22 Oct 2002

Tue, 22 Oct 2002 13:05:18 GMT

there are no ideas yet for the continuing narrative...however, i have decided to make it a children's story, narrated by a child.

i would like to have my little cousin to work on the story with me so i can have a feel of the language to use. it's so frustrating keeping it simple...argh

but, there's a plan:

-write a loose story and gather images in the same gesture; each inspiring the other -present materials to 9 yr old cousin to get feedback -read LEM/ASIMOV/Dr.SEUS

yessss

20 Oct 2002

Sun, 20 Oct 2002 17:45:09 GMT

The storyboard has been slow moving. the plot is a bit straggled.

the incorporation of the twin tower analogy is fun. perhaps here, i can introduce a system of money exchange - production...what do they produce????

what do the robots work to do???

19 Oct 2002

Sat, 19 Oct 2002 01:23:44 GMT

Im working on the story board for the script. it's coming along nicely. filip has been such an inspiration here...encouraging my film work and helping me with ideas on the permeable understanding a fresh viewer would have upon viewing such a manifestation...which it is, in itself - that of the robot being...

controlled, yet unpredictable created, but containing an essence so sexy and mesmerizing...

okey, i go too far

the story: so far, our robot, BETBOT has discovered NATURE hidden from the robots by the higher AIs and is eager to notify the group of the finging. however, along the way back home, BETBOT encounters a dangerous cat - named YETI. she is curious and devious and wishes only to devour this little moving thing. YETI follows BETBOT to ROBOTOPOLIS and proceeds to swallow the TOWERING TWIN INTELLIGENCES. it is disasterous - all is in disray.

17 Oct 2002

Thu, 17 Oct 2002 17:13:57 GMT

A ROBOT LOVE STORY: A BEARABLE UNLIKENESS OF UNBEING

16 Oct 2002

Wed, 16 Oct 2002 20:13:12 GMT

some meditations from an essay i found scattered in a mess of information:

with its temporality and immersiveness, sound seems to avoid clarity, categorization an objectivity light and sight reveal objects, sound is the result of processes of something happening - and of mistakes: there can't be glitches without processes. the whole notion of 'glitch' is tied up to an "auditive" thoughtform , which approaches the world as a multiplicity of processes rather than a pre-set field of objects ---> RE: the telephone and its 'electromagnetic imaginary' we strive to approach an the outside of thought and perception - looking beyond what is before ourselves in order to find answers to the habits we keep the subject and the world are formed in commplex interractions between both...as the subject emerges from the processes of the world. D&G give these processes a name: MACHINES defined: "a system of interruptions or breaks"; cutting and redirecting the energetic flows of preconscious world, which can be though of as an infinitely complex assemblage of machines actino upon other machines acting upon others. REFRAIN: moments of relations which blur the distincition between habit and new ground/comfort and chaos.Refrain doesn't, however, have just a reactionary function against chaos; it is situated in the middle and has a potential to both reterritorialize and deterritorialize sound, constantly on the border of a territory... TO MAKE NEW PRECEPTS/WAYS/AFFECTS ONE MUST EMBRACE THE GLITCH "forms are replaced by pure modifications of speed." Using the concepts of Deleuze and Guattari, we can state that the phonograph deterritorializes sound, flattens down the hierarchical organization of music into a rhizome, which is an open, multiple and temporal form of organization and subsceptible to constant de- and recoding Glitches, clicks and cuts are the sound of sound machines molecularizing, atomizing and ionizing sound, making audible the process of sound itself. If we must make a distinction between the scratch and the glitch, it is this: scratching is the folding of recorded time, metallurgy of sound, taking a flow of matter and producing variations of it. Common to music and metallurgy, according to Deleuze and Guattari, is the tendency to ""bring into its own, beyond separate forms, a continuous development of form, and beyond variable matter, a continuous variation of matter,"" in short to bring out the ""life proper to matter."" James Brown's Sex Machine and Kraftwerk's Mensch Maschine define electronic music's identification with machinery with their twin poles of "raw" physicality and "pure" spirit/intellect. To dance as mindless robots or to think music as an incorporeal AI. This all-too established dualism has been broken down at times by the music machinery's potential to fuse down the two poles and to break down, to express glitches Repetition makes the thing repeated (the thing not new anymore) present again. Each repetition (a simulacrum of the "original", if any is to be found) is an event in itself; Repetition and first time, but also repetition and last time, since the singularity of any first time makes of it also a last time. Each time it is the event itself, first time is a last time. (Derrida 10 THE NARRATIVE IS THE HAPPENING OF REPITITIONS. Any vertical, arborescent models are flattened by the rhizomatics of repetition, which undoes the symbolical or critical form of thought. According to Roland Barthes, critique is always either historic or futurologic, its content is culture which equals everything that is inside us, except the present moment (Barthes 32). Repetition is a way of appearing without form, without identity: it multiplies the same element over and over again, juxtaposes the element with its each successive re- emergence, brings out the differences by bringing out the gaps between singular repetitions, forms a machinic assemblage out of the circulation of sound blocks. Scratching, sampling and the stuttering of malfunctioning soft- and hardware are means of derangement, seeking out a way to make a rhizome out of music, a way to place its elements in continuous variation, where absences, breaks, holes, folds and ruptures can be a part; a way to let ghosts of the outside in. As tool-using creatures (among other such creatures) we've always been cyborgs. ""[T]ools exist only in relation to the interminglings they make possible or that make them possible."" (MP 90) That is to say, tools imply a symbiosis between two bodies in a machinic assemblage, deterritorializing them both abbreveations: mp (milles pleateaux) ao (anti-oedipus)

i'm thinking about an experimental movie based on robots and their relationships/parallels with our ideas on repitition/time/Outside and how we may understand to bridge our own gaps.

some musings: feedback is most certainly needed - this is a rough.

A robot who discovers its ghost (as depicted by a fairy) it is released and the robot becomes ... . human . ephermeral light . animal . a copy of itself . music . an agent/carrier of thought into the collective unconscious - as represented by another planet (???)

A montage of work will depict the monotony of work through music and erratic stopmotion.

scene one : GLIDING MOVEMENT (The faint whisper of kraftwerk echoes into the noise of glitches and electromagnectic fuzz. There, a robot world emerges - made of found/made objects. Moving in fast and slow motion, the mood of the scene is to depict the repititious nature of the world and the interesting forms which come out of this repitition. The robots in this world move in varying speeds, some fast some extremely slow. The method with which this scene will edit takes form in it's sonic translations of the movement. Essentially, the viewer begins with the familiar attributes of mechanical strength and vigor robots possess. Their speed and lack of gesticulation will set the logic precision of film's pace. Also, the passage of time becomes as the sun sets and dawns all in the same shot. The duration of the film is to imply no end to the work day - robots have no concept of "the end" - a projection of our fear of mortality)

props: robots of all sizes/shapes/colours technique: experiment with bird/worm perspectives in camera stop-motion capture in camera composite layering in premiere/aftereffects

scene two : HABITS (A critique of the work robots do will be explored. Robots are created to enhance efficiency where humans lack the strength and stamina. Also, the monotony of repititon is an act that drives humans mad - though, the refrain is one of the last territories that maintain a present. Robots have no concept of time, just the present...

10 Oct 2002

Thu, 10 Oct 2002 04:28:43 GMT

after a long hiatus, i am back. i've completely lost my mind for passwords and have multiplied by three. [more about multiplication ....]