3A: Articulation

INDEPENDANT PRACTICEJUS DEVON MOORE

UNIT 3AARTICULATION

INDEPENDANT PRACTICE

The following portfolio is a collection of selected works and experiments which aim to provide testing ground for a Final Major Project.

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Only is the first student publication to come out of UCA. Initially discussed as a publication to document the events of the Lab, it’s concept quickly evolved into a much more sustainable idea. It’s format tries to adhere to the questions about space raised by the laboratory project. We thought that the mechanics, size and form of the publication should not conform to norms, and so it is designed in such way to challenge the space in which itself concerns. Its contents consists of independent fold outs which sometimes use folds to hide and reveal sections of images and text. Graphic Design and Art Direction by Mika Vaajoki and myself.

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Toward the end of the summer break a friend of mine who recently got a job as a Creative Technologist at RAPP was asked to shoot a video for a Panasonic social networking competition. He had seen some of my previous video work and asked me if I would like to come along to help shoot and direct the short film. We had only a few days to collate some friends to attend a free trip to Brighton and storyboard a 1 minute film describing and “ fun day in the summer”. We encountered a lot of problems along the way, including, people turning up late, acquiring Panasonic products, which ultimately led to us runnning out of time, so we had to be quick and decisive when collecting the footage.

To watch this video, follow the link below:http://youtube.com/watch?v=egN9rDDhgp8

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Blasé stems from a love of culture and people. Heavily influenced by graphic design, skateboarding and music, the project is a journey which encourages individuals to explore, socialise and educate. Music and design is shared on the respectuve selections of the website in a blog like format.

http://blaselondon.co.uk/

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Branding for the UCA, Epsom table in Handmade & Bound at St. Brides Library.

The theme of a sweet shop was undertaken to provide the notion of a child in a sweet shop (i.e. print geek in a book fair). After some observational research it was apparent that many of the design and visual elements of a typical sweet shop would work well with our required matter (posters and bags). We also had a large variation of work submitted from UCA, Epsom which provided lots of colour to compliment the table’s identity. The table was adorned with sweets in glass jars (free for everybody!).

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500 sweet bags were screen printed for people to take away prints and zines. An edition of 100 two colour posters (with a list of exhibitors) were screen printed as a freebie for anyone who bought an item from our table. I rented a 5D for the weekend with the intention of capturing the days events. I was thinking about making a short video which Luke Pendrell suggested that I did, and so I also asked Tom Hagarty and James Devereaux-Ward to help me cover the days events. It was an extremely difficult space in which to work, it was very busy and not every exhibitor at the time was too happy about me documenting their stalls, one

person said, and I quote “...you could just buy one”. In truth I understand that your intentions maybe misconcieved in such situations, but with most people if politely asked if I could shoot their work for the Handmade & Bound video, there was no problem.

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To watch the video, follow the link below:http://vimeo.com/32538942

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For the initial brief of the semester, we were asked to present our interests and inspirations. I chose to collate short clips from a planned journey on a route round central London at 5:00am. I tried to spontaneously capture things which took my interests as and when they occured. In preparing to shoot this film I acknowledge that my influences come largely from my general environment (aswel as specific types of practice and practioners), so I thought the above method would provide an appropriate and true reflection of my interests. The film primarily consisted of found typography, architecture and colour, which was then edited into a showreel.

On reflection of the initial task set, I decided that although I could execute the above idea more thouroughly, it did not provide enough substance to challenge me for a second task (Dogme 95). After watching some films in class, discussing film metaphor with tutors Luke Pendrell and Mike Nicholson, I began some observation research and I came up with some storyboard ideas as to how I could translate my initial intention.

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The development of brief 001 was a 3 minute Dogme 95 film in which I tried to describe, the consumption, process and output of our interests and inspiration. The video has since been refined into a shorter version of approximately one minute.

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To watch this video, follow the link below:vimeo.com/dogme95

The previous 3 media edit contained footage and narrative which was both unclear and too abstract an idea for the viewer to understand without an explanation as to its workings. In the film, Urjuan Toosy plays the role of my (personified) interest, which awakes in the outdoors. We take a short moment to awake and then we begin to observe and consume our surroundings. After a period of time she’s finds something of interest, a lead which Urjuan presses against her skin to make an imprint (an output). The initial results aren’t too clear but she tries again and the imprint of the leaf is crystal clear. Content with herself, she lies back down for a rest.

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Mono is also another Dogme 95 film. This time round I wanted to experiment with the production of the film more so than the narrative. I chose a simple idea, light sources (interests) bouncing (being processed) off of Urjuans skin (output). In this short one minute film I layered the clips with varying opacity in order to describe conflicts in interests and also the relationships between them.

