So far I am still deciding on what skills I want to bring to the table for this studio. I mainly focus on post-production video editing, so I may focus on this realm. However, would be heavily interested in lighting and colour too. As for my project preference I will be leaning towards either Video & Sound or the Capitol Lighting system with sound.

Lastly I have had a read through the adjectives of choice and I personally feel I could create a strong piece using either, mesmerising, serene or even astonishing, I also like amazing and graceful. During this week I will narrow down my adjective decision so I can begin researching.

When I choose the colours, I want to work with its good to aim for tonal and naturalistic effects, with saturated colours used sparingly to avoid overwhelming the viewer. As well, that colour fields should be strategically positioned to establish a clear hierarchy, influencing how colours appear to recede or advance to the viewer personally.

Light dramaturgy is a concept that extends beyond its physical properties, delving into philosophical dimensions such as Plato’s Allegory of the Cave, which explores how light can manipulate our perception and shape what we believe we see. Ultimately, seeing is both a physiological action and a cognitive process, where the eyes and mind collaborate to interpret the visual world.

Technical and electronic media create illusions that effectively trigger strong physiological and emotional responses in viewers, largely because light creates meaning through visual dramaturgy.

Light only has significance when it interacts with objects and is contextualized by its environment or narrative. Effective lighting design requires a focus on how light captures visual attention, with a precise and contextually relevant approach enhancing its appeal. Cross-disciplinary collaboration can be valuable within this studio (and the industry), as it allows each contributor to bring unique perspectives and skills that enrich the project's context. Exploring concepts like mesmerising, serene and astonishing it will help to understand how these terms interrelate.

For impactful design, ensure that every element, especially in prominent pieces like a capital, holds meaningful significance rather than serving merely decorative purposes.

- I need to determine whether I will be collaborating with anyone this week.

- I am in the process of refining the specific term or concept on which I will focus.

Darrin’s 1^st.  music/noise with/without visual stimulus:

Without stimulus: makes it hard to visualise or correlate what meaning the noise has. Why is it the way it is? Made me feel anxious but also unsettling calm in certain parts?

With stimulus: gave the piece a meaning. Felt it might’ve been quieter as my attention was being brought to something else in the time of the music being on too. Seeing human figures made me want to see more (as it was only glimpses) gave me a sense of story? I found I was creating one in my head whilst it was playing? Such as, the chaos of war and possibly the underbelly of it.

Darrin’s 2^nd music/noise:

I found the relation of the piece with the out of the world “music” at the beginning in relation with the human aspects (screams) and well as the rhythmic aspect, my brain creates a narrative of “the end of the world” and the despise of the human life.

Research:

- This week I’m doing lots of research, especially for the assignment. However, some of the works that have particularly stood out to me are:

- “The North Cape by Moonlight” by Norwegian painter Peder Balke, 1848. I found this piece of art to be mesmerising, as the interplay of light and darkness created a deeply emotional experience. The use of deep, contrasting colours conveys messages of hope, danger, and uncertainty simultaneously. It captivated me so intensely that I couldn’t stop looking at it.

- “The Penitent Magdalene” by French painter Georges de La Tour, circa 1640. This artwork also captured my attention profoundly. The use of light, along with contextual elements like the skull and the large lamp flame, created an ominous and captivating atmosphere. I found myself inventing my own narrative about her past based on this moment.

Progress:

- This week, I have undertaken a lot of research into the adjective I chose, which is “mesmerising.” I found that, in today’s context, it is mainly used to describe things that are “fascinating” to people.

- I’ve compiled an extensive list of artists and artworks that I find mesmerising, which I will use for my assignment.

- I have downloaded Pharos and am gradually familiarizing myself with the application.

- Additionally, I have been consistently working in Premiere Pro, focusing particularly on video and colour distortions to maintain a broad scope for this project.

• This week I'm mainly focusing on the assignment, "Project Proposal Presentation".

• I've decided to stray from the 'Capitol Lighting project', as I have skills in post-production video editing that I would like to explore for the 'Black Box Three-Screen project'.

• As for what I specifically want to do and explore within this project now, I am still researching. A lot of artists that I have found that resemble ideas and forms that I'd like to draw inspiration from are highlighted within the Assignment Two presentation.

Research:

• These artists are, TeamLab, Colleen Hughson and James Turrell.

• Each of these artists use installation spaces to enhance their light work or video work.

• The main fields of inspiration I drew from the each of these artists were there use of space and colour.

