9.8.19
Progression:
Attention, Space, Geometry, Frame, Multiple Frames, Sequencing, Adding Frames
[I’m thinking about this as adding in tools, as opposed to a progression that happens in sequence, one after another. This builds.]
-clearly ignoring the cameras not for the sake of ignoring them but for the sake of being very interested in a different frame at that moment
-what kinds of camera movements are you using as this happens? when do you think to be creative with the way the camera moves?
-when is the camera an extension of my body and when am I composing for its frame?
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a story:
4 people in their own spaces are listening and also sharing space- one person and two cameras look on but are they participating or listening or… what? the sound of the room is like a perpetual outbreath- it goes and goes, like wind it doesn’t take, it just moves on- and maybe this is why it feels this way.
[an aside: taisha paggett’s work asks this too- is based in a sensorial exploration and reaction to seeing and being seen and existing in a particular place and describing those sensations and that architecture through movement, texture, shape, quality…]
[an aside: Re: Atlas and Cunningham: perfectly crafter geometrically for a specific frame/point of view- we are doing this with our framing but not just for one frame, for the frames of everyone in the room. It is improvisaion- Sgorbati- because of the crucial element of consent in being seen as well as describing exactly your sensations in a moment, which will always be changing, listening to how you feel and describing that with movement is a perfect way of listening to/trusting ourselves, and our wants and needs.]
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Camera flip moves!
How is stillness showing up in your bodies too?
Use camera composition tools for the camera and for ourselves
KATHRYN NUSA LOGAN 