The Article <<magazine>>

Narrative

Compositing & Compositions

Type

Sound

Contextual Studies

Navigation & Systems

Final Layout & Compositing

Final Video Screenshots

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12

26

36

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56

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Contents

1

CONTENTS

Proposal

PROPOSAL

PROPOSAL

2 3

ProposalI have chosen to

investigate the Arthur C. Clarke quote:

“Any sufficiently advanced technology is indistinguishable from magic”.

Using the theme of technology

and illusion, I am going to

use the 4 minutes of film as

a medium to explore the role of

experimentation and PROCESS in

creating a narrative and visual

language.

4 5

Science has made great strides in explaining morality. no longer

is it seen as something handed down from on high; instead

it is an evolved system of enlightened self-interest. Altruism, for example, can

benefit your genes and disgust can protect you from disease. This picture is progress, but it can also lead to a kinda of fatalism, a belief that our moral

values evolved for good reason and so we should stick with them.

Yet some value judgments are difficult to fit into this framework. Why

is it acceptable to take certain drugs but a criminal offence to fake others? Why

is it so wrong to create human embryos to cure diseases endured by millions?

Now an experiment suggests that morality isn’t entirely about evolutionary

benefits to individuals. We also have an evolved tendency to make and obey

arbitrary moral rules, probably as a way of promoting social cohesion.

That picture opens the door to more progress. Yes, we follow rules that bring

little benefit and can even be positively harmful. But the rules are not set in

stone, so there is nothing to stop us getting rid of those that don’t work and

putting better ones in place.

CHOSEN

NEW

SCIENTIST

ARTICLE

CHOSEN

NEW

SCIENTIST

ARTICLE

6 7

Chosen New Scientist Article

CHOSEN

NEW

SCIENTIST

ARTICLE

PREFACHOSEN

NEW

SCIENTIST

ARTICLE

8 9

A New Dimension of Magazine

“I think there’s a place for it and it’s up to us as the writers to translate the physical, tactile beauty of a printed publication into words that resonate online. It’s exactly the same as when we go and review shows. There’s no substitute for feeling a book/magazine or seeing a painting up close but that doesn’t mean we should just ignore them. It’s a good challenge.”

Rob Alderson

ItsNiceThat

<<Em

ail Interview>>

What are your thoughts on digitally representing physical work?

EMAIL

INTERVIEW

EMAIL

INTERVIEW

10 11

INITIAL

STORYBOARD

INITIAL

STORYBOARD

12 13

Science has made great strides in

explaining morality.

No longer is it seen as something

handed down from on high;

instead it is an evolved system of

enlightened self-interest.

Altruism, for example, can benefit

your genes

and disgust can protect you from

disease.

Initial Storyboards

INITIAL

STORYBOARD

INITIAL

STORYBOARD

14 15

a belief that our moral values

evolved for good reason and so we

should stick with them.

This picture is progress, but it can

also lead to a kinda of fatalism,

Yet some value judgments are

difficult to fit into this framework.

Why is it acceptable to take certain

drugs but a criminal offence to fake

others?

Why is it so wrong to create human

embryos to cure diseases endured

by millions?

Now an experiment suggests

that morality isn’t entirely about

evolutionary benefits to individuals.

INITIAL

STORYBOARD

INITIAL

STORYBOARD

16 17

probably as a way of promoting

social cohesion.

We also have an evolved tendency

to make and obey arbitrary moral

rules,

That picture opens the door to

more progress.

Yes, we follow rules that bring little

benefit and can even be positively

harmful.

But the rules are not set in stone,

so there is nothing to stop us

getting rid of those that don’t work

and putting better ones in place.

SYMBOLS

&

SEMIOTICS

SYMBOLS

&

SEMIOTICS

18 19

Symbols &Semiotics

Semiotics and symbols play a big part in illustrating the article I have chosen. Because the text is not visually explicit, often describing morals and choices, I have chosen to infer meaning through semiotics. For example using a bible to illustrate morality.

20 21

Primary FootageB

EHIND

THE

SCENES

BEHIND

THE

SCENES

22 23

PRIMARY

FOOTAGE

PRIMARY

FOOTAGE

24 25

Bad Print[er]

I attempted to print the

frames of clips with a

broken printer and then

scan them back in to

animate but this process

added an aesthetic I didn’t

want in my film: a faux

silent film effect.

