Thursday, May 31, 2012

Processing Video

Processing Video (100 Points)
Due June 5th
You assignment is to explore all the filters and there combinations to manipulate video to find new ways of seeing. This can work it's way out as a narrative, an abstract exploration, or any other structure. As long as you are experimenting and using the filters and utilizing key frames. Try and see if you can find combinations of filters that have a voice and that are original. Here are some example of past student work. 

Signal Processing

Wednesday, May 30, 2012

Foley & Experimental Sound

Due June 4th
Your assignment is to record, modify, and create your own "sound" to go along with the REQUIRED VIDEO FILE >>CLICK HERE<<Click Here to download it). The goal is to explore electronic sound modulations, manipulations, and experiment with the tools/software and there potentialities in the creation of sonic art.

There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot. 
- John Cage

The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason. 
-John Cage

Jason Bernagozzi @

Wednesday, May 23, 2012

WAVELENGTH: Extra Credit (5Points)

Watch Wavelength by Michael Snow in it's entirety and write a 
two page report/reflection for 5 extra credit points Due May 30th.

Metaphors for Vision: The Absence of The Lens

Metaphors for Vision: The Absence of The Lens
Assignment 2 (100 Points) - Due May 30th (Full Critique)
Your assignment is to create a 1 min video with the absence of lens based image creation. For example using a flatbed scanner, exposing objects onto film, and generating the imagery via Photoshop. Your piece will be required to have sound of some nature. Your final video should be composed in Adobe Premiere and exported pre usual. I would suggest doing everything in 1920x1080. We will be working on these techniques in class today and tomorrow. The scanner will be left in the room from now until the project if finished.
"Structural Film is a cinema of the mind rather than the eye"
- Adams Sitney


Tuesday, May 22, 2012

WEEKLY SCREENING - Pi: Faith in Chaos

Darren Aronofsky's jarring black-and-white brain-bender is a haunting examination of one man's numerical obsession. The story follows a fragile number theorist who's on the trail of a 216-digit number that could unlock the secrets of the universe.

Monday, May 21, 2012

FLUXUS EXERCISES <<Happenings>> | DUE MAY 23rd
Your assignment is to choose one of the four Fluxus exercises and create a video that attempts to understand one of these sentences. You video needs to be 2-3min long. 

1. Something that is taking shape in my mind and will sometimes come to consciousness. 
2. Something which is unknown to me, but which works upon me.
3. It is not confined - It is not in any specific place.   
4. Something I was once conscious of, but have now forgotten.

"Art can be a template for learning how to make ones own templates." - Fluxus



Conceptual Art

Conceptual artist Joseph Kosuth, One and Three Chairs(1965). Kosuth placed a real chair in the gallery next to a photograph of the same chair (photographed in that gallery) and a definition from a dictionary.

Sentences on Conceptual Art | by Sol Lewitt 

  1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.
  2. Rational judgements repeat rational judgements.
  3. Irrational judgements lead to new experience.
  4. Formal art is essentially rational.
  5. Irrational thoughts should be followed absolutely and logically.
  6. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.
  7. The artist's will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.
  8. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.
  9. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.
  10. Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.
  11. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.
  12. For each work of art that becomes physical there are many variations that do not.
  13. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.
  14. The words of one artist to another may induce an idea chain, if they share the same concept.
  15. Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.
  16. If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.
  17. All ideas are art if they are concerned with art and fall within the conventions of art.
  18. One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.
  19. The conventions of art are altered by works of art.
  20. Successful art changes our understanding of the conventions by altering our perceptions.
  21. Perception of ideas leads to new ideas.
  22. The artist cannot imagine his art, and cannot perceive it until it is complete.
  23. The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual.
  24. Perception is subjective.
  25. The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.
  26. An artist may perceive the art of others better than his own.
  27. The concept of a work of art may involve the matter of the piece or the process in which it is made.
  28. Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.
  29. The process is mechanical and should not be tampered with. It should run its course.
  30. There are many elements involved in a work of art. The most important are the most obvious.
  31. If an artist uses the same form in a group of works, and changes the material, one would assume the artist's concept involved the material.
  32. Banal ideas cannot be rescued by beautiful execution.
  33. It is difficult to bungle a good idea.
  34. When an artist learns his craft too well he makes slick art.
  35. These sentences comment on art, but are not art.

Thursday, May 17, 2012



There are three steps you must follow when developing you concept for you piece:

1. Define the possibilities of an object or a moment in time.
2. Define them further. 
3. Repeat these steps until further possibilities are exhausted. 