Progress:

• Additionally, this week I've been doing some general research on how to edit 'three-screen videos' in Premiere Pro. As well, how to simultaneously edit them, which has been successful.

• As well as starting to edit some things on Premiere to wrap my head around what exactly I want to create. I find if I start to mess around on Premiere with a goal in mind, something will arise in the process and my project will stem off of that idea.

  
  

• During this weeks lectures all students were presenting, so therefore there was no 'formal lecture'. However I did find listening to other students projects quite insightful.

• Whilst listening and engaging with other presentation I found I was sometimes taking notes of things I found personally inspiring for my own project. Things such as their inspiration artists and even some methods of creation were eye-opening to me. Which I will take on for my own project.

Research:

• Academic

  • A specific academic paper that I am interested in further exploring is the paper "A Link Between Colours and Emotions: A Study of Undergraduate Females" it examines the connection between colour perception and emotional responses in undergraduate female students. It identifies how certain colours evoke specific emotions, enhancing the understanding of colour psychology and its impact on mood and well-being.

    Researchgate.net. Available at: https://www.researchgate.net/publication/345650647_A_Link_Between_Colors_and_Emotions_A_Study_of_Undergraduate_Females (Accessed: August 10, 2024).

• Creative Practice

  • As for my creative practice process, I have narrowed down my overall concept of the project.

  • I want to explore colour and repetitive natures with distorted and colour overlays that create a mesmerising experience whilst working simultaneously with music and sound.

• Technical

  • Through this week I have been specifically exploring and working on the three-screen editing system on Premiere Pro. I have done it before, however am needing a refresh.

  • By using online resources such as YouTube tutorials, Reddit threads and even asking peers for advice, I am now beginning to successfully edit three screens simultaneously on PP.

Progress:

• The progress I have made this week on my project is using some filmed footage I had prior to this project and manipulating it on Premiere Pro.

• I have also tested another new form of video by using Procreate on the iPad and creating GIFs that could potentially go into the video later down the track, to add dimension and layers.

• Within this week's lectures we spent it having consultations.

• Throughout my consultation we found that this slowed repetitive sequence was quite mesmerising in the way it moved throughout the screens.

• Secondly, we discussed audio for this piece; what would play hand in hand with the visuals. I received some feedback of a few artists such as Philip Glass & Steve Reich.

Research:

• Academic

  • This week my academic research was of the importance of black. I found myself drawn to the curiosity it creates in alliance with highly saturated colour.

  • The French painter and art theorist Pierre Soulages, frequently mentioned as "the painter of black," was a prominent voice on the significance of black in art. Soulages industrialised the concept of "outrenoir", otherwise known as “beyond black”. He explored how black co-operates with light in order to generate nuanced visual experiences. He debated that black was not just an absence of colour, but that it was a luminous hue that was capable of evoking profound emotional responses.

    Pierre Soulages on Outrenoir - Lévy gorvy (2019) Lévy Gorvy. Available at: https://www.levygorvy.com/happenings/pierre-soulages-on-outrenoir/ (Accessed: August 21, 2024).

• Creative Practice

  • For my creative practice research this week I have mainly been exploring sound.

  • Some artists and songs I have found to be mesmerising so far include:

    • "In Flight" by Richard Norris.

    • "Tioga Pass" by Yusseff Dayes and Rocco Palladino.

    • "E2-E4" by Faust.

    • "Mojave Desert" by Floating Points.

    • "Reich: Music for 18 Musicians" by Steve Reich.

    • "Glassworks: I. Opening" by Philip Glass.

  • I am yet to narrow down my selection and am still exploring new options. However, these are the main horizon focus musically for this project.

• Technical

  • Throughout my technical research this week I've explored some editing processes. More specifically levels in order to completely discolour a video to create a primarily colour based video such as the example as seen above.

  • This outcome was formed through lots of trial and error as well as some research via online resources such as YouTube and even TikTok.

Progress:

• The progress made throughout this week is creating a trial prototype.

• Firstly, I recorded some footage going through a tunnel via commute, then added all the footage onto a premiere file. There I began to cut, created overlays, changed the blend modes, added tints as well as gaussian blurs, in order to create this trial.

• Throughout Week 6 lectures we explored what work is necessary/expected for good grades. I made some very rough notes from when it was spoken about in class, I wrote these down in a notebook so I can consistently refer back to them as well.

Critical thinking HD: Seeking out conflicting opinions; come up with new knowledge (maybe some that prove things wrong even) (you are wanting to understand each perspective) (broaden your opinions even for things you don’t agree with) (combining them in novel ways, extending and abstracting those relations) (show how you are using this research in your work) (how does it inform the choices in your work).

