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12/20/2015 02:14:38 PM |
I saw this as a "what we don't know that we know" lesson.
We pick op and interpret so many body language messages, unconsciously. So the torso shots just introduces us to some of the many different arm positions, and clothing sets.
Then the brain patterns... that's what I made of it. When we look at faces, we are still really reaching for the brain message.
The music did put everything together nicely on one stage.
Thanks. |
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11/27/2015 05:20:47 AM |
| Thank you Don and Mariuca, and everyone. I love how creative you all are with the interpretation, particularly Don's interpretation of the second half. I think it better to give the viewer an opportunity to freely interpret a work because it creates the dialogue between the work and the viewer. It is not a stunning piece of work, but with the help of the audio it creates an invitation to participate, something I believe is critical to any sphere of human interaction especially when using abstract visual and aural artefacts. Well done peoples. |
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11/26/2015 08:29:27 PM |
what a journey. we start with crossed arms ... then the arms get more relaxed... but then ending up in formal wear with hands crossed... maybe so relaxed he's dead? and then we watch the soul leave his body...
or maybe the ending is about getting closer and closer to the man, only to realize he never opens his eyes, even though we are so very very close.
and of course we don't really see his face. we only see the light on his face... but that is all we ever see of anyone.
as with others of your essays, I am most impressed with how you create movement from still images. |
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11/12/2015 08:55:02 PM |
| Why do I think of Beckett looking at this? |
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11/09/2015 09:02:36 AM |
I watched the video 5 times until I fine tuned the music with the images, the size of the images on my screen with the softness of the opera. It's an admirable work. It just follows its course like a river rippling away, a bit aloof and distant.
The two parts work very well together after you get into its mood. The end came without a closure but after several viewing I understood that there is not supposed to be an end to it. We are spectators - yes, just like the first part of the video - to an infinite course.
Must say that I would love to see the pictures with the hands and arms separately also. The first one and a few others are jewels in themselves while the head is just flowing imagery.
I am mesmerized by this first photograph and the way you processed it. Even the cropping is masterly.
Wonderful.
Message edited by author 2015-11-09 09:03:44. |
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11/06/2015 09:29:09 AM |
Intriguing essay that I need to spend more time with before leaving a proper comment.
11/7 - Back to finish commenting. You seem to always find a way to challenge me.
Haunting opera, that could tame the wildest beast, sets a mood of resignation. In the first part of your essay one feels at peace. The reposed imagery of headless torsos and arms crossed eases us into your story. Then variations on face painting with red light. Revealing while taking away contours of an expressionless face. Never offering a clear and complete view. A visual experience from memory or wonder brought to life.
I’d love to see little writing with your work so we could understand your thoughts. I suppose not saying anything, staying out of the way and not leading your audience, gives us the freedom to make the experience our own. I found this very interesting and I’m looking forward to reading other comments.
Message edited by author 2015-11-07 11:47:54. |
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11/06/2015 06:09:12 AM |
No, just a textred overlay.
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11/05/2015 11:59:00 PM |
| Totally cool. Is that fur or hair on the coat? I am fascinated. I love the composition. |
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