To watch this video, follow the link below:http://vimeo.com/32602568

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After helping Urjuan Toosy and James Devereaux-Ward shoot their video’s, I felt as though I wanted to move on slightly from what I was doing. I found more interesting the unwilling amalgamation of processes which had been stumbled across whilst trying to solve the problem as to how Urjuan’s turntable animation could be shot. The above pleased us both with it’s potential communication and aesthetic. We created lists of our own interests and inspirations alongside notes from tutorial feedback to provide a starting point for experimentation. Urjuan had talk about links and connections, and I had talked about overlapping and conflicting ideas, and in my previous two films with the way in which we consume, process and output our inspiration and influence. Sometimes knowingly, sometimes unknowingly.

The initial process “machine” we created involved a live camera linked to an old television set, and a second camera filming the television set. We then added into the mix a projector, and another camera, using approximate variations of the above to create imagery. For a short amount of time we struggled to apply any narrative through this process, but through the following series of experiments, alongside many lengthy discussions and tutorials, led us to produce the film Consumption. I also liked the idea of making a Process Journal as we had collated an incredibly large number of stills from these experiments which may have otherwise gone to waste. I also was in a complex early on in the semester as to how to combine film with print.

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S ignal was the first experiment with our new found process. We projected type onto the television set whilst corrupting the television signal through the digital box. The overall process was documented by film. The element element of chance and influence of media were to aspects of this experiment we liked and wanted to push forward.

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In the frequency experiments we used our camera as a way of altering our observation. Light waves omitted by the projector can be separate into their different colours if shooting at a high enough shutter speed with.

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In these video experimentations, we were thinking about the point from which one observes (the act of obersevation - Heisenberg) and how this may influence the information recieved. At many points we have cropped the frames to

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For handmade and bound we printed a series of 5 zines. We took stills from all of our above experiments and printed them so that two different sets of stills overlapped. 8 prints were then selected for each zine, cut and bound producing 5 different publications. A plain black cover was added and also “The act of observations changes the conditions of the observed”, (Luke Pendrell citing Heisenberg). The idea was that the zines looked the same but contained subtle variations inside. We found interesting the sense of nostalgia in these images, coupled with our anxiety to be able to communicate a narrative, we attempted to use the process to convey mood in the next experiment.

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INDEPENDANT PRACTICEINDEPENDANT PRACTICE | 3A: Articulation



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The mood test was composed from two popular youtube videos, a compilation of people laughing and a baby laughing at tearing paper. We projected one video onto the television and, pointed the live camera at the laptop screen for the other video. We wanted to use footage from the internet which we know a lot of people would have already seen and would recognise.

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INDEPENDANT PRACTICEINDEPENDANT PRACTICE | 3A: Articulation



Signal, Frequency and Observe can be found here:http://vimeo.com/32941533

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In this tests, the word noise was taken and distorted digitally through attenuation of quality. A short range of experiments trying to visually communicate some ideas of transmission, noise, sound, diffraction and attenuation were undertaken. These were then put on top of cropped media from previous footage.

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TITLES

To help provide the viewer with an insight to what our film is about the openning sequence of titles describes the definition of consumption. During this time a primitive abstract visual sand vinyl crackle sounds are played.

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The narrative of the video depicts a progressive timeline of consumption to the point of over saturation where the viewer can no longer comprehend the information being recieved through audio and visual channels. The title sequence at the beginning is easy to read and accompanies a primative black and white animation, and the sound is not overwhelming. All elements a processes used graduate build. Many elements and ideas of Jean Baudrillard’s Simulacra and Simulation are apparant as this film returns to nothingness and ends with a black frame and silence, suggesting we reached a point of oversaturated where the information is obselete.

To watch the film, follow the link below:

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Whilst produce this film we read lots of interesting texts, ideas and works from numerous practioners and theorists. These have been collated into a process journal along with still from the video experiments and Consumption.

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During the course of this semester I have been primarily dabbling in and amongst film making. In recent years, the advancement in shooting video on DSLR’s has made videography more accessible for myself. I have always had a keen interest in photography so these camera’s such as the 5D mark 2 have leant themselves well to me. I did not take video shooting too seriously in previous years, however since a young age I have edited skate videos with my friends. Without intention, this has enabled me to develop basic skills in Final Cut Pro and gain an understanding about shooting (i.e. correct frame rates vs speeds). I have built upon this basic knowledge and represented it within my independent study. Over the past year I have been involved with a number of short film projects outside of university including, identity and the sequence design for Dazed Group and a promotional video for Vaughan Talent. Before the semester I did not consider myself a film maker although I did regularly make films, but I have been trying to build upon my knowledge.