Reject traditional thinking & blending bending and breaking, what level have you achieved through this process and how does it work on an affective level.

• Again, through my consultation with Nik on Thursday afternoon we decided my goal for that class was to decide on what music to use for my visual project.

• I have an extensive playlist that has a multitude of different and unique songs that I could possibly use, however in this class my aim was to narrow it down to one.

Research:

• Academic

  "Evolutionary biologist Fitch (2006) goes so far as to call repetition a “design feature” of music, essentially constitutive of the communicative form."

  • This particular article I found focuses on the influence of repetition in music in society, and how it impacts people.

  "Yet the fact remains not only that sections within musical pieces are often repeated, but also that entire pieces are listened and relistened to hundreds of times, often voluntarily and even enthusiastically."

  • These two sentences are what I would like to break down and explore throughout this week.

  • "...constitutive of the communicative form" is a statement that seems to refer to elements of how communication is structured and understood. Personally, in relation to this project, repetition in audio form will, hand in hand with visuals to create a mesmerising multi-sensory experience.

  • In relation to this idea, the concept of one listening to "entire pieces...relistened to hundreds of times, often voluntarily and even enthusiastically", proves this forthcoming statement that people are physically drawn to repetitive audio notions. This is the key concept I want to use when focus on the musical aspect of this project.

  • Margulis, E. H. (2013) “Repetition and emotive communication in music versus speech,” Frontiers in psychology, 4. doi: 10.3389/fpsyg.2013.00167.

• Creative Practice

  • In relation to the class goal, my creative practice research was more about Steve Reich.

  • Steve Reich, focuses on creating minimalist music, and his compositions often revolve around the notion of repetition. Reich’s innovative approach comprises layering repetitive musical phrases, which gradually evolve over time. 

  • His specific style of repetitive sound is what I want to implement in a harmoniously with my colourful visuals.

  • Some artists/pieces of art I have found to be inspiring this week include, Doctor Who and Floating Points.

  • Doctor Who's, vortex in which the "Tardis" travels through in order "to allow them to travel through time and space and to control it." The aesthetic aspect that I appreciate about it, is the tunnel, it wraps around and almost can be felt as though it envelops the viewer. I want to use this device in my own way through my visual techniques and editing.

  • Floating Points music video, "Ratio", was another point of influence. I found this multi-sensory experience to be quite eye-opening. The visual aspect of this video piece was my main point of inspiration. I admire that the entirety of the video is black and then the blue fractal art piece in the centre. The minimalistic use of colour and space is the main aesthetic that I want to use within my video.

whoooob (no date) Every time vortex | doctor who. Youtube. Available at: https://www.youtube.com/watch?v=Hd8hwkp_aIQ (Accessed: September 1, 2024).

The Chase (no date) Time Vortex, Tardis. Fandom, Inc. Available at: https://tardis.fandom.com/wiki/Time_Vortex (Accessed: September 1, 2024).

Floating Points (2017). Floating Points - Ratio (Full Mix). [online] YouTube. Available at: https://www.youtube.com/watch?v=AZiJxNTdzwI [Accessed 1 Sep. 2024].

• Technical

  • Once again, this week my technical research revolved mostly around editing techniques.

  • Specifically, I focused on the use of manipulating Gaussian Blurs in accordance with the Spherize, all whilst changing the colour pallette.

  • In class I worked amongst other students and gathered feedback from them in order to see whether my research of using these technical processes worked in creating a mesmerising experience.

Progress:

• The overall progress I made this week was completing the "class goal" I made with Nik during my consultation. I did successfully land on a piece of music I want use.

• The piece, "Music for 18 Musicians: Pulses" by Steve Reich

• Similarly, I also made severe progress with filming more footage for the visuals and then furthermore trialling editing techniques which were terribly successful.

• In week 7 throughout Mondays lecture Mark Hopper did a presentation and shared some techniques that he uses in his practice that he uses frequently. This creative formula photo was a technique that I found to be helpful in the specific stages needed to test, iterate and explore. Especially in relation to this assignment as it needs an extensive amount of research and reiteration.

Research

• Academic

  • Research has shown that repetitive, rhythmic movements can induce a state of kinaesthetic immersion in observers. Andrew Gibson, a Beckett scholar, noted the "mesmerising, addictive rhythms" of certain performances, highlighting how measured, repetitive motions can captivate an audience.

