Critque of my work: The Music video.
I didn't have much luck with the graphic editing for my music video. I kept the video simple. I started off with the idea of making a music video to the song i produced but as i listened to the song (Holy Moly) i decided that the rhythm of the song was too jumpy and exciting that i could not make a video to it the i wanted because i did not have to time nor the budget for the necessary people and props. I wanted to take what every video i produced and put it in comic-book style, that was my original plan but things did not work out.
I ended up making a video to one of my favorite song "We Be Steady Mobbin" by Lil Wayne. I ending up staring in the video. I made the video the way i was left to do because my original plans backfired. Trying to use to many people in the video did not work because of conflicting schedules.
My original plans were to used mickey mouse wearing a tuxedo to play the part of lil wayne. The song has lil wayne featuring gucci mane and i was going to play the part of gucci mane. However, i cut the song to only have the beginning chorus, lil wayne's first verse and the chorus right after his first verse with out gucci mane's part turning the song from 4 mins to 1:50 seconds. I figured the shorter the song the easier the video. I used clips of me and little wayne and i edited it to flow with the beat of the song. I used the taxonomy of music video chart. I also made sure that the clips were synced with the lyrics of the songs, so that pieces of the lyrics can be seen in the video. For example there is a piece in video that says "forget about the females" and when that part comes up i placed clips of females.
Next times i will plan differently. I will choose the song in advance and stick with it. When i have to make a music video again, i will first find a song i would like to do a music video to, like a song that i wouldn't mind other people watching the video to. Next time i will start the shooting process a week earlier. I give my video a 7 out of 10 for visual consistancy sycning the clipes to the beat and lyrics of the song. I was the producer of the video and the co-star.
Friday, April 20, 2012
Blog 8: Comm333 Chapter 9&10
Chapter 9: The Reversibility of Expression and Perception
Thesis: Expression is being placed in reversal of perception in a way that explains what is being expressed without fading from the original perspective view.
Merleau-Ponty invokes a myth of the original song of language in which nothing is conventional because its history from the first to the last is unthinkable according to any algorithm. (O'Neil, 1989, p. 9)
The relationship between the culture you're in and the parameters that allow you expression are fed back through a technology. It is the state of the art technology within a particular culture that gives shape to ideas. (video artist Frank Gillette, cited in Antin, 1986, p. 148)
Perception is never finished. It gives us a world to express and to think only through partial perspectives. This permission to not "finish" is not necessarily a preference accorded the individual over the world. We may also recognize a mode of communication which does not pass through objective evidence; a signification that does not refer to an already given object, but which constitutes and inaugurates its object. (Merleau-Ponty, 1973, p. 56; paraphrase added)
The exchange and reversibility of expression and perception was a central concern. This level of communication , one that could be called ecological because it deals with the interrelationship among body(an organism), culture (the organism's lifeworld or environment) and world or surrounding physical environment, was studied by Merleau-Ponty and Gebser via the conventions of classic perspective. First manifest in the painting of Giotto (1266-1337)
Perspectival paintings express a style of awareness. The word perspective, deriving from the laten term persepecutiva, meaning "seeing through" (Durer, cited in Panofski, 1955)
By expressing space in a way that locates subject object and distance across two-dimensional plane, perspectival painting illuminates a perception of space in a way of making sense sensible and not a copy or representation of the world (Berger, 1972; Merleau-Ponty, 1964).
This chapter is a mediation of how this reversibility of of expression and perception is manifest in music video. It becomes important to deal with other modes of expression and perception besides perspective (Williams, 1995). As music video composes luminescence into musical patterns, it concerns synthetic perception and the ability for one sense modality to be expressed through another (Godwin, 1992; Williams, 1995).
in 1949, Heidegger delivered several lectures that became the essay "The Question Concerning Technology" (Krell, 1993). Technology is not simply a tool, a means to an end or instrumentally and that "modern technology" is not simply the application of power machinery to production. The essence of technology is a way of bringing forth from concealment into unconcealment, from non-presence to presence.
For example, Muybridge's photographic studies of horses in motion (Solomon, 1972). The purpose of these studies was to resolve a bet over the question of whether or not all four hooves of a galloping horse leave the ground. To resolve the bet, Muybridge placed a series of cameras along the racetrack and photographed the a horse as it passed the cameras. By using a series of cameras to capture the pictures of a horse's moving body, and to express those pictures as moments abstracted from this motion, Muybridge's photos reveals in a new way the workings of the horses's body. The picture unconcealed the concealed, that all four hooves of a horse leaves the ground when it gallops. Photographic technology makes present that which was always there.
Motion picture cameras opened more perceptual and expressive possibilities. In 1923, Russian film director Dziga Vertov describe the movie camera as a perceiving machine.
" i am an eye, a mechanical eye.
i, a machine, am showing you the world, the likes of which only i can see. i free myself today and forever from my human immobilities, i am constant movement......i cut into a crows at full speed, I run in front of running soldiers, i turn on my back, i rise with an airplane, i fall and soar together with falling and rising bodies..... "
My road is towards the creation of a fresh perception of the world. Thus, i decipher in a new way the world unknown to you. (Berger, 1972, p. 17; cited in Sobchack, 1992, p. 184; emphasis)
Film even in its instrumentality and mediation, film is an enabling body that works in concert with human activity and consciousness. the intentionality expressed by film is for the a series of embodiment relations between human embodiment and "film's body" (Sobchack, 1992)
Videos bring expression possible ways of perceiving the world. These possibilities are different from film are related to, but are not limited to or determined by the institutional practices of video and television production. (Zettl, 1999)
According to Heidegger, technology is to reiterate a way of revealing, bring the unconcealed to the concealed. Technology is a component of the constructing of our lives and our communicatives awareness of the world. Technology is a act of poeisis more than it is a tool. (Heidegger, in Krell, 1993)
Understanding the logic of video is largely a matter of understanding aural and visual arrangements and interconnections. I have called the aural-visual interconnections specific to music video musical visuality (Grossberg, 1989).
The objective of the study of aesthetic communication is to explore and describe phenomena such as televisiual sound and vision relationships which have been neglected and too often completely over looked (Williams, 2003)
Chapter 10: From Logos to Echos
Logos is considered as reason or word and it is often used in suffix form to denote reasoned inquiry, the logic, fundation, principle, base, or ground of phenomenon or field of study (Stewart & Mickunas, 1974)
Logos can be defined as the appeal to logic – it is a fact-based argument that very often uses
classically logical approaches such as the syllogism to make a point, or uses reliable sources of
data as the primary “convincers” in an argument.
