#im also doing the prompts for representation; abstraction; representational abstraction; and abstract representation

[tothechaos]

gonna be showing up to my drawing class on monday with a still life of sex toys and all i can think is "average liberal arts college experience"

[strangespacedebris]

how I practice semi-openly while still being a secret witch

As of right now, I currently live with others, and I prefer to keep the fact that I'm a witch on the downlow. However, this is less about hiding what I do and more about modifying and finding different ways to refer to it.

If you live in a household that isn't openly hostile to alternative spiritual practices, and your privacy is generally respected, but you're still not quite ready to openly admit you're a witch, here's a few ways I go about explaining my practice when asked wtf I'm doing.

If you have or want a permanent altar in your room, you can refer to this as your meditation/prayer space. I keep anything too obviously witchy off mine, so no pentacles or other symbols or items that might raise questions, but candles and incense slide under the radar with this approach for me. 

If you have deities or ancestors that you'd like to represent or dedicate space to, you can use abstract representations such as images/figures of animals, flowers and plants or simply a candle, crystal, or other inconspicuous item that correspond to them. Whatever your family or household’s religion is, you can also use associated imagery or symbolism in your craft as well, where appropriate. For example, to honor my great-grandmother, I keep a few of her old rosaries and a pocket bible on my altar.

Tying in with the meditation space idea, if you have that set up and want to practice but people are home and you're worried about being barged in on, just explain to them that you're going to take your meditation/prayer time and would prefer not to be disturbed. Since my family knows I’m in therapy and receiving mental health treatment, I’ve explained to them that regular meditation is a part of that recovery process and something I need the time and space to do uninterrupted and now I don’t have to wait to have the place to myself to perform work or worry about someone coming home unexpectedly early.

Generally just refer to your practice as meditation or prayer and most people won't bat an eye, since these terms are usually easier to hear than witchcraft. In my personal experience, being more open about the fact I am doing spiritual work, without going into details, I’ve raised less suspicion than when I was creeping around, clearly hiding something.

With spellwork and prayer, you do not have to say chants or incantations out loud if you are worried about being overheard. You can mouth the words, or simply think them with intent. Anyone that tells you that you must be verbal or need elaborate aesthetic rituals that are very obviously witchy to perform magick is on their high horse.

Arts and crafts can also be a form of spellwork, but to anyone looking from the outside it just looks like you're really crafty or into DIY. This is also a great way to personalize your altar/meditation space.

If your divination method of choice is tarot, there is loads of information out there about the psychological approach to tarot which can make it seem less like mystical fortune-telling and more like therapeutic introspection through pictorial prompts. I definitely practice reading with those I live with using this approach, and at the very least it doesn't raise any alarm bells to have my decks out in plain view anymore. Prior to this though, I practiced reading with standard playing cards, which just looks like a game of solitaire.

Most witchy interests can be passed off as non-magickal hobbies. Honoring and working with nature can be environmentalism or gardening, working with crystals can just be a rock collection. Kitchen witchcraft is just an interest in cooking. An interest in space, the ocean, mythology, etc. doesn’t necessarily mean you’re a witch and most people won’t assume it does unless you give them a reason to tie it to witchcraft.

Of course, your living situation might be different than mine. If you live in a stricter household or if your boundaries and privacy are often violated, some of these methods might still not fly with those you live with. If you need more secrecy to keep yourself safe, then that's 110% okay and doesn't make you any less of a witch! Use your best judgement about what works best for you and your circumstances. Do not put yourself in danger or at risk for the sake of what you think your craft is supposed to look like. I just see a lot of posts geared towards those either working in deep secret or those working completely openly, and I wanted to throw out some tips for anyone else living between those two extremes.

And of course, feel free to add on to this if you have any other tips for those of us in the middle.

[westphotolukedas]

Production Journal - Being John Malkovich

210220

Being John Malkovich (1999) is a haunting film that asks viewers to surrender to a fantastically absurd premise. It was Spike Jonze’s directorial debut and he received an Academy Award nomination for such a bold undertaking. The plot follows Craig Schwarz, a struggling street puppeteer, his affectionate wife Lotte and his office infatuation Maxine. Relations between them cycle between attraction and repulsion when they discover a portal into the brain of John Malkovich. Its intrepid moments of comedy were met with praise and fascination from critics. ‘Put simply, Being John Malkovich just has to be one of funniest, cleverest films of the year, a Fabergé egg of comic delight,’ were Peter Bradshaw’s closing remarks in his review. (Bradshaw, 2000)

Director of Photography Lance Acord (Born 1964) is Jonze’s long term collaborator. Between them they have the hipster credentials to deliver trendy music videos, independent films and Hollywood blockbusters. With Being John Malkovich (1999) they developed a visual language which was darker derived from traditional set ups and framing. ‘We shot most of the scenes very simply. We didn’t have that much time to do them, and instead of breaking down each scene into ten setups, I wanted to spend my time getting performances from the actors,’ Jonze explained in interview. He continued, ‘That was a conscious decision, but I thought it worked for the movie - not to make it big, flashy and overly into technique. Lance can confidently and quickly work with little equipment. And, also, he doesn’t care so much what his peers are going to think.’ Given that the film explores such abstract concepts, it is largely due to Accord’s efforts that the viewer is able to suspend disbelief and lose themselves in the cinematography. (Macaulay, 2019)