This should process should work it's way out in one of 3 ways: a script, shot list, storyboard. These texts and or sketches with text need to accompany your post for Monday May 21st. When I am asking you to define the possibilities I am asking you to define the possibilities of a moment in time cinematically via your cinematography (<Can you exhaust the amount of angles one subject or moment in time can be shot/viewed?) and construction of your narrative (Let your imagination lead you to vastness of infinite possibilities.) You can see that in the "A Relative Tonality" as an example of expanding the narrative. Pick a very simple event like opening a door, or running down the street, or eating a meal.

The second part of this is that I am placing a 12 Frame Obstruction upon your edit of your piece. That means you will see at least 2 shots per second. I will demo this in class. You can see an example below with Obstruction #1, an excerpt from the Five Obstructions. VIDEO needs to be 1MIN. Long anything after that is up to you MAX limit 3min.

Wednesday, May 16, 2012

RHYTHMS of TIME: 3 Point Loop System


This assignment is designed to allow you to experiment with composing various rhythms via the editing process, and to explore the power of looping. Take into consideration the silent exercise we did in class with your objects. With seminally random objects we created narratives and formed understandings for ourselves what was taking place. If we think of it in video tearms it's a montage, which is a series of images that work together to create a cinematic structure (Film Language).  Define/narrow down three different video clips that are three seconds long (maximum). Then start playing with the ordering of these shots. For instance 1,1,1,2,2,1,1,1 or 1,2,3,1,2,3,2,2,3,2,2,3 could be rhythms you build with your 3 clips. Besides experimenting with ordering patterns, also try the patterns with various lengths of each clip like 1(6frames), 2(6frames), 3(6frames), 1(12frames), 2(12frames), 3(12frames) or 1(2frames), 2(2frames), 3(1sec.), 1(2frames), 2(2frames) etc... We will work on exploring this in class, but the final piece (2-3Min.) is due May 17TH. I find that this article is extremely interesting when talking about looping, take a look{ PDF Loop Theory by Brian Evans } Optional reading. 

Tuesday, May 15, 2012

WEEKLY SCREENING: The Battleship Potemkin

This is the first of several screenings of material that you will need 
to view outside of the classroom. Attached below is a worksheet that 
needs to be filled out while watching the movie. The goal of the worksheet
is to start analyzing cinema differently and also to help in the creation of 
your weekly journal whither it be writing or video.
WorkSheet DUE the 22nd -\/\/\/\/-
Film historians normally debate whether it was Battleship Potemkin or The Man with a Movie Camera that develop the "true" film language. Thus I really couldn't leave it out, however this is extra. I would strongly recommend it, if you are interested. 


Your homework for tonight is to capture one event/narrative structor surrounded around one moment in time or a series of moments that describes an event. For instance walking to school, going to sleep, working out, or getting ready for school like the example above. You are to then develop a 1, 5, and 12 second edit to describe the same event in each time limit given i.e 12, 5, and 1. You need to place one second of black before and after each sequence (series of edits 12, 5, and 1). The ordering of the 12 5 1 is up to you.
DUE Aug. 29th

The Art of the Moving Image

Surrealist Manifesto - Andre Brenton

Dictionary: Surrealism, n. Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.

Encyclopedia: Surrealism. Philosophy. Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.

Man L'√Čtoile de mer (English: The Sea Star
is a 1928 film directed by Man Ray - Avant-Garde Filmmaker

Monday, May 14, 2012


Your home work tonight is to compose / create one second of video.
What can be seen in one second?
What can be understood in one second?
What kind of story can you tell in one second?

You are to have 2 seconds of black on either side of your one second video. Go out and see if you can capture a moment like a leaf falling, a door being opened, or an eye opening. Challenge yourself to see if you convey a message or story within one second. Once finish within Adobe Premiere go to file>Export>Media and change output to H2.64 and settings to VIMEO HD or SD based on your camera's resolution. You then need to upload your video to VIMEO and then embed it into the blog before tomorrows class. We will screen them tomorrow morning first thing on the blog via Vimeo Embed. Please email me if you have questions. EMAIL: 


What do you know about film?
....The moving Image?
When film was first created what did people say it captured?  
What allowed us to step away from this__________/\/\/\ ?
Why do you go to the Cinema or watch Movies/TV?
WAIT WAIT LETS GO BACK for one second...
Lets compare these last two how do they differ?

In this course I will be challenging you not only to learn the technology, but to think creatively, problem solve, and develop ideas through the medium of video.