I like to be able to work to a high standard across a variety of disciplines. I have the ability and awareness to visually communicate ideas, but I would like to develop my knowledge of reference. After speaking to our tutors, practitioners from industry, it is clear that they have an overwhelming depth in their particular fields. This is not something I’ve recently become aware of, but I realise it takes tune to build upon. I have tried to be aware as possible when coming up with ways in

which to execute an idea. As part of trying to develop this skill, I maintain a website www.blaselondon.co.uk in which I document contemporary practitioners and studios and collectives to whom I aspire or am inspired. Furthermore, I have been collecting a list of similar nature for reference and contextualisation of my own work. In its output I am able yo apply the above in the form of a website, publication and occasional short films.

The main bulk of this semester consisted of collaborative work with Urjuan Toosy. Working as a pair we were easily able to generate an abundance of interesting concepts. We carried out lots of experimental work. There were times at which we could have been more decisive. As a whole I think that we were able to work proactively and productively throughout. We have a different skill set and approach but they have seemed to compliment one another. I did not experience any problems with negotiation, we were able to discuss and appreciate each others suggested approach, and try to identify the best way to move forwards. I understand from previous experience that working collaboratively can provide many a problem but as I see myself as an art director it is very important to me that I can work collaboratively with other practitioners. At certain points we were very concerned about the narrative of our experimental film. We did not want to make something that simply tested the process of which we had spent a lot of our time but rather make a piece of film which communicated through the process.

I have enjoyed researching relevant theorists and

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practitioners, applying and re-appropriating ideas which come from this research in to my own work. I think that this is a good way to add depth and reasoning to a piece of work and also a good way to compare your own ideas and practice to see how it measures up. On reflection of this portfolio I have just completed I am pleased with the way in which the bibliography supports the body of work providing support and reasoning for the project. This was the initiator for producing a Process Journal as both myself and Urjuan Toosy thought that, aside from the film, the ideas we were discussing would be interesting to others.

I never feel settled if I can not execute a piece of work to the best of my ability. Due to this my initial three minute film Dogma 95 film has been a point of application for skills I have developed throughout the term and have been refined in to a roughly one minute film, with titles, with which I am much more content. I had to think of a way in which print could be combined with film. My first experiments and ideas were not successful, I tried too literally to combine these two practices and the communication of my intentions were not at all clear. This conflict later came to a resolve as I began to concentrate on the body of work at hand and recognise both film and print as mediums in which to communicate the ideas.

Throughout a busy term, I have spent lots of time in university and have attended talks, workshops,

exhibitions, critiques both inside and outside of university. These have enabled me to develop further with skills such as colour grading, video editing, HTML and CSS.


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Proposal

I always had a keen interest in observational and practical research experimenting with processes and image making techniques. During the semester I enjoyed collating a body of work that was informed by contemporary and relevant reference. I would like to propose a similarly structured project. I also enjoy to visually communicate ideas and information. For my dissertation I have been collecting research to do with artist colonies, artist culture and their influence on London. I think that this is a body of work which could be expanded upon with practical work. The link between my dissertation and final major project will help me put the practical work in to practice due to my thorough understanding of the subject. My strongest practical skills are in graphic design, photography and film therefore, a logical output for my final major project would be to produce a book and a film.

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BIB

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aisleone.netthisiscollate.com

helmo.frbibliothequedesign.com

lamosca.comspin.co.uk

Ezra StollerStephan Tillmans

Tom CarnaseRolf Harder

Wim CrouwelTim NavisQuadrado

Massimo VignelliSaul Bass

Marius Roosendaahl Tomato

Luke PendrellMike Nicholson

Johnathon BarnbrookMalcolm Le Grice

Cuba from Jørgen Leth’s “The Five Obstructions”Vertical Roll by Joan Jonas (1972)

Imagining the 10th DimensionKoyaanisqatsi: Life Out of Balance, 1982

Early Abstractions” (1946-57), Pt. 3CBS Indents (around 1960)

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Tomato Process Journal Natural Essence - Injury Why Not Associates - ?2ABSTRACT No1. Land In Sight, 2011, WIREElephant Magazine, Winter 2010/2011Elephant MagazineEye Magazine Grafik 180 - Music and Movement, p62 onwardMarshall McLuhan - Medium is the messageJean Baudrillard - Simulacra and Simulation


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Documents

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