Being John Malkovich (1999) has philosophical appeal for its portrayal of same-soul theory - a model of Cartesian dualism that suggests individuals identify with a consciousness unique to them. In essence, a person may be themselves within the vessel of someone else. The functionality of the portal may be likened to a cerebroscope - a fictitious device capable of relaying the contents of someone’s brain to another individual. The film addresses this phenomenon by switching to an occluded camera view analogous to peering through a periscope. The feeling of voyeurism is elevated by drawing attention to Malkovich’s bodily processes akin to the auditory effect of an isolation chamber. In a comically pedestrian scene, he orders a bath mat and scours his kitchen for Chinese food; however, the cinematography makes the act seem supernatural. Several levels of this interaction are explored when Maxine has a date with Lotte as Malkovich and Malkovich enters the portal to witness his own conscious mind in a perverse paradox loop. The filmmakers breech the fourth wall and meander either side of it to the point that it is accepted these characters are familiar with the real actor John Malkovich and his friend Charlie Sheen. (Koch, 2011) (Shaw, 2006) (Weinstein, 2008)

Summary

Jonze’s classic film takes time to develop layers of reality that act as a platform for facets of philosophy and science. In comparison, my film will be minutes long and undertaking anything of the same magnitude would be ambitious. I would like there to be a change in the rhythm of the footage that I will create with my own production technique. During an email conversation with lecturer Teemu Hupli, we discussed this issue and the potential avenues that I may partake.

‘Something has been ringing in my head since we spoke last Friday, and I want to voice it. You said a sentence in our chat to the effect that ‘the toil’ behind finished pieces of dramatic art (by which I understand films, plays, TV performances of various kinds) is ‘often not seen’ and your proposed project would expose that side of things. I am not saying it is often seen, but I would suggest you research the basis of this assertion. We do have films / representations of the work that goes into making pieces of dramatic art - cinema by now has a lot of them e.g. Synecdoche, New York, Being John Malkovich, Mulholland Drive, Inland Empire, and theatre has messed around with the fourth wall at least since the modernist times. In general, the idea of exposing the structures ‘behind’ finished products of art falls under the broader rubric of self-reflexivity, which has become a relatively widely used strategy for slightly more experimental dramatic art. I did mention structuralist film in our chat, which was based exactly on that idea, although it was not always about exposing the toil of actors alone, but often focused on the materials and editing structures of film e.g. Michael Snow’s Wavelength, which is essentially one very long inward zoom with marginal - literally in the margins of the frame - events occurring in the room.

I believe it would be important for you to acknowledge that your project might be operating in the context of such experiments in film / theatre. This is not to say that you should not follow your idea, but that you need to ensure that you are as fully cognisant as possible about the art / film historical context in which you work, in order to develop a clear sense of where you might be doing things similarly and / or differently from the context.’

Production Notes

An original musical score by György Englert provides some clue that Natalie might be an actor playing an actor. Lady Gaga’s Shallow (2018) and Joseph Arthur’s In the Sun (2003) were the inspiratory prompts that I gave him. I like the way both songs become more upbeat as they progress; however, melancholic accents are apparent throughout. Englert’s gypsy jazz roots contribute a playful quality that is also implicit of these shifting intentions.

After the title fades the film begins with a conventional shot seen in television interviews - framing tight to the subject and emphasising facial gestures. There is a second shot positioned further away to add some variation and then photographs from Natalie’s career roll across the screen. Momentum is broken for the first time when she slips and I encourage her to recuperate her thoughts. In the last scene of the interview there is an inaudible background comment from me, although this might be too elusive for the viewer to notice. These remarks were left in the final edit to break the fourth wall - the actor and the director are aware that they are part of a fictional narrative. In the scenes that follow, I added extracts from the scratch audio that are revealing of the filmmaking process. A focusing error while Natalie drinks tea was also left in. An early commercial cut of the film had these parts removed. It had a more mainstream tone and the intentions of the piece were lost. My peers encouraged me to be bolder with my post-production choices and this was the right direction for the project.

Being John Malkovich’s (1999) cerebroscope is recreated in the line reading sequence. The audience has a first-person view of Natalie’s performance as if they are me. There is a familiar fluidity to the play that she exudes. She waits in anticipation of her opening gambit and then launches into the role. Glances down to the paper script and then back to camera were the exact nuances that I wanted to capture. Scratch audio of me monotonously rattling off lines is heard at the start and then there is a fade away to a voice over. I selected the passages about her acknowledging nerves prior to a performance and method acting to superimpose over the visuals. Both give insight into the feelings that she may be experiencing in real time. Various edits exist where the scratch audio was omitted or faded out at a later frame. Feedback from these versions led me to believe that my speech was needed to frame the situation. Finally, I am pleased with the way that Natalie’s staring eye dominates the closing shot before the next scene.

Bibliography

Bradshaw, P. (2000). Bonkers but Brilliant. The Guardian. Available from www.theguardian.com/film/2000/mar/17/1 [Accessed 10/04/2020]

Koch, C. (2020). Consciousness Redux - Being John Malkovich. Scientific American, 22 (1), 18-19

Macaulay, S. (2019). I’m In You - Director Spike Jonze and Screenwriter Charlie Kaufman Talk Being John Malkovich. Filmmaker. Available from www.filmmakermagazine.com/107755-im-in-you-director-spike-jonze-and-screenwriter-charlie-kaufman-talk-being-john-malkovich [Accessed 10/04/2020]

Shaw, D. (2006). On Being Philosophical and Being John Malkovich. Journal of Aesthetics and Art Criticism, 64 (1), 111-118

Weinstein, L. (2008). The Perverse Cosmos of Being John Malkovich - Forms and Transformations of Narcissism in a Celebrity Culture. Projections, 2 (1), 27-44

Final Cut, Manual Mode, 25 fps, WB Natural Light