  • I found this academic piece to be helpful as I have found myself at the stage where I am beginning to experiment with the length of the video and how long it takes for an individual to feel the sensation of mesmerisation.

  • In this case, it doesn’t necessarily blatantly state how long it takes for this state to occur but provided me with insights that focus on how important rhythmic, and repetition are in this project.

     

     “this focus on specifically the rhythm of the performers’ movements and the accompanying percussion as 10 being particularly “mesmerising” indicate the significance of the repetitively measured movement of Quad’s figures in generating the spectator’s kinaesthetic immersion.”

  • Within this report it blatantly states how mesmerisation is a state that is derived from “repetitively measured movement”.

    
    

    Simpson (2019) “Kinesthetic empathy, physical recoil: The conflicting embodied affects of Samuel Beckett’s quad,” Journal of modern literature, 42(2), p. 132. doi: 10.2979/jmodelite.42.2.08.

• Creative practice

  • As for exploring some more creative practices this week I found some more project specific pieces that I find my video edit has already leant into however, I aim to further delve into techniques such as, blur, pace and perspective within week 8.

    
    

    https://www.youtube.com/watch?v=NMfiJeFPh3I

  • This video is aimed to be ‘relaxing’, however I drew inspiration from the slow fluid movements of the colour. I have already used this melodic technique in my project from the beginning however seeing this I want to continue to dive into an even slower pace possibly in some areas of the video. Regardless of the inspiring qualities of the video, I don’t want aim to keep my video as bright and optimistic appearing as this one.

    
    

    https://www.youtube.com/watch?v=a4KJRuADHQE&list=PLBXO-yEpu7qegTVJ55s9Kj7dfmT8ldjIF&index=48

  • This music video for Chelsea Wolfes song “Everything Turns Blue”, is a video I really enjoyed. I found the slowly growing visuals to be engaging and sometimes surreal. What I drew from this video that I want to apply in my video is the deep tones of colours. So far, I have only really focused on using blacks with the company of bright eye-catching colours, however this video showed me how bright colours aren’t the only ones that create a serene look; in accordance with the visuals.

    
    

    https://www.youworkforthem.com/video/1202/abstract-psychedelic-loop-27?aff=762

  • I found this short piece of work to capture the same aesthetic qualities I aim to produce for my own video. Their use of bright complementary colours in front of the black abyss is the state of tranquillity I really appreciate in visual works. This works seamlessly in accordance with the impressive zoom and spiralised distortions of perception (this is a technique I am looking to explore in the upcoming week).

    
    

    https://www.tumblr.com/ericaofanderson/760792244213202944/overcast-twitter-instagram-gumroad-patreon?source=share

    & https://www.tumblr.com/ericaofanderson/760611124860321792/tangerine-rays-twitter-instagram-gumroad

    &  https://ericaofanderson.tumblr.com/post/760708964320149504/seaweed-twitter-instagram-gumroad-patreon

  • Tumblrs ‘Erica Anderson’ produces some really inspiring and all-encompassing visuals that align so directly with what I am drawn to for this project. “Tangerine Rays” and “Overcast” are just two in particular that embody a quality of motion and emulation that this project has small qualities of. However, after viewing these pieces the relativity of the continuousness of the visual motion is an aesthetic I desire to keep working on.

• Technical

  • As for technical advancements, this week I tested some LED light strips to use for some footage and edited that for some possible overlays. However I am still unsure if it will be cohesive in the video piece as it lacks movement.

    Again, I also trialled some different orientations of the visuals by zooming, using VR rotate sphere and spherize to completely distort the original footage. I wanted to use these as it completely creates an unfamiliar experience, and the viewer becomes ignorant to the space and experiencing this for the first time.

    Lastly, the musical piece I have used throughout the project so far is “Music for 18 Musicians: Pulses” by Steve Reich, this particular piece only lasts for 5 minutes. However, the ‘Parent & Family Wellness Center”, claim that it takes “90-seconds” for an emotional chemical process to occur, then “after that, any remaining emotional response is just the person choosing to stay in that emotional loop.” By using this information, I’ve decided to keep the music at this stage the same as the rhythm goes well with the visual experience and by utilising the 3 screens at the Black Box, it will already heighten the experience, as I plan for it to wrap around the viewer in the space.

    
    

    Guest User (2021) The 90-second cycle of an emotion, Parent & Family Wellness Center. Available at: https://parentfamilywellness.com/blog/2021/11/19/the-90-second-cycle-of-an-emotion (Accessed: September 17, 2024).

