project: the faithfulness of the digital image, is another layer of
illusion. There is an inherent quality and texture the medium as there is in film or tape. The
work seeks to explore this texture. Embracing the colours/pixiallation, what it is that is
actually there rather than restyling them to form something else. Vive la difference. Embrace the reality/ naturalism/ authenticity.
• Fallability of the digital frame? What happens when the frame appears on the screen? Is it
actually instantaneous? Or is it a very fast pattern? Could be an artefact of the process??
• Webern’s micro pieces, gestures, flickerings, 2nd Viennese school. etc
• Webern 4 small pieces for Cello and piano Massige Achtel- constructing a simple elegant
narrative from a very small number of “events”
• Bill Viola interview youtube Cameras are Soul Keepers. “Emptiness, is a real thing that
exists, the space between all of the physical objects. That’s where we exist , in-between the
empty spaces in reality”.
• Music videos
Kassabian, A. (2008). Inattentive Engagements: The New Problematics of Sound and
Music. Cinema Journal, 48(1), 118-123. doi:10.1353/cj.0.0069
Gadzinski, A. (2010). APPROPRIATED MUSIC - AN ALTERED SYSTEM OF
RELATIONSHIPS BETWEEN MUSIC AND IMAGE. New Sound: International Magazine
For Music, (36), 91-100.
“In the editing, we struggled with a constant going back and forth between sound and
image. Technically this is not evident. For our main editing criteria we used energy,
rhythm, pitch and intensity of sound, and, working in differ- ent ‘spaces’ and ‘logics of
spaces’, sometimes we started by editing the image and sometimes with the sound,
which is not the traditional workflow. But we tried to maintain our intentions until the end,
drawing the different ‘spaces’ for the mix, including a variety of relationships between
sound and image.” Huvenne, M. (2010). Towards a radically different understanding of
experience: Looking for an heautonomous auditory field in film. Soundtrack, 3(2),
139-149. doi:10.1386/st.3.2.139_1
• access journal “Music sound and the moving image”
• Guide to Reading Deleuze’s Cinema II: The Time-Image, Part I: Towards a Direct
Imaging of Time to Crystal-Images. (2012, September 28). Retrieved May 11, 2017,
from https://networkologies.wordpress.com/2011/04/29/tips-for-reading-deleuzescinema-
ii-the-time-image-towards-a-direct-imaging-of-time/
• Oeler, K. (2011). POETRY IN CINEMATOGRAPHY. Yearbook Of Comparative
Literature, (57), 167-187.
• The purpose of art is to impart the sensation of things as they are perceived and not as
they are known. The technique of art is to make objects ‘unfamiliar’, to make forms
difficult, to increase the difficulty and length of perception because the process of
perception is an aesthetic end in itself and must be prolonged. Art is a way of
experiencing the artfulness of an object; the object is not important." (Shklovsky, "Art as
Technique", 12)
• Glenn Gould radio plays
• as part of the developing artwork the performance where this films screening forms part
will be documented itself with the idea to create a further artwork from that. A selfreplicating artwork ;)
• gestures and flickering
• reality tv- people and content just to observe, they want to be part of the action, they
want to see themselves on the screen. They want to be a relevant part of the artistic
process. The spectator wants to be looked at
• The idea of surveillance, and big data, what happens to all of this information floating
around. Reflections and digitised versions of ourselves sitting out there in the world.
• Orwellian- a bit too far!
• John Cage 4’33’’ the audience ends up being the focus for the production of sound, as
well as forced to listen to the themselves.
• Andy Warhol??
• what ideas of conventional narrative can be overlaid upon this film? We have the couple
in conversation, clear boy ”girl thing going” on in a very abstract way.
• consider why I have brought in those photos from mittagong? 
• Possibly included photos from the streets of Darlo? Could be a more relevant thing??

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