Ethos can be compared with the concept of “street cred,” the idea that one’s credibility,
trustworthiness, personal experience, position, profession, or other factor automatically lends
the speaker and her argument credence and believability, provided that the speaker is
addressing a topic about which she is reasonably supposed to be knowledgeable.
Logos signifies "word" and "the word"(Ferrara, 1991), it also signifies the logic underlying reason, the expression of reason, the order perceived in things, and their creative source-the world (Heidegger, 1962). Logos is not just a law of being and principle of logic, but alos as a creative source; the shaping word that is both reason and creative act (Fry, 1957).
Logos is an opening onto international structures. It is making manifest of reason, arrangement or order of things understood in the lived world as expressed to and perceived by somebody (Stewart & Mickunas, 1974)
It is important to address the knowledge of television; it is not important to carry oral or literary notions of reason or logic in the realm of video. ("Imagine a world before the beginning was the word'", suggests filmmaker Stan Brakhage, cite in Sobchack, 1992, pp. 90-91). MTV and music videos have been said to break the limits of rational sense.
In the opening of Plato's Phaedrus, the Greeks established a sense of ethos by a family's reputation in the community. Our current culture in many ways denies us the use of family ethos as sons and daughters must move out of the community to find jobs or parents feel they must sell the family home to join a retirement community apart from the community of their lives' works. The appeal from a person's acknowledged life contributions within a community has moved from the stability of the family hearth to the mobility of the shiny car. Without the ethos of the good name and handshake, current forms of cultural ethos often fall to puffed-up resumes and other papers.
Aristotle warns us away from such decoys, telling us that the appeal from ethos comes not from appearances, but from a person's use of language. In a culture where outward appearances have virtually subsumed or taken over the appeal from inner (moral and intellectual) character, the appeal from ethos becomes both problematic and important. Given our culture's privileges/rights of free speech and personal equality, however, we have enormous possibilities for the appeal from ethos any writer well versed in his or her subject and well spoken about it can gain credibility. This kind of persuasion comes from what a person says and how a person says it, not from any prejudice of the author.
Being is inscribed, coded, constituted in discourse and consciousness. Being is, within the liminal space of an investigation, the grounds of possibility and horizon for interpretation (Stewart & Mickunas, 1990).
Echos is a methaphoe and way to understand the mutual interpretation of sights and sounds and of the presence of multiple logics and the mulitple ways in which such a work may be read, interpreted and become meaningful in one's life.
Echos describes this multilayered radical of television presentation in which the singular notion of origin must be rethought as multiple. Echos replaces logos, word and reason are being used for their ability to express what is itself only partly linguistic and rational. Echos becomes the echoe of logos. (Williams, 2003)
Echo means convincing by the character of the author. We tend to believe people whom we respect. One of the central problems of argumentation is to project an impression to the reader that you are someone worth listening to, in other words making yourself as author into an authority on the subject of the paper, as well as someone who is likable and worthy of respect.
In the Gandavyuha, the world is describe as such that everything can be seen through everything eles (Suzuki, 1968).
The positioning of objects makes us go beyond the limits of out actual experience which is brought up against and halted by an alien being, with the result that finally experience believes that it extracts all its own teaching from the object. (pp.70-71)
Aesthetics have been concerned with notions of form, beauty, image and the lines an boundaries that separate categories and give us individuations. (Bukofzer, 1947; Smith, 1967) Although mediation takes place at various levels there are forms of media that stand out as "the richest allegorical and hermeneutic vehicles" for yielding descriptions of cultural logics. (p. 69)
Thesis: Expression is being placed in reversal of perception in a way that explains what is being expressed without fading from the original perspective view.
Merleau-Ponty invokes a myth of the original song of language in which nothing is conventional because its history from the first to the last is unthinkable according to any algorithm. (O'Neil, 1989, p. 9)
The relationship between the culture you're in and the parameters that allow you expression are fed back through a technology. It is the state of the art technology within a particular culture that gives shape to ideas. (video artist Frank Gillette, cited in Antin, 1986, p. 148)
Perception is never finished. It gives us a world to express and to think only through partial perspectives. This permission to not "finish" is not necessarily a preference accorded the individual over the world. We may also recognize a mode of communication which does not pass through objective evidence; a signification that does not refer to an already given object, but which constitutes and inaugurates its object. (Merleau-Ponty, 1973, p. 56; paraphrase added)
The exchange and reversibility of expression and perception was a central concern. This level of communication , one that could be called ecological because it deals with the interrelationship among body(an organism), culture (the organism's lifeworld or environment) and world or surrounding physical environment, was studied by Merleau-Ponty and Gebser via the conventions of classic perspective. First manifest in the painting of Giotto (1266-1337)
Perspectival paintings express a style of awareness. The word perspective, deriving from the laten term persepecutiva, meaning "seeing through" (Durer, cited in Panofski, 1955)
By expressing space in a way that locates subject object and distance across two-dimensional plane, perspectival painting illuminates a perception of space in a way of making sense sensible and not a copy or representation of the world (Berger, 1972; Merleau-Ponty, 1964).
This chapter is a mediation of how this reversibility of of expression and perception is manifest in music video. It becomes important to deal with other modes of expression and perception besides perspective (Williams, 1995). As music video composes luminescence into musical patterns, it concerns synthetic perception and the ability for one sense modality to be expressed through another (Godwin, 1992; Williams, 1995).
in 1949, Heidegger delivered several lectures that became the essay "The Question Concerning Technology" (Krell, 1993). Technology is not simply a tool, a means to an end or instrumentally and that "modern technology" is not simply the application of power machinery to production. The essence of technology is a way of bringing forth from concealment into unconcealment, from non-presence to presence.
For example, Muybridge's photographic studies of horses in motion (Solomon, 1972). The purpose of these studies was to resolve a bet over the question of whether or not all four hooves of a galloping horse leave the ground. To resolve the bet, Muybridge placed a series of cameras along the racetrack and photographed the a horse as it passed the cameras. By using a series of cameras to capture the pictures of a horse's moving body, and to express those pictures as moments abstracted from this motion, Muybridge's photos reveals in a new way the workings of the horses's body. The picture unconcealed the concealed, that all four hooves of a horse leaves the ground when it gallops. Photographic technology makes present that which was always there.
Motion picture cameras opened more perceptual and expressive possibilities. In 1923, Russian film director Dziga Vertov describe the movie camera as a perceiving machine.
