Video Project Rough Cut

How did you intend to visually communicate your themes/ideas to the viewer in terms of the formal qualities of your video (i.e., describe the pace/flow of the video, the types of imagery used and why, the relevance of the audio, etc.).

            For my video project, I wished to convey the feeling of loneliness and its effects on the brain. I decided to try and incorporate the color and composition of my shots in a way that evokes feelings of isolation or abandonment. The audio I included in my video is meant to correlate with the hypersensitivity and hyper awareness that individuals experience when they are in a constant state of seclusion.

Describe the content-based research you engaged with. Without discussing any expressive aspects of the video, discuss how this research informed the production of your work and helped you to critically engage with your ideas.

            The content-based research I engaged with included articles that described the neurological effects of loneliness on animals and the way their resulting behavior can be observed in humans who experience the same type of isolation. Since animals isolated from their groups are consequently placed in an increased amount of danger, their senses respond instinctively by become hyper aware of their surroundings. In humans, this effect causes sufferers to over analyze or solely focus on the negativity that they experience every day while ignoring any positive events that simultaneously occur. They are thus subject to a cycle of stress, anxiety, and loneliness.

Do you believe that the audio of the video engages successfully with the concept of hyper sensitivity? How do you think the audio could be strengthened?

Do the shots function appropriately in terms of length and composition? What effect do they have on you as a viewer?

“New Media in Art” by Michael Rush, and “Video, Flows in Real Time” by Maurizio Lazzarato

In Michael Rush's "New Media in Art," the concept of time and its representation within the artistic world is explored through the very manner in which artworks are subject to temporality. Rush discusses the immunity of of the interactive video format to the limitations that other more traditional pieces are subject to. This is a very interesting concept because it calls to mind the immortality of a work that completely lacks a traditional narrative format and instead asks the viewer to participate in a tangible and immersive interaction. The very possibility of preserving a specific series of events in time provides artists with the opportunity to preserve such an uncontrollable and untamable entity, a concept that truly provokes deep investigation and thought.
Maurizio Lazzarato's "Video, Flows in Real Time" discusses the very components that give essence to the structure of video technology and why these things are important to consider when examined within the context of their content and creation. The author includes a quote by Angela Melitopoulos that references the impact of the construction of these moving visuals: the technology utilized to create these pieces operates in a way that must transform and manipulate light in order to create the desired image. The energy that exists in the objects being represented and their subsequent changes when represented with video technology provide a view into a reality separate from the original experience. This concept references the layers of mystery that are always incorporated into works of moving image, something that significantly ties into our class because it reminds us that the very images of our video projects can contain plentiful sources of expressive thought and critical thinking, without the need for music or narratives. How can the technical procedures and the philosophical components of video technologies influence the creation of our video assignments?