NOISEFOLD - UNT Digital Library /67531/metadc...آ  Lewis, Robert. of Fine Arts (Radio,

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Text of NOISEFOLD - UNT Digital Library /67531/metadc...آ  Lewis, Robert. of Fine Arts (Radio,

  • APPROVED: Ben Levin, Major Professor David Stout, Committee Member Sam Sauls, Committee Member and Director of

    Graduate Studies Alan B. Albaran, Chair of the Department of

    Radio, Television, and Film Mark Wardell, Dean of the Toulouse Graduate

    School

    NOISEFOLD

    Robert Lewis

    Thesis Prepared for the Degree of

    MASTER OF FINE ARTS

    UNIVERSITY OF NORTH TEXAS

    December 2012

  • Lewis, Robert. NOISEFOLD. Master of Fine Arts (Radio, Television, and Film),

    December 2012, 49 pp., references, 16 titles.

    This documentary film follows the group NoiseFold as they rehearse and perform their

    unique style of interactive video art before an enthusiastic audience. Originally hailing from the

    vibrant art community in Santa Fe, New Mexico, founders David Stout and Cory Metcalf return

    home to prepare for a special performance along with the addition of collaborator and cellist,

    Frances-Marie Uitti. Shot in black and white, the film aesthetically borrows from early cinema

    and incorporates a blend of cinéma-vérité and direct cinema styles for the purposes of creating a

    film that is both visually and sonically rich.

  • ii

    Copyright 2012

    by

    Robert Lewis

  • iii

    TABLE OF CONTENTS

    Page

    CHAPTER I PROSPECTUS ......................................................................................................... 1

    Introduction and Description .............................................................................................. 1

    Feasibility ............................................................................................................................ 3

    Locations ............................................................................................................................. 4

    Characters in the Film ......................................................................................................... 5

    Treatment ............................................................................................................................ 7

    Goals of Production .......................................................................................................... 10

    Integration of Theory and Production ............................................................................... 12

    Schedule and Equipment................................................................................................... 13

    Research ............................................................................................................................ 17

    Financing Possibilities ...................................................................................................... 22

    Potential Areas of Distribution for NOISEFOLD ............................................................. 23 Budget for Bobby Lewis - Production of NOISEFOLD ................................................... 25

    CHAPTER II PRE-PRODUCTION RESEARCH ...................................................................... 26

    Subject Matter Research ................................................................................................... 26

    People, Location Research ................................................................................................ 27

    Funding ............................................................................................................................. 28

    Distribution Possibilities ................................................................................................... 29

    Goals of the Production .................................................................................................... 29

    Feasibility .......................................................................................................................... 30 CHAPTER III RECONCEPTUALIZATION BEFORE PRODCUTION .................................. 31 CHAPTER IV THE INTEGRATION OF THEORY AND PRODUCTION ............................. 32

    Theories and Rationales for Use ....................................................................................... 32

    Approaches ....................................................................................................................... 33

    Review of Additional Texts Reviewed for Research ........................................................ 34 CHAPTER V PRODUCTION ..................................................................................................... 36

    Overview ........................................................................................................................... 36

    Schedule ............................................................................................................................ 36

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    Equipment ......................................................................................................................... 37

    Releases, Copyright and License Agreements .................................................................. 39

    Budget ............................................................................................................................... 39 CHAPTER VI POSTPRODUCTION........................................................................................... 40

    Schedule ............................................................................................................................ 40

    Equipment ......................................................................................................................... 40

    Reconceptualization of Film during Postproduction ........................................................ 41 CHAPTER VII EVALUATION OF COMPLETED WORK ..................................................... 43

    Preproduction .................................................................................................................... 43

    Production ......................................................................................................................... 43

    Postproduction .................................................................................................................. 44

    Success in Integrating Proposed Theories ........................................................................ 45

    APPENDIX BUDGET FOR BOBBY LEWIS - PRODUCTION OF NOISEFOLD .................. 47

    REFERENCES ............................................................................................................................. 49

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    CHAPTER I

    PROSPECTUS

    Note: This section was written during the course of one year, from April 2011 until April

    2012. This is the original proposal that was submitted and approved by the thesis committee.

    - Title: NOISEFOLD

    - Length: Approximately 30 minutes

    - Medium: HDSLR, Super-8, and 35mm film

    Introduction and Description

    Cinema, radio, television, magazines, are a school of inattention: people look without seeing, listen in without hearing.

    Robert Bresson, Notes on the Cinematographer Whether seen simply as a work of art or encountered as an intellectual and spiritual event, the loss of self that occurs during a NoiseFold performance is balanced by a gain of understanding.

    Patricia Sauthoff, The End of Being

    For nearly a decade, performance artists/innovators David Stout and Cory Metcalf have

    been verging on a substantial breakthrough in providing an integral audio-visual representation

    derived from a myriad of physical control devices (i.e., dynamic computer network, infrared

    sensors, parabolic microphones, foot pedals and other control devices). Generating abstract

    audiovisual life forms through computer-generated algorithms, Stout and Metcalf have garnered

    international attention from such disparate corners of academia and art communities, from

    scientists researching artificial intelligence to avant-garde film communities interested in abstract

    form and pushing visual/aural boundaries converge in mutual curiosity. Many who experience

    the NoiseFold performance agree that it is nearly impossible to articulate what has been

    presented, as Stout and Metcalf are rapidly outpacing in performance what few art theorists are

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    able to define and describe. Thus, it appears that NoiseFold is on the cusp of innovation, both in

    terms of the groundbreaking work they are accomplishing, as well as the world’s discovery of

    their effort and performances. As such, this documentary is an important work at an exciting

    moment in the convergence of film, art, and science; an opportunity to document an explosion of

    sight and sound, as well as the world’s acknowledgment of that explosion.

    The documentary NOISEFOLD will take an observational approach to exploring the

    phenomenon that is NoiseFold. As such, this documentary will rely on performance footage,

    day-to-day conversations, “fly-on-the-wall” observation, and the ins-and-outs of “backstage”

    setting up and travel. In so doing, this method accomplishes two primary goals for this film: 1)

    allowing the viewer to feel like a participant in the true NoiseFold performance a