" i am an eye, a mechanical eye.
i, a machine, am showing you the world, the likes of which only i can see. i free myself today and forever from my human immobilities, i am constant movement......i cut into a crows at full speed, I run in front of running soldiers, i turn on my back, i rise with an airplane, i fall and soar together with falling and rising bodies..... "
My road is towards the creation of a fresh perception of the world. Thus, i decipher in a new way the world unknown to you. (Berger, 1972, p. 17; cited in Sobchack, 1992, p. 184; emphasis)
Film even in its instrumentality and mediation, film is an enabling body that works in concert with human activity and consciousness. the intentionality expressed by film is for the a series of embodiment relations between human embodiment and "film's body" (Sobchack, 1992)
Videos bring expression possible ways of perceiving the world. These possibilities are different from film are related to, but are not limited to or determined by the institutional practices of video and television production. (Zettl, 1999)
According to Heidegger, technology is to reiterate a way of revealing, bring the unconcealed to the concealed. Technology is a component of the constructing of our lives and our communicatives awareness of the world. Technology is a act of poeisis more than it is a tool. (Heidegger, in Krell, 1993)
Understanding the logic of video is largely a matter of understanding aural and visual arrangements and interconnections. I have called the aural-visual interconnections specific to music video musical visuality (Grossberg, 1989).
The objective of the study of aesthetic communication is to explore and describe phenomena such as televisiual sound and vision relationships which have been neglected and too often completely over looked (Williams, 2003)
Chapter 10: From Logos to Echos
Logos is considered as reason or word and it is often used in suffix form to denote reasoned inquiry, the logic, fundation, principle, base, or ground of phenomenon or field of study (Stewart & Mickunas, 1974)
Logos can be defined as the appeal to logic – it is a fact-based argument that very often uses
classically logical approaches such as the syllogism to make a point, or uses reliable sources of
data as the primary “convincers” in an argument.
Ethos can be compared with the concept of “street cred,” the idea that one’s credibility,
trustworthiness, personal experience, position, profession, or other factor automatically lends
the speaker and her argument credence and believability, provided that the speaker is
addressing a topic about which she is reasonably supposed to be knowledgeable.
Logos signifies "word" and "the word"(Ferrara, 1991), it also signifies the logic underlying reason, the expression of reason, the order perceived in things, and their creative source-the world (Heidegger, 1962). Logos is not just a law of being and principle of logic, but alos as a creative source; the shaping word that is both reason and creative act (Fry, 1957).
Logos is an opening onto international structures. It is making manifest of reason, arrangement or order of things understood in the lived world as expressed to and perceived by somebody (Stewart & Mickunas, 1974)
It is important to address the knowledge of television; it is not important to carry oral or literary notions of reason or logic in the realm of video. ("Imagine a world before the beginning was the word'", suggests filmmaker Stan Brakhage, cite in Sobchack, 1992, pp. 90-91). MTV and music videos have been said to break the limits of rational sense.
In the opening of Plato's Phaedrus, the Greeks established a sense of ethos by a family's reputation in the community. Our current culture in many ways denies us the use of family ethos as sons and daughters must move out of the community to find jobs or parents feel they must sell the family home to join a retirement community apart from the community of their lives' works. The appeal from a person's acknowledged life contributions within a community has moved from the stability of the family hearth to the mobility of the shiny car. Without the ethos of the good name and handshake, current forms of cultural ethos often fall to puffed-up resumes and other papers.
Aristotle warns us away from such decoys, telling us that the appeal from ethos comes not from appearances, but from a person's use of language. In a culture where outward appearances have virtually subsumed or taken over the appeal from inner (moral and intellectual) character, the appeal from ethos becomes both problematic and important. Given our culture's privileges/rights of free speech and personal equality, however, we have enormous possibilities for the appeal from ethos any writer well versed in his or her subject and well spoken about it can gain credibility. This kind of persuasion comes from what a person says and how a person says it, not from any prejudice of the author.
Being is inscribed, coded, constituted in discourse and consciousness. Being is, within the liminal space of an investigation, the grounds of possibility and horizon for interpretation (Stewart & Mickunas, 1990).
Echos is a methaphoe and way to understand the mutual interpretation of sights and sounds and of the presence of multiple logics and the mulitple ways in which such a work may be read, interpreted and become meaningful in one's life.
Echos describes this multilayered radical of television presentation in which the singular notion of origin must be rethought as multiple. Echos replaces logos, word and reason are being used for their ability to express what is itself only partly linguistic and rational. Echos becomes the echoe of logos. (Williams, 2003)
Echo means convincing by the character of the author. We tend to believe people whom we respect. One of the central problems of argumentation is to project an impression to the reader that you are someone worth listening to, in other words making yourself as author into an authority on the subject of the paper, as well as someone who is likable and worthy of respect.
In the Gandavyuha, the world is describe as such that everything can be seen through everything eles (Suzuki, 1968).
The positioning of objects makes us go beyond the limits of out actual experience which is brought up against and halted by an alien being, with the result that finally experience believes that it extracts all its own teaching from the object. (pp.70-71)
Aesthetics have been concerned with notions of form, beauty, image and the lines an boundaries that separate categories and give us individuations. (Bukofzer, 1947; Smith, 1967) Although mediation takes place at various levels there are forms of media that stand out as "the richest allegorical and hermeneutic vehicles" for yielding descriptions of cultural logics. (p. 69)
Wednesday, April 18, 2012
Blog 7: COMM333 CHAPTERS 8: I still want my MTV: by Kevin Williams
Thesis: Television is rarely considered aesthetics but music videos are.
Not even postmodern criticism claims to ease the giving distinction between art and non-art, elite and the popular, the high and the low, the profound and profane, the sacred and the superficial considers television as an aesthetic.
For Jakobson, communications functions poetically when expression is excessive, ambiguous , and self-referential or self-focusing(Eco. 1979). Extending Jakobson's arguments, nominates the poetic function communications as the aesthetics dimension, moment, or encounter of communication. The aesthetic dimension of communication implies that any communication can always speak of more than codes and material practices can allow for.
Mickunas (1998) notes that an aesthetic formation, such as a musical composition, a painting, or a music video inscribes a particular space-time style that cannot be exhausted or located. Even the classical arts with their carefully controlled contours and orderly arrangements, do not allow themselves to be reduced to a mere picture of something.
An exploration of the aesthetic encounter of this level of bodily engagement requires and exploration that breaks the limits of the semiotic investigation. Indeed (Eco 1979) has acknowledged this threshold of semiotics and has suggested a way yo move beyond it; "The phenomenological epoch would refer perception back to a stage where referents are no longer confronted as explicit messages but as extremely ambiguous text. This will be another of the semiotics limits worth while to continue research on in relation to the genesis of the perceptual significant. (p.167)
Breathing life into aesthetic formations and capturing the worldly flow is an aesthetic dimension of experience that is rarely discussed, but whose explication would shed light on the superfluity, meaningfulness, and resonance that artistic production has in people's lives.
