MA Design Installation

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 WITHOUT RED, SHE IS LOOKING SAD...Aydin Gursel Bakir This project questions the idea of the meaning produced by the sequence of shots. Three contrasting shots of one sequence are the first material. They are transposed into 3D object which creates interactions with surrounding space. From opposites, the object offers a range of possible visual compositions. The meaning becomes a physical experience including enigmatic variations through a woman’s face, light, colors and the physical distance between them and spectators.

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 THE OTHER WAY_Blanche Lafarge & Rita Hajj Addressing an alternative way of showcasing films and stimulating a new cinema experience for spectators. Inspired by the Eisenstein’s theory of montage, the concept is about creating a live-physical montage of shots dissected from any movie, and projecting them in an intriguing space, using a mechanism composed of refraction materials controllable manually by performers. Through a spatial movement of the shots, this process transforms a 2D flat image into a 3D space, communicating different narratives. Thus, this dimensional choreography gives you the duality of looking into either the performers, either the story created, linking the relationship between both. 6 Words Short Story One lot of people spinning around.

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 WHAT ARE YOU LOOKING AT?_Aline Nava “Two sides. Love machine. Tea time.” In my project I wanted to investigate a topic , also a contemporary issue, which is the contrast but even the strong connection , between man and “machine”, as a mirror of human consciousness. In the movie we inspired our project from, the emblem of humanity is the concept of love, which is symbolized by the two main characters couple, and it was what enabled Caution to stay focused throughout the story and also what enabled him, along with Natasha, to escape from Alphaville in the end. From the other side, there is the extremely logical machine Alpha 60, that puts all citizens under constant surveillance watch. Although ‘’man’’ and ‘’machine’’ concepts seem to be strongly opposed, there are a few scenes in the movie and several occasions in real life nowadays, where these two components become just one thing. No matter if we want it or not, the machine is constantly present: we can see it in Natasha’s character cold gaze at the beginning, where she almost acts like a robot with no feeling or human expression, and even in the ‘’tea scene’’ which portrays the couple having an intimate moment together, we can still notice the presence of technology by the evident focus given on the wide television screen on the background. There is always a steady link between these two elements, and also a very strong similarity in terms of structure: the machine, consisting of many separate interconnected components, as a mirror of man consciousness, functions and behaves in the same way the human body is made up of many individual parts that work together in a highly interactive and coordinated system. Today, due to technological advancements machines are turning to be more intelligent than human beings and, in some cases it has gotten to the point where we can no longer tell the difference between artificial and human intelligence. The blurring of the line between human beings and machines causes us to examine what makes us a human and if there is a real difference between man and technology. There are numerous opinions on that subject and lots of them agree on the fact that what makes us differ from machines is our feelings and emotional side, a feature that machines can’t develop. In conclusion, man and machine can be seen as two sides of the same coin or as two completely separated concepts, depending on your personal point of view or, just like in my project, on the perspective you choose to observe from. I decided to portray the concepts of love and machine, combining both still and moving fragments of the movie, in order to enhance this ambivalence between the ‘’still, logical technology’’ and the ‘’moving, vibrant human emotions’’. I wanted to create a sort of collage in the space, using multiple surfaces that if mixed together tell different stories. It’s all about perspective, and here comes the question: what are you looking at? Is it a machine, a love couple having a cup of tea or both of them as part of the same whole?

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 HE LOOKED AT HER, HE TURNED_Eleonora Pizzini The idea of an object that is able to indicate a direction simply by using a glance is a very interesting intuition, but during this month I was unable to give it the proper shape. The project presented at the end of the workshop showed some problems. The raw and unwieldy shape does not showed off the main character of the project: the video. And also the video was not able to represent the idea of directing people with logical sense. This happened because the projected videos were just a loop sequence of clips of the movie Alphaville. The ideal shape that I would like to reach would be a single object, to which getting closer, asking and receiving direction with a simple look or a head movement. From Rosario Hurtado advice I watched the presentation video of the project “Sign of Life” by Freddie Yauner, available at the following link: https://www.youtube.com/watch?v=-s-F5x9XIEE The artist presents a new exit signal that, when it doesn’t feel the presence of anyone, it “relaxes” and begins to live his own life, before returning to its initial position when someone comes. Doing some online research, I tried to investigate and imagine how the artist technically made his sign. I imagined that he uses a combination of two softwares, Modul8 and Madmapper, together with a computer equipped with a camera. Modul8 and Madmapper in fact are designed for real time video mixing and compositing. The final step, in order to complete this project at a technical level, would be to give it the ability to respond independently at external input, audio or video, and to react accordingly.