FAULTY

PROCESS

FAULTY

PROCESS

26 27

CompositingLayersC

OMPOSITING

LAYERS

COMPOSITING

LAYERS

28 29

COMPOSITING

LAYERS

COMPOSITING

LAYERS

30 31

COMPOSITING

LAYERS

COMPOSITING

LAYERS

32 33

COMPOSITING

LAYERS

COMPOSITING

LAYERS

34 35

Final Com

positionsFINAL

COMPOSITIONS

FINAL

COMPOSITIONS

TYPOGRAPHY

TYPOGRAPHY

36 37

<<TYPOGRAPHY>>W

I have chosen to use TRADE GOTHIC LT STD to compose the text accompanying my moving image illustrations.

CONDENSED NO.18CONDENSED NO.18 OBLIQUEBOLD CONDENSED NO. 20BOLD CONDENSED NO. 20 OBLIQUEBOLDBOLD OBLIQUELIGHTLIGHT OBLIQUEREGULAROBLIQUEBOLD NO. 2BOLD NO. 2 OBLIQUEEXTENDEDBOLD EXTENDED

WEI

GHTS

TRADE GOTHIC provides me with a variety

of weights that would help me <accent> the text

and add emphasis where I want it.

38 39

Compositionswith TYPEC

OMPOSITIONS

WITH

TYPE

COMPOSITIONS

WITH

TYPE

40 41

COMPOSITIONS

WITH

TYPE

COMPOSITIONS

WITH

TYPE

42 43

COMPOSITIONS

WITH

TYPE

COMPOSITIONS

WITH

TYPE

44 45

Breaking Down

These black bars are placed to ballance

the composition, but also I like the

aesthetic of a <censored> bar

These are all my semiotic symbols for

God. The sky refers to the heavens,

the hand pointing points to the

heavens, and the body prays

I have placed <<semiotic

symbols>> in each of

my clips. Some of which

are more vague than

others, hopefully letting

the user create their own

interpretation.

BREAKING

DOWN

THE

COMPOSITION

BREAKING

DOWN

THE

COMPOSITION

46 47

Sound Design The sound is a vital aspect of

my project, and poses a set of

challenges. I intend to use sounds as

another layer of semiotic information.

I have sourced my sounds from the

<<BBC Sound Library>>. These

royalty free stock sounds provided

me with stereotypically recognisable

sounds that I could juxtapose with

my video clips. A good example is for

the section with the cigarette burning,

I have put in a sound of a ventilator

quietly in the background. Although

quite transparent, the combination of

the image and sound infers symbolic meaning.

SOUND

DESIGN

SOUND

DESIGN

Manuel Buerger

The following two spreads contain the following:

1. Critical Vision:

2. Two pages of LODOWN, from an issue art directed by Manuel.

This comprises of stills and an indepth description of a symposium he gave concerning slippery design and the discourse of semiotics. Although only provided with a condensed version of the presentation, semiotics and symbols play a critical role in my work, making it very relevant to my project.

48 49

MANUEL

BUERGER

MANUEL

BUERGER

Critical Vision Manuel Buerger

THE STORY ABOUT SLIPPERY DESIGN AND ITS IDEA OF ENCOURAGING DISCOURSESThe Critical Visions Symposium “Look Better” was a two-day conference on interdisciplinary visual research, practice, and pedagogy at the University of Cincinnati. The symposium marked the launch of the new undergraduate certificate in Critical Visions, aimed at teaching students how to effectively combine critical theory and social analysis with art, media, and design practice.

As seen from the perspective of a graphic designer the term “critical vision” demands both the ability to deconstruct your world in visual pieces and the skill to construct a significant idea - at best communicate it through a form. A high significance level in these two processes are semiotic studies which help the (young) designer to speak with the right tongue in the right situation.

Herefore I worked on a presentation which shows the young students that the handling with semiotics is the precondition of getting a critical vision, a critical awareness of how culture is working in general. The message of this talk is to focus on “Slippery Design”, which keeps discourses alive and healthy.

The presentation was divided in three parts: 1. Semiotic Triangles, 2. Complexity & Meta-Thinking, 3. Limitation. For those who knew already the theory background enjoyed seeing them in a Powerpoint aesthetic.

