Korskaow interest Group number four was a pretty rich affair the other Monday evening. Ed Armstrong showed his three related Korsakow films Placing the Bend (exploring the concept of placemaking through an examination of Melbourne’s The Bend Of Islands environmental community). Nice work. Paul Ritchard showed a work in progress which is a never ending road movie (literally) of footage filmed out the front window of the four wheel drive from a big camping trip into South Australia’s Flinder’s Ranges. I reckon this needs a commentary sound track, more clips, and thumbnails not videos for the interface, and it will be a really interesting, personal, piece of work. Frederico Passi had made a Korsakow sketch using photographs to begin to think about how to work in Korsakow, and Jess Fernandes, another honours student, showed her confessional diary fragments that are being presented via Korsakow. I had planned to show an early version of a Koraskow based video sonnet, but ran into some Mavericks Flash sandbox technical difficulties. So that’s for another time.
So, another one in a month, where we’ll see some more work. An interesting question asked was “how long does it take to learn to use Korsakow?” Several, over confidently I thought, answered only about half an hour. Technically it is easy to learn. But the real question is not how long does it take to learn the software, but how long does it take to understand what it asks (of you, documentary, of narrative, of itself). That answer is, I reckon, probably two films. Ideally with critique from the point of view of a multilinear, poetic, associative, granular, emergent, videoécriture. Not from the point of view of heritage documentary, film making, or I want to tell this story like this and it really has to be like this.
[Update: I forgot Hannah's draft project, remixing parts of Marker's Sans Soleil using Korsakow. This is part of her PhD research, and to begin with was about Marker's use a directed noticing, to help frame a methodology for a particular sort of essay film. The general sentiment was that the sequences needed to be broken up more, and that perhaps Hannah needed to provide her own commentary, even more list like (I've asked her to read Bogost's Alien Phenomenology to help with this, both orthography and carpentry are useful steps here).]