the brilliant International Motion Graphics
Festival in Cyprus, in Nicosia. I’m tired,
and inspired (and, by Tobia Revell, whose
blog and website I love and have
been followed) and I am going to write
everything, while my notes, and ideas,
are fresh in my mind.
My paper was based on a text I
wrote, suggested to me by Simon, one
of my PhD supervisors, it’s about
composition, and form, in motion graphics.
I have a visual diagram, sort, of,
derived from my literature review. An
axis, with time, chronological, along the
x-axis, and space (visuals) on the y-axis
I found out later, Bakhtin has a word for
this, chronotope, time and space. I’ve
mapped some of my references, how
the artists I am looking at, explore time,
and space. In my last supervision meeting,
I, with Lisa and Simon, based a series of
links and connections, and my talk, is
based on these connections.
In the first, I started with Oscar
Fischinger, a clip from Circles. He used 3D
objects, a wax machine, film, physical
objects, to create 2D looking work. It’s
really contemporary, and I have linked
it to a piece of work by a designer who
uses the name Ion, Spherikal
Spherikal from Ion on Vimeo.
/
Lisa’s idea, is about this work, being
2D, looks like 3D, and Fischinger, is the
oppositie, 3D, to 2D. I linked this to
Max Hattler’s work, and practice, which
I love, Collision, and Aannart.
Collision (by Max Hattler) from Max Hattler on Vimeo.
Collision.
My next section, is about literature,
including Beckett, Japanese Poetry, and
Form (I’m exploring Zen at the moment, for
my next paper).
Quad
https://www.youtube.com/watch?v=LPJBIvv13Bc
Simon found this, it looks unstructured,
Simon’s comment, brilliantly, is it looks
like going to work. I found the script
afterwards, and, also, brilliantly, the
moment, is completely logical, and
structured. Each character is working on
their own path, and there are clear
instructions in the middle, to avoid
collissions. I gave the first pape of the
script, photocopy, to somebody I met at
the festival, in lieu of a business card,
I didn’t take any with me.
/
My presentation here, continues, with
Tristram, Shandy, Japanese Nō theatre,
and some of my practical research I
made after reading a book Lisa leant
(lent) to me, I borrowed, from Lisa,
about Practice as Research, and Research
as Practice. Here is my motion sketch,
it's about the form of the Japanese
Tanka, the same structure, using no
content, an exploration, of poetry, the
poetic form, within a piece of motion.
Haiku Test from Sara Nesteruk on Vimeo.
My next section, is a diagram, exploring
my current project structure, I made
this, after seeing some the brilliant
work DixonBaxi have made for the
premier Leage
My Diagram
DixonBaxi: Premier League Structure.
/
The final part of my presenation,
I made recently, it has my most
recent quotes, thoughts, and references.
Arthavadin recommended to me, an
artist called Cecil Collins. I love the
idea of the character of the fool, similar
to Jung, the trickster, an archetype, a
character, who protects, the role of the
fool, is to protect the poetic.
I included Svetlana Alexievich,
a quote from Griselda Pollock, Alison
has spoken to me about her, and I took
Japanese Zen, and finished with Rumi.
The books I have been reading, I took
Anna Karenina, I’m reading it on my
way to work, I found it in the waiting
room, at Hebden Bridge train station, and
Chernobyl, the lastest book by Serhii
Plokhy.
And then, brilliantly, at the end, I met
with Jerry, and his wife, I interviewed
them for my project, and I’m going to
collect everything together, and when I'm
ready publish my notes.
Here are some photos from the end of
the festival, a masterclass I did
with Leart, and his business card
from me, a buddhist scripture called
Scripture for the Kings, whirling Dervish
performances, and my reverse shot. In
the background, is Demetra, the festival
founder, and Graham, the person I gave
my quad photocopy to, him and his
partner Roswita, are working on a series
of documentary films about motion
graphics, called World in Motion