If you want to feet the discourse in an progressive way you have to be slippery: Disruption is the only way to progress! Slippery Design is in fact always in a quite critical condition as it might not fit and not get the audience. But at the same time it‘s surprinsing, on the search for something. It trains the competency to be irritated, the ability to be unsettled, piqued and challengedIf you want to feet the discourse in an progressive way you have to be slippery: Disruption is the only way to progress! Slippery Design is in fact always in a quite critical condition as it might not fit and not get the audience. But at the same time it‘s surprinsing, on the search for something. It trains the competency to be irritated, the ability to be unsettled, piqued and challenged

Working within limitations reveals every single design step as boundaries are fixed and set. Sliding on the border line requires reflection on your own design process! This reflection generates an advanced consciousness about the design tool, about your design process, about your idea, you want to make tangible.

50 51

MANUEL

BUERGER

MANUEL

BUERGER

52 53

MANUEL

BUERGER

MANUEL

BUERGER

STRUCTURALIST

FILM

STRUCTURALIST

FILM

54 55

FRAME by Ken Kobland

“Frame (1977), actually made by Kobland before Picking Up the Pieces,

uses the same image-within-an-imageformat but with moving pictures.

All of the footage for Frame was shot from inside a car moving along a

road lined with beach cottages. The cottages are not occupied; no people

can be seen. In some shots, the camera points straight ahead; in others,

it is aimed directly to the left, where sand and water may be glimpsed

behind the row of small wooden houses moving past. The film itself is

composed of several sequences, in each of which one shot is inserted

within

another. In each, a rectangular picture having the same proportions

as the main picture is placed in the center of the main picture. The

largermotion picture makes a thick rectangular frame around the

smaller picture in its center. Thus the “content” of Frame becomes

the relationship-more or less in the present moment-between the two

moving pictures. A subtitle printed on the film explains the relationship

in each sequence between the frame picture and the picture in its center.

The caption of the first sequence reads, “The inner image is delayed.”

In both shots, the camera is pointing through the front window of the

moving car. In fact, there are not two different shots but one: the moving

picture in the center is the same as that of the frame, but it is printed

“out of sync.” What we see first in the frame we see a moment later in

the center. When, at the end of the shot, the frame goes black, the inner

picture continues a moment longer.”

In relation to my project:

I like the idea of frames within frames, putting

things in a new context. A relationship is created

between the two video’s, and a narrative is formed

or infered just by the structure of the clips.

The different illustrations for each part of the article

will be placed next to each other, each in their own

frame inside the frame of the composition. This will

hopefully create a dynamic relationship between the

user and the content, making it more immersive and

open to interpretation.

56 57

Navigation

TOUCHPAD

I have superimposed a <<touchpad>> onto the final video that illustrates how you are supposed to navigate the composition, inferring the necessity for direct contact with the screen for example on an ipad or installation.

NAVIGATIONAL

SYSTEM

NAVIGATIONAL

SYSTEM

EDITORIAL NARRATIVE

EDITORIAL NARRATIVE

58 59

Keeping the Editorial Narrative

I have chosen to cut up the article into small

sections to illustrate, each with a sentence or

two. Because of this, the structure of the article

must be maintained.

The narrative is still

linear.

FRAMEWORK

FRAMEWORK

60 61

FrameWork

To navigate the article, I have placed an

animation of <<navigational fingers>> in the

background around the clips. These are on loop

and subtley guide the user towards the next set

of video’s.

62 63

All the video clips are constantly looping so the

reader can navigate at their own pace.

LAYOUT

LAYOUT

64 65

LAYOUT

LAYOUT

66 67

COMPOSITING

LAYOUT

COMPOSITING

LAYOUT

68 69

COMPOSITING

LAYOUT

COMPOSITING

LAYOUT

70 71

A

SHAPE

A

SHAPE

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FINAL

SCREENSHOTS

FINAL

SCREENSHOTS

74 75

FINAL

SCREENSHOTS

FINAL

SCREENSHOTS

76 77

FINAL

SCREENSHOTS

FINAL

SCREENSHOTS

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FINAL

SCREENSHOTS

FINAL

SCREENSHOTS

80 81

FINAL

SCREENSHOTS

FINAL

SCREENSHOTS