From Plato, the aesthetic value was delimited along sociopolitical lines. The artwork had value if it was socially beneficial and instilled norms of behavior. Such an aesthetic value is maintained by arguments that are not necessarily aesthetic. (Mickunas 1989)
Aesthetic find a later expression in Hurrerl's (1973) investigation into perception. Perception is indeed interested, but not before passing through aesthetic, simple sensual awareness, to acting, evaluating, and so on,. We apprehend things enjoyable, useful etc..before contemplative interest. Reflection follows, is subsequent; the level of the passive protodoxa, the fundamental stratum which underlies every act of experience is pre-thematic: The interest which is satisfied in contemplating and perceiving is the activation of the fundamental aesthetic. (p. 207)
Husserl (1973) notes that "the stream of phenomenological being has a stuff-stream and a noetic stream" (p. 207).
Within the flow of awareness the body encounters rhythms, textures, colors, shades, and so on, all of which are gathered in the activity of passive and active synthesis and the meaning of which is fleshed-out in experience.
Husserl referes to this domain as the sensuous stuff-stratum, the pre-predicative and the pre-rational basis of rationality. Deleuze and Guattari (1987) called it the plan of consistency.
The prethematic dimension of experience is brought into the realm of aesthetics by Heidegger for whom aesthetics is but "the logic of aisthesis"; that is, aesthetics are "the metaphysics or onto-logic" derived from this more fundamental experience (Smith, 1967, p. 218)
To the extent that an aithesis aims at its own-begins genuinely accessible through it and for it, for example, looking at colors apprehending is always true. This means that looking always discovers colors, hearing always discovers tones. What is in the purest and most original sense "true"...is pure noein.....This noein can never cover up, can never be false. (pp. 79-80)
Synesthesia
To gaze on the musical lines of Kandinsky's paintings to hear the rising gothic cathedrals in Schumann's Third Symphony(Strechow, 1953), and to watch the musical visuality of MTV, is to engage with a painting, a musical composition, and a televisual floe that express an awareness of the overlapping and interpenetration of sense modalities, in which sound is expressed visually and sight is expressed aurally. These works express an awareness of bodily experience that is often neglected or disregarded: That awareness is synesthesia, the crossing or overlapping sense modalities.
Opposing the current interpretation of signification that follows structural semiotics, hermeneutics, and deconstruction, language is not the ground of meaning. More likely, language is an articulation of signification whose basis is the same that continually transgresses and subtends the semantic and semiotic vectorial horizons. In other words, sense is the ground of language and not the other way around. (p. 7)
"My body is the seat or rather the very actually of the phenomenon of expression and there the visual and auditory experiences for example are pregnant on with the other and their expressives value is the ground of the ante-predicative unity of the perceived world, and through it of verbal expression and intellectual significance....My body is the fabric into which the perceived world is the general instrument of my "comprehension."(Merleau-Ponty, 1989, p. 235)
Goodwin 5 sources of visualization of music:
1. personal imagery derived from the individual memories associated with songs
2. images associated purely with the music itself may work through metaphors or metonymy
3. images of musicians or performers
4. visual signifiers deriving from national-popular iconography related to geographical associations promoted by performers
5. deeply anchored popular culture signs associated with rock music linked with a mythologized America
Postmodern criticism claims to ease the giving distinction between art and non-art, elite and the popular, the high and the low, the profound and profane, the sacred and the superficial considers television as an aesthetic.
Not even postmodern criticism claims to ease the giving distinction between art and non-art, elite and the popular, the high and the low, the profound and profane, the sacred and the superficial considers television as an aesthetic.
For Jakobson, communications functions poetically when expression is excessive, ambiguous , and self-referential or self-focusing(Eco. 1979). Extending Jakobson's arguments, nominates the poetic function communications as the aesthetics dimension, moment, or encounter of communication. The aesthetic dimension of communication implies that any communication can always speak of more than codes and material practices can allow for.
Mickunas (1998) notes that an aesthetic formation, such as a musical composition, a painting, or a music video inscribes a particular space-time style that cannot be exhausted or located. Even the classical arts with their carefully controlled contours and orderly arrangements, do not allow themselves to be reduced to a mere picture of something.
An exploration of the aesthetic encounter of this level of bodily engagement requires and exploration that breaks the limits of the semiotic investigation. Indeed (Eco 1979) has acknowledged this threshold of semiotics and has suggested a way yo move beyond it; "The phenomenological epoch would refer perception back to a stage where referents are no longer confronted as explicit messages but as extremely ambiguous text. This will be another of the semiotics limits worth while to continue research on in relation to the genesis of the perceptual significant. (p.167)
Breathing life into aesthetic formations and capturing the worldly flow is an aesthetic dimension of experience that is rarely discussed, but whose explication would shed light on the superfluity, meaningfulness, and resonance that artistic production has in people's lives.
From Plato, the aesthetic value was delimited along sociopolitical lines. The artwork had value if it was socially beneficial and instilled norms of behavior. Such an aesthetic value is maintained by arguments that are not necessarily aesthetic. (Mickunas 1989)
Aesthetic find a later expression in Hurrerl's (1973) investigation into perception. Perception is indeed interested, but not before passing through aesthetic, simple sensual awareness, to acting, evaluating, and so on,. We apprehend things enjoyable, useful etc..before contemplative interest. Reflection follows, is subsequent; the level of the passive protodoxa, the fundamental stratum which underlies every act of experience is pre-thematic: The interest which is satisfied in contemplating and perceiving is the activation of the fundamental aesthetic. (p. 207)
Husserl (1973) notes that "the stream of phenomenological being has a stuff-stream and a noetic stream" (p. 207).
Within the flow of awareness the body encounters rhythms, textures, colors, shades, and so on, all of which are gathered in the activity of passive and active synthesis and the meaning of which is fleshed-out in experience.
Husserl referes to this domain as the sensuous stuff-stratum, the pre-predicative and the pre-rational basis of rationality. Deleuze and Guattari (1987) called it the plan of consistency.
The prethematic dimension of experience is brought into the realm of aesthetics by Heidegger for whom aesthetics is but "the logic of aisthesis"; that is, aesthetics are "the metaphysics or onto-logic" derived from this more fundamental experience (Smith, 1967, p. 218)
To the extent that an aithesis aims at its own-begins genuinely accessible through it and for it, for example, looking at colors apprehending is always true. This means that looking always discovers colors, hearing always discovers tones. What is in the purest and most original sense "true"...is pure noein.....This noein can never cover up, can never be false. (pp. 79-80)
Synesthesia
To gaze on the musical lines of Kandinsky's paintings to hear the rising gothic cathedrals in Schumann's Third Symphony(Strechow, 1953), and to watch the musical visuality of MTV, is to engage with a painting, a musical composition, and a televisual floe that express an awareness of the overlapping and interpenetration of sense modalities, in which sound is expressed visually and sight is expressed aurally. These works express an awareness of bodily experience that is often neglected or disregarded: That awareness is synesthesia, the crossing or overlapping sense modalities.