Progress

• This week’s progress included the video reaching a 5-minute experience. I finalised my music choice by researching how long it takes to feel an emotion, and if the length of this experience would be long enough, which it was. I also found that some of the original footage I edited does not necessarily work in a unified way amongst the other visuals, however throughout the next week I will continue to experiment and make the final call before the milestone presentation. I also became aware of what is too much for this “heightened experience”, do I want to push the boundaries of the mesmerisation scale and reach awareness manipulating? Or do I want to stay within my reigns and make it beautiful and subtly hypnotising at the same time? These are some of the questions I want to really ask myself within the next week, in order to stretch my creative boundaries.

• Upon reflection of this week, we attended the RMIT art gallery and I found it eye-opening to see the different projects of some artists. I particularly enjoyed the piece that focuses on the stuffed bodies sitting at a table, specifically the one that's being absorbed into the screen of a computer, I found that piece to be very relatable and comedic. I completed the milestone presentation and am eagerly awaiting feedback to further enhance my digital project.

Research:

• Academic

  • “The trance-like states induced by mesmerism have been of particular interest to psychologists studying altered states of consciousness and their effects on perception and behaviour”

  • “The perceived loss of control during mesmeric trances can evoke strong emotional responses, ranging from fear to excitement”

  • These ideas are heavily important in the ideals and structure of my entire project. As the only aim for my multi-sensory experience is for it to feel, “mesmerising” I need to consistently ensure and question whether it is reaching that feeling and what I should change or do if it is not.

  • The concept of losing your “control” during “mesmeric trances”, is a experience I aim for my viewers to feel. I want the viewers to feel emotions largely however, these do not need to be linear as every one person has different experiences which affect their emotional responses. However, the idea of them having heightened emotions and feelings leading up to, or after mesmerisation is the overall goal.

  • Leighton, L. (2013) “No title,” in, pp. 1–1 https://academic.oup.com/shm/article/25/2/271/1739124?login=false

• Creative

  • ABC News (no date) Patti LuPone snatches phone away from audience member. Youtube. Available at: https://www.youtube.com/watch?v=43mB4QuXGTE (Accessed: September 21, 2024).

  • In defense of the quieting of the audience (and so-called passive participation) (2015) Jumper. Available at: https://www.artsjournal.com/jumper/2015/07/in-defense-of-the-quieting-of-the-audience-and-so-called-passive-participation/ (Accessed: September 21, 2024).

  • Continuing the concept of the audience losing their control, I remembered when Patti LuPone, a famous American Singer and Actor, once took an audience members phone away from them during a play she was in. This wasn’t a scripted experience from LuPone however, it reminded me how suddenly the audiences “power” can suddenly be removed from them. In such, a strong emotional response of anxiety, embarrassment, remorse or humour occurs, the main thing I want to shed light on for my own project is these feelings you weren’t expecting. I found when showing some family members and friends that they found the black experience to be either “surprised” and more frequently than I expected, “trepidation”.

• Technical

  • As for technical research the main thing I focused on this week was continuing the same edit techniques I have been doing, but rather tweaking in some areas. For example, I tried adding a Colour Burn over a Hard Mix nested sequence, I then changed the Spherize and Gaussian Blur levels slightly, then added a tint to both sequences, left one black and white and the other a white and a dull salmon pink, it created a really ominous feeling, and am unsure if it fits the aesthetics or qualities of this video.

• Progress:

  • The progress from this week was finalising the edit of my two potential direction videos, as well as on the side trialling some different styled videos that could be another direction. As well, this week I completed the milestone presentation and completed a video recording of it to submit.

• This week I was unable to attend the milestone presentations due to unforeseen reasons, however I made some more editing progress by experimenting with perception and orientation in my video edits.

Research

• Academic

  • "In a nutshell, it boiled down to boredom being the unfulfilled desire for satisfying activity,"

  • John Eastwood, a researcher who has studied boredom and its effects. He notes that boredom can be associated with both low-arousal and high-arousal states, and that the duration of an experience can influence boredom levels.

  • The time factor for this project has been on my mind consistently, as depending on which experience is favoured, how long is too long? How long until someone becomes unengaged? How long until the experience becomes boring? What needs to happen to fulfill the viewers expectation? These are the questions I’m consistently asking myself. Once the feedback from the WIP is back, I will use that to help with this issue, as well as asking and receiving feedback from peers to help with these issues, which will in response help generate ideas for refinement.

