thank you so much for your kind comment anad please forgive me for taking so long to reply.
you right that piece does lack cohesion as it has been bastardised from it's original form which can be seen hear- sound needs reworked on it final cut vs mp3 issue that I was unaware of. http://homepage.mac.com/iman4d/iMovieTheater41.html
The piece is simple by design is quite simply that lucid yet elusive dream that we have before waking; that which the external environment permeates, such as the radio or TV or some other such seeping influence. The morphing being that deepest part of the dream.
therefore very much a singular consciousness is the answer to your question.
I used it as a basis for that song adding some band footage and replacing my partner with Louise but I think I slightly over did it but c'est la guerre :))
checked your website - wonderful stuff!!
keep up th e good work and Happy New Year, I hpe you achieve much success
There are two Quinn videos at that website. Which is the real one, Quinn Final Cut, or Quinn FC?You're welcome, but thanks are not necessary. I am very honest in my observations. Mostly because the few times I offered up my work for critique, I got back comments that didn't mean anything. I really wanted to know what people thought and felt about my work, not how they liked it.
I show at festivals, and there you really can get true reactions, but people don't say things like, "the colors are competing for attention," or "these shapes are too round and soft if you're wanting me to think "'conflict.'"
I've always hated the kind of art that leaves nothing to the imagination; I'm sure you know what I mean, the stuff that's so blatant in its message that it immediately seems cliche. But I understand that there's a call for that because more people will understand it. I prefer to be more ambiguous, and have the audience work to get the message. However, in doing so there's also the chance that some people may get a message I didn't intend. But that's ok with me, because I want people to bring their own frame of reference to the work; since I don't consider myself so very different from other people, I figure that most will understand my message at some elemental level and take it wherever their own experience dictates.
And that is exactly why I think that dream logic is always very difficult because dreams are so very personal and individual--unless you know a person really well, it's really hard to decipher their dreams. While I believe it's easy enough to get people to understand through the imagery that a dream is taking place, unless you're very blatantly using archetypal images (that just as easily can push you into that "cliche zone"), it's hard to convey intent or message.
And unlike feature films where there's usually some context in which the dream takes place, your film has no story line wrapping around it, and is instead its own story. To a great extent the soundtrack helps, and now that you've cleared up my confusion, my sense is that this is your dream within a dream (as artist/creator/director). N'est ce pas?
If you don't mind la guerre, all the more power to you! But I will take advantage of poetic license and say only, all's fair in Love and War...also Art.
Best regards in return, and thanks for the good wishes. Hope to see more good stuff from you.
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10. Variation 9
This is the tenth part of the Goldberg Variations, a music - images dialogue in 32 movements between Elisabetta Guglielmin (harpsichord) and Jean Detheux (images).
At first, the 32 videos will be posted on Vimeo, one at a time…
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