Opposing the current interpretation of signification that follows structural semiotics, hermeneutics, and deconstruction, language is not the ground of meaning. More likely, language is an articulation of signification whose basis is the same that continually transgresses and subtends the semantic and semiotic vectorial horizons. In other words, sense is the ground of language and not the other way around. (p. 7)
"My body is the seat or rather the very actually of the phenomenon of expression and there the visual and auditory experiences for example are pregnant on with the other and their expressives value is the ground of the ante-predicative unity of the perceived world, and through it of verbal expression and intellectual significance....My body is the fabric into which the perceived world is the general instrument of my "comprehension."(Merleau-Ponty, 1989, p. 235)
Goodwin 5 sources of visualization of music:
1. personal imagery derived from the individual memories associated with songs
2. images associated purely with the music itself may work through metaphors or metonymy
3. images of musicians or performers
4. visual signifiers deriving from national-popular iconography related to geographical associations promoted by performers
5. deeply anchored popular culture signs associated with rock music linked with a mythologized America
Postmodern criticism claims to ease the giving distinction between art and non-art, elite and the popular, the high and the low, the profound and profane, the sacred and the superficial considers television as an aesthetic.
Thursday, April 12, 2012
Blog 10: What I have learned in communications new media
The first thing i understood in the first week of class was that we would need to be influent in the language of multimedia. We would have to learn how to understand how sound, pictures, videos and other mediums are used to communicate a specific message to a specific market for a specific reason.
I learned that to be in the multimedia communication field you would have to be able to handle constance travel or job change. For instance, you might have to switch from being the "light man" to being the "sound man," but a couple of weeks ago you were the "sound editor." In another case you might have to transfer to another production company because you are a floater with your license to travel. I acknowledged my own perspective on the various communication mediums and how i could use them to gain a career and make a more-than-sustainable income. I understood i would have to change my persona as young adult to a more stern and discipline adult.
We was thought to use imagery and words and videos to express ourself. We used our information and computer skill to be literate in and critical thinking projects. Writing blogs were a way to see if we could use quick critical thinking to produce accurate understandable information to the readers.
My blogging skills will get me a job in up-to-the-minute news stations that needs information to be found, researched and quickly uploaded or broadcasted. Critical thinking is the skill that will lead me to managing the live editing in a production studio or a news channel like CNN. I was told my professor in my new media class that there would be many jobs in the mass communication field because people will always have to communicate. The course is basically about the media that we are using and are about to be using. We also covered the past and the media that was used back in the days. Knowing the past about the media and mediums that were used to communicate to masses will help me understand the value of the communication tools that we have now and that will cause me to used the equipment with care. I would also value the ease of the job knowing that back in the past the work was much harder. I learned how to produce a graphic novel using multimedia applications like comic life and adobe photoshop. I could use these skills to produce novels for magazines companies. I could also use my graphic novel skills for web advertising or managing the imagery department in a firm. It was mandatory for me to understand the art of videography. I learned the difference between the film, television and music video when it comes to producing each one. I am able to use my knowledge to make any video look like a music video, a film, or television clip. I learned how to use Final Cut and the Adobe Suite Products to edit all kinds of images and video clips. I learn 3 point light, with the fill light to fill in the shadows, the key light which is the essential light covering the main parts of the subject or object. My lighting skills can get me a positing in a studio working with light, Just my knowledge of proper lighting can assisting me in editing the outdoor and highly lit indoor shots. I learn the storytelling formate and how a time-based media like live broadcasting works. I am about to working for a radio station or live online station. We learned a little bit about all the media and mediums of communication. We covered radio, music, digital advertising, magazines, journalism, television, photography, comic, graphic literature, communication imagery, to videography. All these skill will transcend into useable employment tools.
I learned that to be in the multimedia communication field you would have to be able to handle constance travel or job change. For instance, you might have to switch from being the "light man" to being the "sound man," but a couple of weeks ago you were the "sound editor." In another case you might have to transfer to another production company because you are a floater with your license to travel. I acknowledged my own perspective on the various communication mediums and how i could use them to gain a career and make a more-than-sustainable income. I understood i would have to change my persona as young adult to a more stern and discipline adult.
We was thought to use imagery and words and videos to express ourself. We used our information and computer skill to be literate in and critical thinking projects. Writing blogs were a way to see if we could use quick critical thinking to produce accurate understandable information to the readers.
My blogging skills will get me a job in up-to-the-minute news stations that needs information to be found, researched and quickly uploaded or broadcasted. Critical thinking is the skill that will lead me to managing the live editing in a production studio or a news channel like CNN. I was told my professor in my new media class that there would be many jobs in the mass communication field because people will always have to communicate. The course is basically about the media that we are using and are about to be using. We also covered the past and the media that was used back in the days. Knowing the past about the media and mediums that were used to communicate to masses will help me understand the value of the communication tools that we have now and that will cause me to used the equipment with care. I would also value the ease of the job knowing that back in the past the work was much harder. I learned how to produce a graphic novel using multimedia applications like comic life and adobe photoshop. I could use these skills to produce novels for magazines companies. I could also use my graphic novel skills for web advertising or managing the imagery department in a firm. It was mandatory for me to understand the art of videography. I learned the difference between the film, television and music video when it comes to producing each one. I am able to use my knowledge to make any video look like a music video, a film, or television clip. I learned how to use Final Cut and the Adobe Suite Products to edit all kinds of images and video clips. I learn 3 point light, with the fill light to fill in the shadows, the key light which is the essential light covering the main parts of the subject or object. My lighting skills can get me a positing in a studio working with light, Just my knowledge of proper lighting can assisting me in editing the outdoor and highly lit indoor shots. I learn the storytelling formate and how a time-based media like live broadcasting works. I am about to working for a radio station or live online station. We learned a little bit about all the media and mediums of communication. We covered radio, music, digital advertising, magazines, journalism, television, photography, comic, graphic literature, communication imagery, to videography. All these skill will transcend into useable employment tools.
Tuesday, April 10, 2012
Blog 9 Video Games
Video Games "Depends on the person and type of game"
Video games are not literally bad for you because they can not cause harm to you literally. However a violent video game can be a bad influence on a person. In another case playing too much videos can be a bad health problem or a bad habit. A person can die or get sick from playing too many video games because they will not eat or use the bathroom for several days. Play many video games can be a bad health problem because you have not sleep, eaten, washed yourself or washed your mouth and that can cause you to become sick. There was a case years ago about a kid that died from playing too many video games. I think there were two or more cases of people dying from playing too many video games. According to Ranker.com there are eight cases of people who died from playing too many video games. Some of these people were under the influence of drugs and that might have been some of the cases.
http://www.ranker.com/list/8-people-who-died-playing-video-games/autumn-spragg
Story of a man suddenly dying while playing video games.
