Am in the middle of making a sonnet film, using Korsakow. Still got a way to go, and after letting it sit for a few weeks and coming back to it am rethinking the interface quite dramatically. The form is probably what is known as a modern sonnet, as I am not using iambic pentameter or any other rhyme scheme, but I do want to use the 3 stanza’s of 4 lines and a 4th stanza of 2 lines. I had thought to use a different interface for each stanza (which I may still do), but in the first sketch (which is what the stills below are from) I think the variation between each interface is way too much. It places all the emphasis on the work on these leaps, rather than the more more specific and smaller (molecular, minor) variation that is central to the work.
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).]
Small turn out last night, me, Ed Armstrong (making a Korsakow film about place for honours), Paul Ritchard (making some Korsakow ‘probes’ around place as part of a larger documentary project about the Snowy River), and Hannah Brasier, who’s just started a PhD with me around interactive essay films, who showed one of her honours Korsakow projects, Noticing. Was a really good discussion about structuring works, the emergence of patterns and rhythms, and what we are all currently working on. Looking forward to the next one, should be some really interesting work in progress to look at.
Korsakow Interest Group, RMIT city campus, next Monday (September 30), 5:30pm to around 7, in 9.2.6. Share, critique, engage, plan, read. Get in touch if you’re in Melbourne and interested in coming along. Interested in online video nonfiction, with I guess some strong leaning towards interactivity/multilinearity.
Proposed topic for the Placing Nonfiction Symposium, December here at RMIT:
Technical media are a media of ‘record’ and all are, primarily, sampling machines. Sound recording, photography, film, and video, each with gay indifference samples all that is present to its particular technological view, recording what is with machinic apathy towards meaning and significance. This grants such technical media a privileged relation to what we characterise as the real, while also providing an immanent digital poetics that is situated within constraint, repetition, and the patterns that might emerge.
‘About 7am’ is a speculative nonfiction video project that investigates technical media as a sampling machine by adopting a constrained personal practice of recording where the machinic logic of indifferent noticing is made concrete through an everyday observational practice. This constrained task is used to create a particular suite of patterns that the project makes literal, constituting the intent of the work, while also relying upon and making visible a particular digital and technical logic that becomes a poetics of minor variation and the accidental.
This allows ‘About 7am’ to become a way of thinking in digital, networked video about the ‘agency’ of the human and the posthuman in the context of technical recording media, and allows the work to argue that technical media’s indifference to that which is recorded allows not only for a poetics of minor patterns, but that the associated and inevitable indexical ‘accidental’ becomes a guarantor of the real.
Every morning, well, nearly every morning, around about 7am, I film the ridge over the way using Vine on my phone. A small daily gesture, inscribing a particular sort of observational media trail. The intent is to do this for a year. The First Quarter is a web based observational video work that uses the first three months of clips. The First Quarter, (http://vogmae.net.au/works/2013/firstquarter).
In the archive views each is a 120 x 120 video, mouse over and it will play (it’s Vine, they’re only six seconds long). Click and you get the 480 x 480 version. Mousing in and you get clickable ‘metadata’.
From the two who bought us YouTube, we now have MixBit. Social video web service, with apps. On mobile MixBit is a simple and elegant film/edit/publish app, publishes to the mix bit server. On the server side it seems a lot of the same functionality has been provided, with some small scale control over access (public, limited, draft). Seems with Lightt, Vine and now MixBit that this is the current future of video on the web. Personally, the shoot, edit, aggregate model is compelling. Just don’t want it all on one big public site, which probably means I need to write something specific, maybe using WordPress? Anyway, back to MixBit, a lot of money behind it so it is better looking, with a thicker feature set, than some of the other video services when they first arrived, and I think this, or Montaj, would be my preferred sketch video edit app of choice at the moment. Still feel the social aspect needs work.
Stop press. Couple more clicks and realised you can remix each others clips. Now, that is a big change. Stay tuned.