a previous collaboration using footage from Teinosuke Kinugasa's
1926 film - A Page of Madness 狂った一頁
week 1 in the tatami room
shoji screens & windows
overlapping interests
- magical realism
- atonality / structured pattern that are generative and expansive.
- working with that which is indeterminate
- structure - gaps/ sequences/ phasing/ echoing/ layers
- move away from traditional viewing experiences
Japanese influences
- structural timing jo ha kyu
- discipline
- ma
- kage no bigaku - (aesthetics of shadow)
- darkness (horror, mystery and the uncanny)
Tasmanian gothic
- Not rooted in medieval imagery or gothic architecture rather in natural landscape and history
why Kyoto
- birth place of Japanese cinema
- traditional theatre
- experimental crossover Parasophia, Kyoto Experiment and the Kyoto film festival
things to work on
- systems to combine sound and light (video/film?)
- performance
- how spatial experience / emotion can change due to light and movement
- convey multiple senses of time - layered sound / layered visuals
- aesthetic sensibilities connected to place - simultaneity of light and darkness
other things
- Edo period’s influence on folklore, theatre, aesthetics and literature.
- Inseparable connection with nature, horror and darkness
- Compare to Tasmanian gothic identity - based on wilderness / dark history
- Expectation and work ethic in japan
- performativity of production/ presentation
- behind the scenes/facade - private and public /
? Dylans role - creating the structure/ pattern/ sequence ?
? Laura’s role - reflecting on the structure / opening up the process ?
week 2 in the sound studio
screens, power lines & patches
week 3
Noh and folklore
Noh stage as cosmos ‘On a bounded stage that represents the cosmos, a make or made-up actor buried beneath layers of costume utilises subtle movements framed by light and shadow to produce startling potent gestures framed within dynamic stillness’ - Jonah Salz
‘Although Noh is learned in a rote manner, meaning is not thereby absent. Meaning is gradually acquired and internalised through the physical process of repeatedly doing the movement and voice, a process that functions beyond verbal or intellectual explanation.’ - James Braddon
evolution of the Nurikabe
depiction of invisible phenomenon
They say yokai disappeared as electric lights came in. Monsters prospered in the pre-electricity days, when people used andon and oil lamps. Electricity was too bright for yokai to survive - Shigeru Mizuki
the aesthetics strangeness, uselessness, unfixed identity
persona of unworldly recluse, a carefree wanderer
None is traveling
here along this way but I
this autumn evening
Matsuo Bashō
week 5
our neighbor
(forgive L's first attempt at notation)
Let us consider a being that can only move in a straight line. This world of the straight line is a one-dimensional space and can be easily measured.
Lets us consider a being that can move in any direction on a flat plane. This world of the flat plane is a two-dimensional world and can be measured by two straight lines that intersect at a point.
The world in which human beings move is a three dimensional world and can be measured by three straight lines that intersect at a point.
Now if we limit the length of the straight line the one-dimensional being will be trapped.
If we draw a circle around the two-dimensional being, they cannot escape.
If human being are locked in a room we are also trapped.
Let us consider a being that can freely move in and out of an enclosed room -this is a being who lives in the fourth dimension. We cannot actually see a being that has this four-dimensional characteristic, but we can imagine its existence.