It's a common sense thing i do not think violent video games can kill people but i do think it can influence young minds to do super or violent things. I do believe that playing too many video games is not good to do all the time because it stops you from doing other important things, and i had a buddy that always played video game and he said it grove him nut and made him more depress but he kept playing it.
There is more information out there about playing too many video games.
Video games are not literally bad for you because they can not cause harm to you literally. However a violent video game can be a bad influence on a person. In another case playing too much videos can be a bad health problem or a bad habit. A person can die or get sick from playing too many video games because they will not eat or use the bathroom for several days. Play many video games can be a bad health problem because you have not sleep, eaten, washed yourself or washed your mouth and that can cause you to become sick. There was a case years ago about a kid that died from playing too many video games. I think there were two or more cases of people dying from playing too many video games. According to Ranker.com there are eight cases of people who died from playing too many video games. Some of these people were under the influence of drugs and that might have been some of the cases.
http://www.ranker.com/list/8-people-who-died-playing-video-games/autumn-spragg
Story of a man suddenly dying while playing video games.
It's a common sense thing i do not think violent video games can kill people but i do think it can influence young minds to do super or violent things. I do believe that playing too many video games is not good to do all the time because it stops you from doing other important things, and i had a buddy that always played video game and he said it grove him nut and made him more depress but he kept playing it.
There is more information out there about playing too many video games.
http://en.wikipedia.org/wiki/Video_game_addiction.
COMM333 CHAPTERS 6 & 7: I still want my MTV
Chapter 6: The Persistance of Vision ....... Chapter 7: Realism & Hyperreality
COMM 333
MUSIC VIDEO
Raphael Bropleh
Chapter 6
With the sense of sight the idea communicates the emotion. Whereas with sound, the emotion communicates the idea, which is more direct and therefore more powerful. (Alfred North Whitehead, cited in Price, 1954, p. 188)
The most exciting moment is the moment when I add the sound… [Then] I tremble. (film director Akira Kurosawa, cited in Alten, 1994, p. 4)
“The popularity of music videos has to be located in a larger context in which visual media and images are competing with each other if they are not displacing music and aural images as the site of salvation and transcending in rock culture”
(Grossberg, 1993, p. 186)
In 1988 Ewen argued in various ways that understanding the rhetoric of television and videos is largely a matter of understanding the visual presentation and visual imagery.
Television in visual terms is related to a wider interpretive framework and relates to a wider culture predilection to favor the sense of sight. A phrase like “I see what you mean” reveals the significance of this visual bias because “seeing” is tied to “knowing.”
When discussing music video and television the term imagery almost always refers to visual imagery. Example, early fears of the effects of music videos on rock music revolved around the notion that image would become more important than the music itself and that visual and narrative interpretations of the songs would diminish the interpretive liberty of the specific listeners. (Straw, 1993)
It is important to keep in memory that imagery may be visual, but the audial, haptic, tactile, and so on. It is also important to remember that rock music has always been about images (Grossberg, 1989), and this was founded on the encompassing historical critique of Heidegger
Critics claim that visual imagery is replacing logic and rationality as the dominant communication mode of popular and political culture. (Collins, 1989)
I, Raphael Bropleh, don’t believe that the visual imagery is replacing logic and rationality as the dominant communicating because this theory is only true depending on the viewer.
Vision has stood in for all the senses since Aristotle who in the introduction to Metaphysics wrote that sight is the keenest of the senses.
The proliferation of visual imagery from movies to street signs has lead many to consider the current echoes as the visual age. The central concern to contemporary media criticism of critics is the communicative force, the prevalence, and the impact of visual imagery. (Collins, 1989)
Heidegger suggested that the shift of from classical to modernism thoughts can be understood as a shift from speech and oral discourse as the logos of communication to logic and written discourse as the logos of communication. Now the discourse has changed from logic and written to electronic and imagery.
Imagery has become bias of our daily decisions and expectations of true and false facts and fiction where the reader can question the relative validity of statements because the grammar is understood. However in music videos there is no relative validity of true and false statements.
According to Meyorwitz and Leonard, claims that news, situation comedies, commercials and so on, generally maintain a strong relation to print models:
-they can be summarized.
-they are generally clear and specific in terms of content
-they stress clarity of meaning
Zettl’s Levels of media messages:
- light and color
- two-dimensional spaces(height & width)
- three-dimensional space(implied depth)
- time and motion
- sound
Influence of cognitive and effective mental maps on perception
a. analysis of genre
b. accuracy of news
c. dealing with advertising and internet information
Intellectual and cultural frameworks for media production
a. content analysis
b. semiotic analysis
c. Marxist criticism
d. Feminist criticism
e. Psychoanalytic criticism
f. Sociological analysis
Chapter 7
The second order simulation simplifies the problem by the absorption of the appearance, or by the liquidation of the real, whichever. It establishes in any cases a reality, images echo, appearances: such is certainly work, the machine, the systems of industrial production in its entirety, in that it is radically opposed to the principle of theatrical illusion. No more resemblance or lack of resemblance, or God or human being, but an imminent logic of the logic of the operational principle. (Baudrillard, 1983)
“Power, too, for some time now produces nothing but signs of its resemblance. And at the same time, another figure of power comes into play: that of a collective demand for signs of power—a holy union which forms around the disappearance of power. Everybody belongs to it more or less in fear of the collapse of the political. And in the end the game of power comes down to nothing more than the critical obsession with power—an obsession with its death, an obsession with it, survival, the greater the more it disappears. When it has totally disappeared, logically we will be under the total spell of power—a haunting memory already foreshadowed everywhere, manifesting at one and the same time the compulsion to get rid of it (nobody wants it any more, everybody unloads it on others) and the apprehensive pining over its loss... [Baudrillard, Jean. 1983. Simulations. Paul Foss, Paul Patton, and Philip Beitchman, trans. New York: Semiotest]
Music video is not an invention of MTV, it has predecessors in earlier television, film, and video.
The performer of a music video is not just a musician, a dancer, a singer, or an actor, but they are a persona.
Monday, April 9, 2012
Blog 5 Kiersey
I don't believe in the Keirsey behavior test. It can not tell how a person acts based on two selections of answers because some of those answers depends on the situation and the rationality of the person and the important of the question.
