Reading response, animation

For my case study I watched the video by Sue-C. She used still images, live action animation, video recordings and I assume computer animation to assemble her video. When it comes to bringing out strong emotional or psychological response, there is only one component of the animation that brought that out of me. For example roughly 7 minutes in the video she repeats the words “Make me crazy”. Which invoked in me my own doubt of mental health and if I am crazy or not (I think everyone questions their own sanity). So for this to be successful, to pull out an emotional response, I think that the content has to be straight forward and not beat around the bush about the human experience. This was the least abstract part of the video that I viewed and it worked great. When it comes to abstraction… I have opinions. I think because it can be such a vague and aloof subject- representing anything and possibly nothing, I think it has to have some aesthetic appeal if the concept is difficult for the audience to grasp. For a lot of the video I didn’t have any psychological or emotional response because it felt to me random and up in the air. I know Sue-C will argue otherwise, that it has several different representations and possibly is a reflection of the human experience. But it’s difficult for me to relate to abstraction.

 

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One thought on “Reading response, animation

  1. diehlc

    Thanks, fair enough on the abstraction, i appreciate your effort to explain your opinion.. I’d recommend listening to music and, mentally, tune out the singing, focus on the instrumentation. How much of the emotional or psychological weight is carried by formal elements –type of sound, pacing of sounds, harmony, dissonance? This could also be in style of singing–but point is abstraction is rampant in music and that’s a (typically) more familar point of reference. How does form inform? This is extension of design thinking. As for method, Sue-C is actually working with very mundane physical materials,—then processing them live through performance software called Max-Msp-Jitter. You can look her up on Vimeo and find a ‘behind the scenes’ of the materials she’s working with

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