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 ALORS L'AMOUR C'EST QUOI? NATACHA VON BRAUN_Melina Johnsen I understood the word «editing» for «modifying» and putting existing pieces together in order to compose and present a new way of understanding about it. The approach of editing is an opportunity to rearrange the decisions that were made. Even when you interact with small details it alterates everything and give you the power of changing the story and the way the story is seen by the public. I investigated the power of montage in order to propose an interpretation of Natacha’s toughts about Yvan. I created a visual and auditive link between the two lovers that does not exist in the movie and I believe helped the public seeing further in their relationship. I used the technique of projecting my montage on inert posters of the two lovers. I emphasized the moving effect by shifting a little bit the projected image and above all adding a colour filter. It feels they are becoming alive with the lights and the montage. The sound is set up around the public and split between the two sound support in order to immerge the people into the projection and create an invisible movement.

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 THE WIND MAKES ME DO THAT_Naoyuki Kiyota This scene doesn’t describe who killed whom. But, everybody could understand. Why? Because we are manipulated by the director. When I saw it, I felt, many stories hide back it, if I switch the scene. So, I investigated how to express possibilities that stories are back of this movie, and interact with people. Because someone see it can join one of the possibility and become part of the movie. Finally, I expressed by mobile sculpture. It always moves, every time changes the story and, can join. If I change the point of view, story is changing. I made 1/1 scale and expressing with wind. Because I can’t control perfectly the viewer’s thinking, like wind.

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 DANCING PERSPECTIVE. WALK AROUND, PLAY SCREENS_Maia Vaillant A collage directly in space. It is always changing, all depends of the point of view, where we stay : decision belongs to the viewer. We can create our own dialogue between different images, thanks to perspective. Montage is created while we turn around. It cannot be really fixed. The collision between cuting scenes, creates a single and complexe image in space. Is it the same image or a different one ? Two cameras filming a same scene with opposite point of view ? One in reverse ? One faster than the other ? Our perception is destabilized, the viewer has to stay active, he is the key of this experience.

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 CLICK POP DOT ONOMATOPEE MON AMOUR_Jean-Marc Cnockaert Click, Pop, Dot, Onomatopée mon amour is a kind of tribute about the 50’s comics book. The scene taking of Alphaville , a dystopia movie of Jean-Luc Godard, is a fighting scene in hotel room with a lady who taking a bath in the background and lounge music. It’s an absurd and humoristic scene in a not so humoristic movie. So this installation is a video of the fighting scene with onomatopiea who appear gradually during the film and create an accumulation and a rythmic, on a second time the scene is replaying with only the onomatopiea and the sound and we keep in mind the picture of the action. The colors of the film is in blue and yellow thanks to a happy accident with a broken video projector. The film is projected onto a dotted screen on a wooden frame, the dotted screen is made with backlite paper who create a reflection of the onomatopiea on the walls. The result is a very Pop installation.

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 ENTERING REPEATED SPACE, CROSSING REALITY LAYERS_Nina Hemmerijckx & Marianne Noren How to make space become a study of light and motion in full scale? From 2d to 3d. From screen to a walkthrough. By projecting images with no con- tour, the square of the screen dis- solved into darkness and viewed only light and silhouettes onto semi- transparent surfaces. Airy tull was hung in layers, as a circular maze, and cut in a length were it couldn’t touch the floor. The textile, consisting of tiny holes, projected duplicates of moving im- ages throughout the space. Air blew right through. As people moved, light grew onto surrounding surfaces creating an imaginary world of a moment.

Physical Editing Workshop with El Ultimo Grito_HEAD_MA Space & Communication_2016 Spatial Cinematic Experiences developed from the essay: Montage is Conflict_Sergei Eisenstein_1929 and the film Alphaville_Jean Luc Godard_1965 OPEN, SAY SOMETHING DAMM IT, CLOSE_Shiwa Tseng A simple lens shot contains stories, or even more, imaginative stories. The starting point from the film “Alphaville” by Jean-Luc Godard. The protagonist goes inside the elevator and the single shot of the camera with fixed position, revealed one chapter of the story. What goes inside the boxed viewpoint set the limitation or rather the imagination boundariless for the screen. The time is controled by the open- ing and closing action of the elevator door and with the arrival of the destinated floor level. Each time with the opening, stories unfold. Are you inside or outside of the story? Inside or outside the elevator? One is often faced with confrontation towards oneself and towards the others when the mobility is being limited inside the closed door of the elevator. The installation is set to experiment with the similar confrontation one would have being inside the elevator. The circular film is to suggest the cam- era view while the reflective surface which allows one to see themselvs together with the projection reflection, attends to grab viewers atten- tion and to place themselves amongst the people inside the elevator. Open, close, open, close.. will you say something to the others? Or will you say something to yourself?