(No date) Apa.org. Available at: https://www.apa.org/monitor/2013/07-08/dull-moment (Accessed: September 27, 2024).

• Creative

  • Polish artist Wojciech Fangor is an artist who uses thin layers of oil paint to conjure shapes that “buzzed and blurred into each other”. This is a very similar aesthetic to my second potential direction video. The use of highly blurred shapes that become disorientating to look at is the only focus of my video and his paintings.

  • I find his use of colour in these paintings to be inspiring as well, they’re all complimentary to each other, however, also blur well into one another.

  • Fangor is a painter who I found to be achieving a mesmerising state, using very similar qualities and aesthetics to myself, in return I found this to be really exciting and motivating to find.

Compton, N. (2014) Polish artist Wojciech Fangor’s mesmerising paintings inaugurate a new London gallery, Wallpaper. Available at: https://www.wallpaper.com/art/polish-artist-wojciech-fangors-mesmerising-paintings-inaugurate-a-new-london-gallery (Accessed: September 27, 2024).

• Technical

  • As for this week the main technical practice advancement was that I continued to experiment with some more footage, however this time manipulating the orientation even more so than previously. It created almost a “Tiny Planet”, effect to the video, which was super disorientating to view, but intriguing as though it is transporting you somewhere else.

Progress:

• The main progress this week was shooting some more footage within a tunnel to use for some more trials. As well as experimenting with new effects such as the VR Rotate Sphere in accompaniment with the Gaussian Blur, this experiment will be attached in the link for this week.

• During week 10 reflection, we endured a lecture in Mondays class about emotions and the connection between a mood and an emotion and what the differences were. Ultimately we found that a mood does not necessarily need to have a trigger; as frequently one can wake up in a bad mood. Moreover, a mood can last usually longer as emotions are easily triggered and dont have long duration periods (in most cases).

• We too, at the beginning of the lecture screened my video, which I got feedback on from not only Darrin but a few peers. Some of these included, different preferences in sequences, as well some insightful feedback on how to create an engaging blend between multiple sequences, ultimately this was extremely helpful in the event of this weeks project development.

• Additionally, the activity we completed during class on Monday (https://www.colorquiz.com/) I found to be particularly interesting. As you have to order uniquely coloured boxes twice, then you receive an extensive personality results. I found that mine were almost scarily alike to my everyday practiced habits. It was an enjoyable activity in order to see in real time how colour choices and preferences can change via person and therefore create an unalike conclusion for everyone.

• Lastly, on Thursdays class we had one on one meetings where I spoke to Nik about the advancements on my project.

Research:

• Academic

  • "Joseph P. Forgas", is a key researcher on how mood affects perception and cognitive processes. His findings demonstrate that temporary mood states significantly influence how we perceive social events, suggesting our emotions shape our understanding. Additionally, his research indicates that positive moods promote global processing, while negative moods encourage detailed analysis. Forgas also explored how mood impacts perceived self-efficacy and performance standards, highlighting its role in shaping our beliefs about our abilities. He developed the Affect Infusion Model (AIM), which outlines when and how mood influences judgments and behaviors, guiding further research on mood-cognition interactions.

  • Something that I particularly am interested in within the context of all in which Forgas has discovered, is that of how moods can impact the processing of stimuli. This is obviously a factor that no one can control, and many a time not even the individual themself. Regardless, my point turns to the fact that, how I have been creating my project (with a complete colour of moods), whomever views it can still perceive it entirely differently. More eye opening all together, was that negative moods can encourage a more detailed analysis of a stimulus. Somehow, stimulating one to over analyse a piece would be key for this piece.

• Creative Practice

  • As for creative research this week; and staying in the realm of moods and emotions, I found whilst I was driving listening to "Yussef Dayes", to be completely analysing the piece. I found that I am an overly empathetic person, I feel a lot in many senses. This therefore includes deeper meanings of practically anything, however two particular pieces, "Magnolia Symphony" & "Tioga Pass (feat. Rocco Palladino)" were taking me into a space where emotions or thoughts would arise from certain stimuli's. This week my creative practice research was not as extensive as some weeks, however I found this experience to be rather influential in my progression for this project. The awareness it gave me of key notes within songs will allow me to enhance the audio visual relationship in my project. I aim to now, where applicable in the soundtrack either position to have a visual impact or to move the colour patterns, which will ultimately create a stronger engagement with the audience.

