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:-)

2004-01-18

It seems to work!

HC Gilje

2004-01-17

HC Gilje was interviewed at Safari (NRK2) today.

Scetches for a video architecture

2004-01-16

Peter and I sat down last night to create a structural framework for his SoftVNS- and Jitter-based video patches. We started by develloping an architecture for each of the videoeffects used. the challnge is to make it intuitive to run with a UI taking as little screen space as possible possible to script and as flexible as possible. We both felt that we came up with some really good solutions.

If we had not done this now furter video develloped would have come to a hault as the number of patches (and different versions) would make the system less and less manageable.

Afterwards we met Lisbeth at a bar. Now we’re talking about a really long day but I enjoy it.

Where to start?

2004-01-16

I’ve learned a major lesson from Lisbeth and Aslo so far in this production: Not being afraid of throwing out ideas and suggestions. The making of the production is very different from e.g. traditional music litterature or drama. We do not start of with a “plan” (text story motive plan for large scale form or anything similar). The material is abstract and has to be worked on from within. That is impossible to do unless there’s something to start of from and we all share a responsibility of providing these points of departures.

Making decisions

2004-01-16

When we first started develloping the previous Verdensteatret performance Tsalal I was frustrated about how ideas that were working well were still being reinvestigated deconstructed and reconstructed over and over again. Little by little I’ve come to appreciate that we’re not necsessarily jumping on the first idea that pops up. It’s a way of challenging your current way of thinking and working getting a deeper understanding of the material and pushing forward in directions you didn’t think of beforehand. On the other side I also fear that we keep working on (the first?) ten minuites of the performance for too long and don’t get the time to put as much attention into the rest of the performance.

A completely different approach would be to make a poor and rough scetch of the whole performance and then work more and more into the details. It proberbly wouldn’t work in the case of Verdensteatret though. Something about what we’re doing reminds me of writing Palestrina excercises during the composition studies: If you do a change locally in one bar the consequences are global affecting the whole of the excersise.

Working with Frode Thorsen was the opposite extreme: We had limited time for devellopment and Frode was really good at forcing us to make decissions and structures based on the limited number of improvisations we did.

" I only had a few days – and the effect of this is to focus attention. Less exploration of all the possible journeys you could make more determination to take one journey (even if the choice of it is initially rather arbitrary) and make it take you somewhere."

It’s interesting that Eno seems to believe that this approach gives more surprising results:

" Working with greater leisure my ideas become much more "reasonable&quot and surprise me less."

(Quotes from Brian Eno: A Year with Swollen Appendices January 12th)

 
 
 

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