Collage, Lego & Appearances//
- Consider duration & viewing – complexity does not come from building complex shapes, the text itself never changes.
- The less something narrates the more connections and possibilities it creates. Describing things implies causal logic, consequences and sequence. This is not something that belongs in a Korsakow film.
- When we blog, we connect our fragments of writing to other fragments, nothing is self contained. This is the kind of premise we should be basing our Korsakov work on.
- Deep architectural logic of the network – a small fragment that is already whole but can be joined to anything else. However, the forms we are using to express these fragments are becoming increasingly fixed.
- Korsakov allows the looseness of the form to remain after the publication. It can always be addressed, spoken to and reinvented.
- Crystal line structure – crystal structure is composed of a pattern, a set of atoms arranged in a particular way, and a lattice exhibiting long-range order and symmetry. Patterns are located upon the points of a lattice, which is an array of points repeating periodically in three dimensions.
- Users have more agency. To decide what to do, what it means, what particular connections and patterns might mean, even what patterns exist. Users define how long your film is. Not you. There is no reasonable answer to the question – “How long is it?”. So, what is the role of the viewer in a generative work? Do they terminate the text when they become bored, or engage when they are beguiled?
- Soft Media –its not tangible, you cant ‘export it’, there is no final version, it remains constantly open and re-workable. What would it mean to keep a projects ability in the final object? Video is no longer a moving image with sound over the top.
So, when working in Korsakov we have to consider where the meaning and structure is coming from, because it’s not from us, the author is separate, we provide the frameworks for the patterns to begin. We need to think about this in a way which does not confine our viewers, we want their experience to be organic, we want them to be able to feel at home in the work, to challenge it and play with it. We want them to change the experience of the work.
- What is the difference between the user and the author?
New directions to potentially take//
- Think about using QuickTime Player 7 as an editing device which allows users to literally interact with the videos – this is a form of soft media because users can click on the work to change it.
- What proposition do you think your own K-Film is making? How would you describe this?
Take these two things from this subject, they are threshold concepts;
1. have a sense and some understanding about what it means and feels like to make and be inside of multilinear media. Think like it thinks, really understand what it means to work differently inside the form.
2. Think about what your making, it has propositions and concepts which are outside its framework, you don’t know them, its not the ‘storyline’. What do I want to make? Things make propositions about themselves and about the world, it has agency and engagement outside itself, it asks questions outside itself.