As Kuhn neatly put in The State of Film and Media Feminism (2004), ‘the ontology, the essential nature, of film and also [a] film’s aesthetics’ is the distinctiveness of illuminating film. While I apply these thoughts to SERIES, the relationship between my project and the subjectivity of the frame is simply fluid. Right now, I’m producing frames through noticing. Dan actually set me up with the work of Hannah Brasier – a current PhD student – who is concerned on similar scales of online mediums and documentary. She noted in her Masters exegesis titled Noticing: Creating Slow And Affective Interactive Online Video that;
“This relationship between cinema and online environments was brought to my attention [by Daly] who saw that films were beginning to mimic the materiality of the online, adapting elements such as multilinearity, navigation, intertextual linking, and ‘figuring out the rules of the game“.
To keep you updated on my train of thoughts regarding my research:
And as for recording images, I’ll let you in on the direction I’ve been taking. Let me start with another excerpt from Brasier’s exegesis to put a well-spoken edge on things:
“In Deleuze’s Cinema One: The Movement Image he proposes three types of cinematic image—perception, action and affection images, which Deleuze adapts from Bergson’s sensory-motor-schema. In Bergson’s schema there is a relationship between perception, action and affection, which can be defined as noticing (perception), doing (action) and an enlargement of what lies between noticing and doing, which Bergson describes as affect.” (pp. 15)
As every image reacts and interacts with one another (as Bergson describes), I took this idea and blended it into my frames. I would impulsively take images to show off their elements, including lighting, colour and proportions. Aware of my own perception, many images I’m taking act together to create a living image; interacting with one awareness and inviting others in. Just like the body, each image “becomes the centre which is an interval between looking and doing, perceiving and acting, and this interval affords the “opportunity for an alternative reaction, a choice if you like, between an action and the reaction undertaken” (Braiser, pp. 16). Frames are being simply chosen on their surface look, a noticing of a space, a noticing of a fragment of light, a noticing of a border, a screen, a texture. It’s fluid and it’s simply selecting images from perception, ‘a filtering of the world to a reduction of the images [I] notice’.
Here’s an image a friend took of me impulsively noticing and WIP’n:
And here’s the outcome through my perception: