Archive for June, 2010


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hey hombres and hombgrls,

here’s my first video journal ever. pressed straight from the studio.

permian /////\\\\\

hey p33ps!

check this out!

‘NAWLZ’ is an interactive comic i’ve been reading for some time now. It’s a mix between a comic and and animation, but holding true to both forms. The story is amazing and the collaborative music from Speakerwrath, Intamok and Joel Edmondson bring the immersiveness to new depths.

The creator ‘SUTU’ is an Australian visual artist who also works designing HUDs for military simulations… for real bamf!

http://www.nawlz.com

Last Saturday, I had some of my work screen publicly for the first time at ‘The Croft Institute’. It was a great night with a good turnout, some amazing art(whoever was using old N.A.S.A footage your work was mind-blowing, kudos) and ballsy musac! A big thanks to Rob Graham for organising the entire night and giving me the opportunity to chuck some work out there.

Sorry for the dodgy footage I took of the night. I had to shoot it on my old beat up phone because earlier in the night my video camera got stolen. I guess that’s what you get for being a dickhead and getting all mashed up in some dodgy basement bar on Elizabeth St. I was just lucky I only had my crap Sony cam with me and not my Canon. It still makes me rage though. It was the first camera I ever bought when I was 15 and working at some crap department store to save up. Oh well… you live you learn.

Getting my work displayed publicly was eye opening to say the least. First of all it wasn’t like my work was being screened in some quiet room with people analysing it. It was essentially complementary to the music, but that’s ok. However, because the screening was like this some pieces worked and others did not. ‘Cogs’ and ‘Look into the eye!’ worked really well, but ‘Jiri’ did not seem to work in that environment at all.
I think that this was because it was heavily created around narrative, whereas although ‘Cogs’ was essentially narrative, it was more arbitrary. If I’m displaying at future events like this, I will either not screen any narrative work or do some serious re-editing to suit the purpose.

One of the major things I did notice about displaying my work in public was that a lot of the audience did not give a f*#k, which was expected. However it’s late and I need sleeeeep so i’ll make another post in a few days about the all important topic… ‘REJECTION!’

There will probably be more opportunities for some of you p33ps to get your work at the ‘Croft’ as it turns out they have the capability of projecting video into a Melbourne alleyway which should be a blast, so I’ll keep you posted if I hear anything.

Oh and James, if you’re reading this your USB stick was in my bag when it got stolen, :< i'll buy you a new one as soon as I can.

PERMIAN

“On a late-November evening in 1987, two Chicago television stations were victims of a broadcast signal takeover.

After an earlier hijack attempt on WGN-9 during the 9:00 News , a broadcast on WTTW-11 of the Doctor Who episode “Horror of Fang Rock” would be interrupted by a man wearing a Max Headroom mask. The crazed person uttered mostly gibberish and bashed the Chicago Tribune and its subsidiaries, before he dropped his pants and was spanked by what appears to be a child. 90-seconds later, the program returned to normal. To this day, he remains at large.”

HEy Pe0ples!

I’ve got my first live screening ever! ZOMGWTFBBQ! Tomorrow(sat) night at the ‘Croft Institute’ from 8.30 onwards.

My work will be playing with a few other artists, looped to the wicked sounds of some of the best progressive djs in Melb.


Come check it out! 😀

not only is this a sweet as all hell tune. the video clip is a great example of video remix done well. check it!

Hey everyone!

Check out this amazing animation by Philip Hunt. The writing and narration is from a piece by William S. Burroughs.

The other week I was talking to several people about animations and moving image art projects. The topic of using 3d computer generated imagery came up almost straight away. If you didn’t know already I tend to gravitate towards using 3d CG for a lot of my art. The people I were talking to were pretty heavily against computer graphics for several reasons.

The first point they raised against 3d CG was that it’s not at all intuitive and therefore something spontaneous is lost, unlike older or more two dimensional animation mediums. I completely agree with this. The first time I ever opened up a 3d computer graphic program I nearly cried. It blew my mind how complicated it was, how many things you could change and tweak not to mention the insane amount of jargon specific to just that program. 3d programs are completely anti-intuitive and difficult to grasp for years and years after you begin to use them. They aren’t like a camera that you just turn on, off, move and repeat, like a ball of clay or like drawing an animated sequence.

They also stated that because there are so many options it’s easy to get bogged down in minor tweaks and little details that don’t have much effect on the major outcome of your piece. This is something every artist working with 3d must not fall into, I agree. However on the other side of the picture, because 3d visuals are so customizable and tweakable it offers an amazing amount of freedom. It’s something no other form of animation or moving image can do as well. You want ninjas flying through the air with toasters for legs while getting blown apart by babies with laser eyes?! You’ve got it! However it is very hard to make it not look like it’s 3d or hide the fact that it was synthesised in a computer. This is why lot of artists who have used 3d will not be happy with the outcome of the format. If using 3d computer graphics don’t try to hid it, embrace it, in your concepts AND in your practice.

Make the polygons say something, don’t try to hide the fact that they ARE polygons! If you want your visuals to have an older mise en scene DON’T use CG. It’s as simple as that folks.

One thing that can hinder an artist using 3d cgi is the fact that there is too much freedom. Any artist can tell you, it is hard to think of a good idea or create something when there are little to no limitations to work within. That is why artists and especially artists working with 3d cgi must create there own limitations and blocks. Through adversity comes creativity.

One major mistake I’ve made with my narrative 3d computer graphic pieces so far is an overuse of special camera moves. When using a real camera; tracking, sweeping or shots with a lot of camera movement can be difficult or impossible to pull off. Instead filmmakers tend to use editing and cutting techniques which in the end make the film much more cohesive than any fancy camera move. In 3d programs it so easy to tell the camera to do fancy movements, so animators tend to over-use them. I am guilty of this. That is why I think my ‘Cogs'(2d cut-outs) is more a effective and better animation than my ‘Jiri'(3d cgi).

All in all I would like to encourage any moving image artists out there to at least try 3d Computer graphics even if it’s not to your liking. But if you do, embrace the polygonal facade of the medium and never forget what you have learnt with using a ‘real’ camera in ‘real’ 3d space.

Keep creating!

PERMIAN

Here’s an interesting generative animation by Vladimir Todorovic.
“The Snail on the Slope is a generative movie based on a book of the same title by Strugatsky brothers. The novel is set on an unknown planet, where humans have a base from which they are investigating and trying to conquer the Forest. The Forest, which is a huge single organism is constantly changing and fighting back. It is also dangerous and there are a lot of unexplained phenomena that they are discovering.

The movie is made of five chapters, which critically address the questions of artistic and scientific efforts to understand nature. The topics that arise in those chapters are: sublime view on nature, role of knowledge, ubiquitous bureaucracy, and destruction of nature.

In the movie, all the scenes are generated with Processing. They are created as abstractions and visualizations of the atmospheres in which all of the action takes place.”