Keirsey traced his work back to Hippocrates, Plato and Aristotle. Among his modern influences he counts the works of William James, John Dewey, Ernst Kretschmer, William Sheldon, Jay Haley, Gregory Bateson, Max Wertheimer, Wolfgang Kohler, Raymond Wheeler, Erich Fromm, Alfred Adler, Rudolf Dreikurs, Milton Erickson, and Erving Goffman. He considers himself the last living Gestalt Psychologist.
In 1921, Carl Jung published the book Psychological Types,[1] which proposed a concept of psychological types based on introversion versus extraversion, thinking versus feeling as rational functions, sensation versus intuition as irrational functions, and the coexistence of principal and auxiliary functions. Isabel Briggs Myers and her mother, Katharine Cook Briggs, subsequently extended and codified Jung's ideas into a test for sixteen personality types, called the Myers-Briggs Type Indicator. In a two-page chart of "Characteristics of Types in High School" (Myers Briggs Manual, Form E 1958), Isabel Myers described the sixteen types briefly. Keirsey recognized these very brief sixteen descriptions as being accurate, mirroring his observations as school psychologist, and used these descriptions as a basis in a greatly expanded and modified form of his own. Keirsey's critical innovation was organizing these types into four temperaments and describing observable behavior rather than speculation about unobservable thoughts and feelings. Keirsey provided his own definitions of the sixteen types, and related them to the four temperaments based on his studies of five behavioral sciences: anthropology,biology, ethology, psychology, and sociology. While Myers wrote mostly about the Jungian psychological functions, which are mental processes, Keirsey focused more on how people use words in sending messages and use tools in getting things done, which are observable actions. Keirsey performed an in-depth, systematic analysis and synthesis of aspects of personality for temperament, which included the temperament's unique interests, orientation, values, self-image, and social roles.[2]
While Keirsey's main strength may be his accuracy regarding differences in overt behavior, perhaps his most important contribution is his synthesis of Myers' model of "sixteen types" with Ernst Kretschmer's model of four "temperament types," which Keirsey traces back to Greek mythology.
Keirsey traced his work back to Hippocrates, Plato and Aristotle. Among his modern influences he counts the works of William James, John Dewey, Ernst Kretschmer, William Sheldon, Jay Haley, Gregory Bateson, Max Wertheimer, Wolfgang Kohler, Raymond Wheeler, Erich Fromm, Alfred Adler, Rudolf Dreikurs, Milton Erickson, and Erving Goffman. He considers himself the last living Gestalt Psychologist.
In 1921, Carl Jung published the book Psychological Types,[1] which proposed a concept of psychological types based on introversion versus extraversion, thinking versus feeling as rational functions, sensation versus intuition as irrational functions, and the coexistence of principal and auxiliary functions. Isabel Briggs Myers and her mother, Katharine Cook Briggs, subsequently extended and codified Jung's ideas into a test for sixteen personality types, called the Myers-Briggs Type Indicator. In a two-page chart of "Characteristics of Types in High School" (Myers Briggs Manual, Form E 1958), Isabel Myers described the sixteen types briefly. Keirsey recognized these very brief sixteen descriptions as being accurate, mirroring his observations as school psychologist, and used these descriptions as a basis in a greatly expanded and modified form of his own. Keirsey's critical innovation was organizing these types into four temperaments and describing observable behavior rather than speculation about unobservable thoughts and feelings. Keirsey provided his own definitions of the sixteen types, and related them to the four temperaments based on his studies of five behavioral sciences: anthropology,biology, ethology, psychology, and sociology. While Myers wrote mostly about the Jungian psychological functions, which are mental processes, Keirsey focused more on how people use words in sending messages and use tools in getting things done, which are observable actions. Keirsey performed an in-depth, systematic analysis and synthesis of aspects of personality for temperament, which included the temperament's unique interests, orientation, values, self-image, and social roles.[2]
While Keirsey's main strength may be his accuracy regarding differences in overt behavior, perhaps his most important contribution is his synthesis of Myers' model of "sixteen types" with Ernst Kretschmer's model of four "temperament types," which Keirsey traces back to Greek mythology.
(http://en.wikipedia.org/wiki/David_Keirsey)
My Results. I don't feel it's accurate.
>>in pics>>
Monday, April 2, 2012
COMM333 CHAPTER FIVE: STYLES: WHY I STILL WANT MY MTV : KEVIN WILLIAMS
What is style? Well according to Husserl, for each artist style is the system of equivalences that they make for themselves, which manifests the world they see. It is the universal index of coherent deformation by which they concentrates the still scattered meanings of his perception and makes it exit expressly.
(Merleau-Ponty, 1964, pp.54-55; "Why I Still Want My MTV,"pp.91)
Music videos takes videography back to it native state or placement. Music videos are easily recognized because of it's style. Even if the television was muted one could easily recognize a music video because of the certain theatrical choreography that is acted out, and one would see the movement or dancing being displayed that is unlike the display enacted on television shows and movies. The style of a music video is the territory that the music video resides. It is how the video is shot to or with the music and edited to and with the music that gives a music video it's style.
CONCEPTIONS OF STYLE: style has traditionally been conceptualized by historians and just recently been taken up by pop culture through music videos.
-its a categorical tool to put works in a genre
-its an evaluation concept, it can mark quality
-now style can be the latest fashion or trend
MUSIC VIDEO STYLE:
-MTV's style is derived from its strong textual and institutional
-the style of MTV comes from its strong textual institutional ties to advertising.
-advertising is what runs the music television network.
-bourgeois consumer capitalism viewings.
-Jhally consider 80s rock video to be the most important development in the realism of pop culture.
-"music videos are it's own phenomenon"-Kevin Williams
-music videos are interpreted in theoretical languages of feminism, structuralism, marxism, and postmodernist structuralism. In some cases psychoanalytical studies are done on music videos
DIMENSIONS OF MUSIC VIDEOS(VISUAL & MUSICAL)
-tone
-timbre
-harmony
-modulation
-dissonance
The visual things seen in the music videos are interconnected and interrelated with the musical and aural presentation.
-Slusser said that the aesthetics of a music video is fertile and segmented
Foreshadow of a major thesis in this book:
"When im writing lyrics i use the words like colors. I use words for the sounding of the words, not the actual meaning"(Morse, 1996, p. 124)
Perception never finishes and may be recognized as a mode of communication that constitutes and inaugurates its object.
Musical-visuality is the mutual interpretation of sign and sound. The cultural compositions and significants are revealed in the musical vision of the culture when the material presentation of music videos are seen as patterned lyrical ronal rhythmic presentation of sight and sound.
