Pierre Vanni / / Moving Image / / Teaser

Pierre Vanni.

Source

Anthony Burril

I saw these motion sequences at Leeds Print Festival on Sunday.  They relate heavily to the project, but also work well with the trippy tone I want to achieve.

First Ident / / Shaky camera

To create a shaky camera effect in AfterEffects:

John Whitney is very good / /

John Whitney, Sr. (April 8, 1917 – September 22, 1995) was an American animator, composer and inventor, widely considered to be one of the fathers of computer animation.

The mechanical analogue computer.

The analogue computer Whitney used to create his most famous animations was built in the late 1950s by converting the mechanism of a World War II M-5 Antiaircraft Gun Director.^[1] Later, Whitney would augment the mechanism with an M-7 mechanism, creating a twelve-foot-high machine.^[2] Design templates were placed on three different layers of rotating tables and photographed by multiple-axis rotating cameras. Color was added during optical printing. Whitney's son, John, Jr., described the mechanism in 1970:

"I don't know how many simultaneous motions can be happening at once. There must be at least five ways just to operate the shutter. The input shaft on the camera rotates at 180 rpm, which results in a photographing speed of 8 frame/s. That cycle time is constant, not variable, but we never shoot that fast. It takes about nine seconds to make one revolution. During this nine-second cycle the tables are spinning on their own axes while simultaneously revolving around another axis while moving horizontally across the range of the camera, which may itself be turning or zooming up and down. During this operation we can have the shutter open all the time, or just at the end for a second or two, or at the beginning, or for half of the time if we want to do silt- scanning."

Source

Tauba Auerbach / / Tones / / Gradient

Source

More visuals of what is in my head / /

John Whitney's demo reel of work created with his analog computer/film camera magic machine he built from a WWII anti-aircraft gun sight. Also Whitney and the techniques he developed with this machine were what inspired Douglas Trumbull (special fx wizard) to use the slit scan technique on 2001: A Space Odyssey.












Self generating modular synthesizer (Blacet + Modcan) patch with camera-less video feedback - performed live.





This is a 45 second sample from the 20something minute audio-visual synthesis piece, recorded on Monday, November 12, at the University of Sheffield Sound Studios, by Jesus H. and Wolf G. It was released on a limited number of DVD's by the University of Sheffield. On Tuesday, November 13, 2007, the Bob System was presented in a lecture given by Jesus and Wolf. This video was exclusively created on the Bob System, an analogue modular audio-visual synthesizer, capable of producing both sound and video in real time. The design of the Bob System was based on the VIDIUM system, the Rutt-Etra Video Synthesizer, Stephen Beck's Direct Video Synthesizer and Donald Buchla's Electronic Music Box. It was designed in 2005 and the prototype was completed in 2007, by Jesus H.

Audio / / Tone.

This is the audio that I have chosen for my idents and intro.  

I've specifically chosen a track that has no vocals.  Spoken word create too much mental imagery that would distract from the tone of my sequence.  This track is exactly the kind of tone i'm going for.  A more psychedelic, dreamy feeling is instilled through the experimental production.  This works well with the imagery i'm working with because of the ambiguity of the visuals- microscopic patterns / / flashing images etc.  I can see it drawing people in, in a mesmerising way.

The track is titled 'Music is Math', created by Boards of Canada and features on the album 'Geogaddi'.

Discovery Science / / Bumps & Idents

A collection of idents and bumps for Discovery Science.

Art direction by David Bez.  Source

Simplicity is key.  The general rule is that a 15sec video clip is used with a 10sec text overlay, with a 5sec window of movement within this text.  However, it states in the brief that we are not allowed to use footage- the closest I can get to this will be stop motion.  I'll have to try it out and see what it looks like. 

GFSmith / / 1234 / / LCA

Currently exhibiting in the Mosaic Cafe in LCA is a celebration of GFSmiths lengthly and diverse relationship with graphic design.  The exhibition features a selection of their past and present works.


ISSU document soon

Design Museum London / /

EIGHTY MILLION POUND PLANS UNVEILED TO CREATE WORLD’S LEADING DESIGN MUSEUM IN LONDON.

 

'The new Design Museum, which is an £80 million project, will open in 2014. The Design Museum fundraising target is £44.66 million of which it has secured more than 60% through the support of a number of individuals and trusts and foundations.'

'Designs for the site have been produced by two of the world’s most innovative architectural practices: John Pawson has redesigned the interior of the Grade 2* listed building and OMA has planned the surrounding residential development'.  Source

At first glance, I was impressed.  The particular image above is a portrayal of power and confidence.  The strong lines and geometry reflect the structure behind design and the strict rules it can follow.

      However, further into research, I found myself feeling slightly claustrophobic.  Despite the layout of the exhibitions and open plan interior, the dark surroundings give more of a relaxed department store vibe than that of a building who's primary focus is of design.  The focus seems less on the work and more on the architecture.

      Against this, it is important to note that if we always have these structures for exhibiting work, such strict rules, then (placed into the context of an exhibition space) without challenge, observers begin to

       "Mindlessley dance to the' rythm of their own opression"  Adorno, 'On popular music.'

Which sounds a little heavy, however, it is true.  It is easy to look past the work when it is placed on a plynth.  A relaxed atmosphere could encourage some form of dialogue on the work where people feel less judged.  Instead of shouting 'I am here! Look at me!  But don', the work Perhaps this different approach to exhibiting work is in fact something that a building who's primary focus is of design would and should do?


/ / More thoughts to come.