• Technical

  • Technical research for this week was mainly testing and putting into practice ways to blend and transition my main sequences into one another. The main way was to use the black sequence first and for black to slowly envelop the entire screen, where it would stay there for roughly 5 or so seconds and to which from the centre of the screen the colour sequence would appear. (See attached).

    
    

Progress:

• The progress that has been made this week has been detrimental. Its included:

  • Class Feedback

  • Decision making in relation to transition

  • Trialling enhanced frequencies of sequences

  • Trialling transition blends

  • Deciding to move colour waves throughout the sequences.

• Acquiring feedback from Mondays class was a really inspirational way to begin the week. I received feedback on whether or not to keep both sequences which was an overruled yes. I received many suggestions on ways to blend my sequences together, which was a spot where I was ultimately stuck at.

• Here at which, I took onboard these suggestions, applied them and whilst creating these changes saw ways where applying additional mirrors or spherizes to nests could potentially enhance the experience all together.

• Next, with footage I was able to take I created a side profile sequence version for the black video, which is still a WIP, however may be a solution to the 3 screen dilemma and additionally create a more mesmerising experience.

• Lastly, most importantly, I decided I would have my video split into sections either 2 or 3 is still undecided, however to begin with the black sequence (with or without side screens), then transition into the colour sequence, which will mutate and change with audio cues, in order to envelop the viewer into a captivating mesmerising experience.

• Reflecting upon this last week I was able to play my sequences up on the three screens within the black box. Whilst doing this, Nik, Darrin and I came up with a few things that needed to be addressed, changed or discarded.

• These included:

-              The black sequence, not being as impactful as the coloured sequence and that I should overall discard it as it would not only be difficult to blend & transition into one another but that the sequences might not make sense with each other.

-              The side screens worked well; however the right-hand screen would need to be flipped so that left, and right are mirrored to one another. This is just a technical issue, and could be done through the projector settings however, due to the time constraints on the day it’ll be screened I have created another version where it has been flipped once more.

-              Together, we came up with the idea that if getting rid of the black sequence it would be important to add visual differences, such as colour and tone changes in the coloured sequence.

Research:

• Academic https://wardnasse.org/repetition-in-art/

  • Whilst in the conclusion stages of this multi-sensory project I have found through various research findings and physical practice realisations that, repetition is the sole driver of my ‘mesmerising’ project. As for this I wanted to understand what repetition brings out as a psychological aspect.

  • Sarah Wilson, a highly respected independent curator and art critic takes us through a few changes we see in humans when reacting to repetition in art. Psychological changes include, the evocation of emotions such as unity, harmony and rhythm, it creates a sense of familiarity and predictability which in return creates feelings of safeness, calmness and ease into the viewer. Additionally it engages the audience on a subconscious level as it allows one to maintain attentiveness to specific and subtle details they wouldn’t of normally.

  • These are the important key psychological changes that need to happen in the audience when viewing my piece. I need it to be engaging enough to maintain retention levels, but in harmony with safe patterns to not disengage the viewers experience.

• Creative practice

• https://www.kenaim.com/about

• https://www.youtube.com/watch?v=iwqIPP4E5Vo

• https://www.kenaim.com/

  • Artist ‘Kenaim’ is a visual artist who has created many large works for well-known artists, however this specific colour sequence of his was used as a ‘sub-music video’ for singer Halsey. The importance of this piece for me was the gradual visual changes. This keeps the viewer engaged on a psychological level, and whilst they aren’t viewing anything familiar to them it’s the colours and unknown shapes that create a serene and mesmerising response.

  • This is a key aesthetic practice that I intend to replicate in my piece, whilst my own is distinctly different from Kenaims, the aspect of slowly and naturally mutating colours throughout the sequence would fill that intensity that it is currently missing.

• Technical

  • As for technical research I have learnt a few more skills in premiere. From mirroring footage two to three times, I have discovered how flipping horizontally can turn a video from a side angle into a centre piece. Using ‘nests’ has been the main saviour for this project, I have nested the main sequence four times to create the visuals I have done so. Additionally I have begun slowly morphing the colour tints into different ones in order to hold the viewers’ attention for as long as possible, the main and original colour tint codes were/are:

  • Tint to black: 062A9A

  • Tint to white: 00FF01

Progress:

• This week’s progress included, acknowledging that my original idea wasn’t as strong as my free testing sequence. It was difficult to come to terms with admitting that it indeed was not as visually appealing or mesmerising as my coloured sequence was. However once I was able to let go of that, I kept trialling, flipping, mirroring and slowing the key sequence which has up to this point just continued to heighten its visual and mental impact. Additionally, this week I have begun to start the final nitty gritty changes such as applying slight keyframe changes to the colour tint over the second sequence which has been proving to be rather more precise and frustrating than previously expected. However, overall the progress this week in consideration of the project has been really extensive.

