#the copy

Before I got the alcohol markers, I also got a small set of water-based markers for Christmas so wanted to try them out. I had very limited choice of colors (only 12 markers), but the color palette was surprisingly fitting for Haga so of course I had to draw him. 😀 I’m not happy with the colors but I already put effort into drawing the pose so I decided to put it out there anyway. His clothing design is based on pictures drawn by my dear friend @haeresis-tea ^^ Here and here (Haga is my OC)

I can't decide if I like the shaded or the non-shaded version better... (neither is very good imo)

just various effects i've done and how !

Layering 4 clips at varying speeds, with divide, hard mix and difference blending modes.

cutting the footage to match with when sound appears

duplicating audio and video to create a glitching / tape stuck effect

duplicating video on darken blending mode to create a time delay effect

stacking clips above eachother

using cuts and strobe at an expenentially increasing rate, I like the sense of rhythm / speed this creates

using one clip and changing the speed of the clip continuously

stacking clips against their reversed selves for a morphing effect

using after effects to interpolate frames

mosaic effect

flashing ai-recognition-esque boxes and labels

using default "bad" transition effects in quick succession

blinders transition effect

blur effect

inverted

and more i couldn't really name. The whole process just involves me fucking around. I am however paying attention to execute the distortion in a way where it is entirely focussed on the image itself rather than taking attention away from it. For all distortion to be based on the poor image and its material qualities - the speed of its movement, the jitter of the bad animation. Also having in mind of the distortion increasing parallel to the deterioration of the audio.

About 2:30 minutes in now!

Some artists he mentioned: William Kentridge's charcoal animations, echoing the same idea, embodying that ultra-physical interpretation of animation. I like the aesthetics of his charcoal animations, redrawing the subject over and over again, erasing and replicating on the same piece of paper. He also mentioned David Shrigley's animation. I am inspired by this common theme of intentional shoddiness, and his flash style animations are surreal, unsettling and hilarious.

I also talked to him about my concerns with installation, and we have two options.

FIrst, to install it in the production studio on a massive projection, surround sound speakers of the highest quality. This creates great contrast and tension between the work and the install, grandising something so analog and purposefully low technology and stupid - which also has relations with Millard and Duchamp's work.

Second is to install it on a crt on a plinth in the analogue studio. This option does speak more towards the objectness i would like to incorporate. The existing crt as a piece of art relates to the ready made. Newell also suggested (for the future) I could lean into the ultra-analogue, to create a work similar to this in film or super8 and stick to analogue techniques to further explore the relationship between material and concept (or lack thereof) present within my work. To further emphasise the shoddiness, shaky shots, flickering textures in a pure analogue form.

Reflection from proposal

talk to harry about installation in crt, as it's mono channel it might not pick up all the levels in the sound wall

Jane liked the iteration of the animation on tracing paper, as well as the morphing idea.

Idea of jump cuts and non-linear progression and deteroration, mirroring the sound. Some parts more roughly cut and others a reversing morph.

That's the title for my work i think.

(mostly) final product audio for the copy