mybookschoolwork-blog

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Who gets to be remembered? What do we have to do to be remembered?

Olivia Mathurin - Essandoh

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Sargy Mann On Bonnard

We should stop thinking that we know what the world around us is and how it looks like. When we do that we free ourselves from any conventions and prejudices, it is only then that we are capable of looking at a painting and really experiencing it. Only then we can freely allow ourselves to enter the mind of the painter and to look through his eyes, the world as he sees it. 

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Images do have the ability to start a revolution, to change perspectives, to bring people together, to show what is wrong with society and what is needed to star a change! If this as not true, then why the book ‘Walls of Freedom’ I banned in Egypt, because it is seen as a threat!

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There is hidden intelligence in the conversation with images. An image maker should never underestimate their audience. 

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‘Brandalism’ at its finest.  The last picture is from an actual performance at TATE Modern which is a social protest against the fact that the museum is being sponsored by BP. The protest was an exorcism of the BP logo in the Turbine hall of the Gallery. 

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Book Cover Designs Those designs are breaking the traditional book cover designs which can be seen on the shelves in TESCO or Sainsbury’s. They make the viewer intrigued by the content and almost instantly make you want to grab them and see what they have to offer.  In the process of pitching an idea for a book cover design the steps we have to go trough are: art directing; designing; commissioning; illustrating.

‘We use persuasion every day, in almost every aspect of our lives. In order to see your idea you need to be confident with your work and you need to stand by it.’

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Working in the Art sphere

You have to learn to compromise.

You have to learn to work with a lot of people.

Approaching people is a skill, which is being developed trough time. 

Distill and condense everything you do.

You can ALWAYS turn down a job if you are not agreeing with its’ morals.

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An Indie Game One of the main creators of PIKUNIKU came to give a talk at the university, he gavels insight into what actually independent game making is, how storytelling in game design works, and how hard it is to actually come up with a good idea, which is worth making. 

- Micro storytelling: Having a non playable character and thinking of ways to make him playable (most of the times the answer is in simplicity) - Speech: Using as inspiration different sources of language culture, keeping in mind the target audiences, (ex. Twitter style of talking)  - Environmental storytelling: Being able to tell what is a tree, car, sky, water, even with just symbols on the screen, setting the tone for the story. - Performative storytelling: The small things, which will not change the source of the story, but we can decide to do them anyway, because they give us freedom in the space of the game and make it even more entertaining (like kicking one of the characters, being able to hide in a tree, putting some dance moves, which the characters can do)

- Controlled Storytelling: It is when we do not have a linear narrative, anything can happen at anytime, but to a certain extend.  

‘A video game experience starts before one actually starts playing the game (how we get to know about it) and Finnishes after we have finished playing (when we speak to our friends about it and spread the word)’

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This add for Pepsi is the perfect example of the recuperation for which Guy Debord was trying to warn us. In it we can see the peace signs once used as a symbol of rebellion against the system, now have turned into a part of the mainstream, used for commercial gain. We see the faces of the system, the spectacle, represented trough Kendal Jenner, the icon.

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The actual add, made with tapestry.

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The video which inspired the Blinkinks’ add for the World Cup.

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‘Alice’

First lip sync project, which actually manages to capture the importance of sound in films. The background theme music enhances the feeling of madness and sickness and even uneasiness. The additional sound effects are complimenting what is happening on the screen, they all work together toward making the moving image work as a piece in its own right. 

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‘Hey Stella’ Marlon Brando The scene was revoked eventually, because the music gave away too quickly what was going to happen and it was too sexual for the time. 

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Classic scene from ‘Psycho’

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Music in film

-offers rhythm and pacing (builds suspense, tension and it can release it)

-it can help the narrative (puts us in the setting, places us in that moment and time)

-it can show the Genre (Horror movies use it more often ‘Psycho’ - knife scene) 

-it can show the theme (love, romance, comedy)

-it can show a counterpoint (classical music over a fighting scene)

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Magic of the surround audio system

We can manipulate the senses, we can assimilate proximity, speed, space, direction. The animation ‘Fantasia’ was the first film to have a stereophonic sound.

Sounds can also enhance the perceptions about the characters’ personalities, we can even get the idea of the emotional state of the character only trough the sounds played in the background.

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Leitmotif (the reocurring piece of music)