• This week during Mondays class I had one last final test of my three sequences projected into the black box. I received feedback from both Darrin and Nik after viewing the three-sequence experience. I made note to inform them on the changes I had made since my last feedback session, as I edited the key frames, so the tint colour changed over a period of time. This was exacted over each sequence individually, my main question in reference to these changes was if these colours were appealing and made sense in reference to one another. Both Darrin and Nik made note to say that the colours were attractive and that in reference to the videos meaning and overall goal that the depth to the colours weren’t to be anything other than that. I found this to be very helpful as I was beginning to start overthinking every minor decision I made, however that was a reminder to stay big picture thinking in relative moments. Lastly, the main issue I had was that the sequences were not in exact rotation with one another, this was due to the relaxed environment we were in however, Nik spoke on that it wasn’t a bad thing that they were out of time to one another as the rhythm and repetition notion of the video it could in some peoples cases make it more captivating. Overall, after this beneficial feedback session I made not of changes that Nik and Darrin offered to me, this included creating more visual connections to the audio, as well as creating a three screen “mock-up” design on premiere for the final submission.

Research:

• Academic

https://www.canvasprintsaustralia.net.au/the-power-of-art-how-size-influences-perception/

• An article, “The Power Of Art: How Size Influences Perception”, reflects on many factors that are deeply important to the significance of my multi-screened visual piece. Its stated that, large artworks tend to dominate a room and “serve as focal points”, this is a key environmental decision that serves to heighten the viewers experience. Additionally, large scale works can evoke “awe” and most importantly a sense of “monumentality”, making viewers feel small in comparison, this was a design feature that I’ve planned to utilise from an early stage within this studio. I aim to showcase my video sequences as largely as they can be projected onto the walls within the black box in order for the audience to become as little and petite as possible. This will change the perception of form and regularity in the viewer, it aims to flow into the viewer and fully engulf them into a repetitive state of mesmerisation.

• Creative Practice

https://www.qagoma.qld.gov.au/exhibition/chiharu-shiota/

https://www.tate.org.uk/whats-on/tate-modern/yayoi-kusama-infinity-mirror-rooms

• As I am finishing off my project, I have been focusing on the last few aesthetic and presentation issues, as I researched how large-scale works affect the audience, I found some artists who utilise this in their own pieces in order to evoke a strong internal locus.

• The first artist who I recognised as someone who develops her installations with scale in mind is, Japanese artist Chiharu Shiota. Most prominently Shiota creates installations with bright red string that is cascaded from what it seems, like every crevice of a room, it submerges the ordinary and dullness of space and applies it to create something large, abstract and curious to the mind.

• Secondly, another artist who uses space as a material is Yayoi Kusama, she is a contemporary Japanese artist who curated a piece called “Infinity Mirror Rooms”. This piece is hosted by a space covered in mirrors, however due to Kusama’s cleverness, the space itself doesn’t restrict the largeness in mental scale this piece has on the viewers.

• These qualities and large-scale ideas are those that I want to understand and curate with in mind. I aspire to have my multi-sequence piece to have as much impact and mental size as these artists have created in their times.

• Technical

• As I am finishing off my project this week, there has not been an abundant amount of new technical advancements. However, my experimentation with key-framing colour changing tints have been incredibly beneficial to the final steps of this project coming together as a whole. As well, I was able to cut the sequences at certain parts where the audio needed a visual change to show importance, however I didn’t want to do this for each time as I wanted the video to still be a natural progression of time moving towards the viewer.

Progress:

• The overview of this week’s progress was receiving feedback from Darrin and Nik and applying the advice to my video experience which has heightened the significance of the project as a whole. Evidently, as my last blog post for this Studio I have progressed from the beginning of this class more than I imagined. I wasn’t expecting to gain skills in using everyday footage and being able to meticulously mutate and morph it into a conceptual movement piece. The amount of knowledge I have consumed and absorbed throughout the entire semester and evidently applied into the comprehension of my project is more than I was presuming. By employing the pieces of advice Darrin and Nik continuously gave out into my own work has reflected even into other pieces I currently work on. I take pride in the multi-screen experience I’ve established this semester, and I truly believe it exemplifies the word I designated in the first two weeks: "mesmerising."