To the viewers and producers of "meaning" style is the allusive logic of the world."(Merleau-Ponty, 1964, p. 57)
Style is an expression of a relationship among body, technology, and the world. At the moment when a person perceives the world a style is created because embodiment is a style of the world.
EXAMPLES OF STYLE IN HUMAN EFFORTS TO CAPTURE A SENSE OF THE WORLD.
-Cave paintings(Gebser, 1991)
-Confucist expressive art virtues(Dawson, 1932)
-Toaist art expressing perpetual change(Watts, 1975)
-Ancient Egyptian art(Gebser, 1991)
-Myths expresses it self through human storytelling narrating human understanding of phenomenons(works of Joseph Campbell)
-Medieval art(Cross, Lamm, Turk, 1982)
Perspectival paintings of the Renaissance expressing an understanding of three-dimensional space(Berger 1972)
-Works of Duchamp and Picasso expressing four-dimensional awareness
-the synesthetic musical visuality of music videos expressing a cross-sensual intercommunication synesthesia(Williams, 1995)
No one styles as the priviledge to present the world as it is.(Singer, 1993, p. 237)
The illusionism of Dutch still life or Renaissance spatial recession are as near to and far from the real as Dali's melting clocks or Arp's free floating forms. Aesthetic communication is possible because the artist and his world engage in a mutual exchange of significance. (Singer, 1993, p239)
Style appears as a thoroughgoing transformation pf the world, which familiar things of the world acquire the power to gather new significances around them. Style establishes a coherent orientation towards the world it portrays. (Singer, 1993, p. 238)
MTV styles differ from the style of other shows and networks because every program has its own style even political campaigns.
Jacopson's Communication Model
Content -> Referential
Message -> Poetic
(Merleau-Ponty, 1964, pp.54-55; "Why I Still Want My MTV,"pp.91)
Music videos takes videography back to it native state or placement. Music videos are easily recognized because of it's style. Even if the television was muted one could easily recognize a music video because of the certain theatrical choreography that is acted out, and one would see the movement or dancing being displayed that is unlike the display enacted on television shows and movies. The style of a music video is the territory that the music video resides. It is how the video is shot to or with the music and edited to and with the music that gives a music video it's style.
CONCEPTIONS OF STYLE: style has traditionally been conceptualized by historians and just recently been taken up by pop culture through music videos.
-its a categorical tool to put works in a genre
-its an evaluation concept, it can mark quality
-now style can be the latest fashion or trend
MUSIC VIDEO STYLE:
-MTV's style is derived from its strong textual and institutional
-the style of MTV comes from its strong textual institutional ties to advertising.
-advertising is what runs the music television network.
-bourgeois consumer capitalism viewings.
-Jhally consider 80s rock video to be the most important development in the realism of pop culture.
-"music videos are it's own phenomenon"-Kevin Williams
-music videos are interpreted in theoretical languages of feminism, structuralism, marxism, and postmodernist structuralism. In some cases psychoanalytical studies are done on music videos
DIMENSIONS OF MUSIC VIDEOS(VISUAL & MUSICAL)
-tone
-timbre
-harmony
-modulation
-dissonance
The visual things seen in the music videos are interconnected and interrelated with the musical and aural presentation.
-Slusser said that the aesthetics of a music video is fertile and segmented
Foreshadow of a major thesis in this book:
"When im writing lyrics i use the words like colors. I use words for the sounding of the words, not the actual meaning"(Morse, 1996, p. 124)
Perception never finishes and may be recognized as a mode of communication that constitutes and inaugurates its object.
Musical-visuality is the mutual interpretation of sign and sound. The cultural compositions and significants are revealed in the musical vision of the culture when the material presentation of music videos are seen as patterned lyrical ronal rhythmic presentation of sight and sound.
To the viewers and producers of "meaning" style is the allusive logic of the world."(Merleau-Ponty, 1964, p. 57)
Style is an expression of a relationship among body, technology, and the world. At the moment when a person perceives the world a style is created because embodiment is a style of the world.
EXAMPLES OF STYLE IN HUMAN EFFORTS TO CAPTURE A SENSE OF THE WORLD.
-Cave paintings(Gebser, 1991)
-Confucist expressive art virtues(Dawson, 1932)
-Toaist art expressing perpetual change(Watts, 1975)
-Ancient Egyptian art(Gebser, 1991)
-Myths expresses it self through human storytelling narrating human understanding of phenomenons(works of Joseph Campbell)
-Medieval art(Cross, Lamm, Turk, 1982)
Perspectival paintings of the Renaissance expressing an understanding of three-dimensional space(Berger 1972)
-Works of Duchamp and Picasso expressing four-dimensional awareness
-the synesthetic musical visuality of music videos expressing a cross-sensual intercommunication synesthesia(Williams, 1995)
No one styles as the priviledge to present the world as it is.(Singer, 1993, p. 237)
The illusionism of Dutch still life or Renaissance spatial recession are as near to and far from the real as Dali's melting clocks or Arp's free floating forms. Aesthetic communication is possible because the artist and his world engage in a mutual exchange of significance. (Singer, 1993, p239)
Style appears as a thoroughgoing transformation pf the world, which familiar things of the world acquire the power to gather new significances around them. Style establishes a coherent orientation towards the world it portrays. (Singer, 1993, p. 238)
MTV styles differ from the style of other shows and networks because every program has its own style even political campaigns.
Jacopson's Communication Model
Content -> Referential
Message -> Poetic
The principle of similarity underlies poetry; the metrical parallelism of lines, or the phonic equivalence of rhyming words prompts the question of semantic similarity and contrast.(Hawkes, 1977, p. 82)
Lyrical interpretation is interpretation with music.(Frith, 1981)
Musical pleasure is not significance but the work of signification.(Frith, 1981, p. 164)
The style itself is quite simply a structure of rhythms, melodies, harmonies, instrumentations and so on, with paradigmatic and syntagmatic dimensions that creates a grammar of expectation. (Frith, 1981)
Signs in rock songs are arbitrary and unmotivated. (Fisk & Hartley, 1978)
New songs built on old forms, and rearrangement of old forms, provide each subsequent generation its own connection with rock. (Chaffee, 1985)
THE NEBULOUS AND INEFFABLE DIMENSION OF MUSIC
-turbulence- the initial idea for the album origination
-running the human race- devising a pattern of straightness and parelles to utilize all possible ingredients as we try to learn about more phenomenons.
novalis- we are part of a massive system
Turbulence of water:
-wave motion, strange attractors, fractal unfoldings, butterfly effects
Turbulence of sound and music:
-musical time, sound space, timbre and harmonics, resonance, reverbs and echos
"The shape of human life is much more closely mirrored in music than in quiescent two-dimensional surface of a picture." (Kevin Williams, 2003, p. 224)
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