Category Archives for: Filmmaking

Philosophy of Music

09 June 2016

[this is a drafty mess transcribed from paper. Really need some kind of bluetooth flexible keyboard to use with a smartphone…]

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[todo: Taiwan culture and streets, clingy relationships, social world of locality]

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I finally got some cheap, yet amazingly good, headphones. Listening to them reminds me of a past time of my life — programming for capital in VA [Virginia, USA], commuting to college, doing chore-like work at home (repetitive organizing on the computer); Now I’m able to see that the way I survived the suburbs is because I abused music.

Using technology is not normal. It is much slower to communicate through technology than it is to simply talk — within one’s head, out loud, or through writing. Technology distracts thinking and communicating.
Music interrupts, blocks thinking and communicating. To blog, for instance, I may need to connect to the internet, charge my digital device. Looking at my blog may distract further, directing thought toward design — trying to make it more readable, increasing interaction. It [technology] distracts from the content, from the act of writing, the act of thought expression.
Music blocks thinking. It’s the only way to act, it seems. To take an action that is not communication nor survival, one must drug onelsef with more ot push one’s body to act.

With more, people organize, over-organize, over-work, over-accumulate capital. They forget to talk. Asia talks; America works. In Taiwan, reading is common (though likely passively), a common way to communicate. In America, new arts are created to communicate which all require more work (game-making!) to communicate the message compared to human language. Why not just communicate via human language? (Maybe music blocks people from expressing through human language.)
It also may block thought of the environment. It helps people focus on something — media, art, material, “work”, but rarely does it lead to talking to people nearby, to thinking about how the environemnt came to be, history, others, social problems, etc. It is a mind-altering drug, one that inhibits verbal expression.

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I believe I was at a point of only acting to communicate. I didn’t do anything else. I’d talk to the people around me, then, to books, then run out of energy and collapse, partly because my body had become fail, partly because capitalism doesn’t allow that kind of life of mind. It prefers a life of bodily action, of movement of commodity. The movement of commodity is the opposite of the movement of meanings (communication). It is detestable, a chore, it provokes humans to abuse music; whereas communication is enjoyable, not requiring music.

If joy comes from the creation of communication, then the creation of commoidity requires a kind of drug to make-up for the lack of enjoyment. It is ideal to creat ecommodity whilst creating communicationl but that isn’t always possible (though, technology helps immensely here, with eBook listening, audio-recording, telephones, etc.). Eventually, either from habit of work, habit of listening to music, one nearly forgets to communicate. That’s frightening, because that’s the difference between a person who expresses and one that doesn’t, the difference between a free mind and a restricted mind. [A free person and restricted person {slave}?] America is full of restricted minds. Asia is full of free minds.

The West prioritizes media, the communication through mediums. The East prioritizes [direct] communication, even in it’s simply a conversation with a friend. There is much widsom in the people as opposed to media. It doesn’t distribute well, but it’s a healthy lifestyle. The West begins with (Plato and) Aristotle. The East relies on the oral world which retains the culture. Culture is not distributed through media; It is through human interaction, direct communication. That is opposite of the culture industry of America. [todo: should continue*****].

[todo: epistemology of music]

[todo: action and music]

Without music I only act toward survival and communication — the socio-political expressions. Music allows me to live unsocially. It gives energy without people. I needed people during my time in Asia. I was dependent on people. I strived to do everything with people [todo: need anchor to Taiwan section]. I tried to socio-politically cooperate to strive toward ideals (civic, social, design). I didn’t work, I just communicated.

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America has been running on music at least since slaves worked to their own creative folk tunes; Now, white brokers on Wall street work while listening to hip-hop. Maybe the creation of music is skewed toward the working class because they need it to get by, influenced and inspired by it, mimic the creation of it, listening to raps about wage-labor whilst laboring for wage. I sure did — through game, film, and fine arts / new media. That expression, anti-capitalism in America is perhaps the strongest emotion in American culture, perhaps even more-so than love (all forms of it). And it [the creation capitalism-influenced art] probably has not been broken since capitalism has existed.

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That is why the East lacks art through mediums — most is expression through oral communication, then to written communication, then lastly to other mediums. The history of the complex part of Eastern art is perhaps solely literature. It is because America listens to music that they [tend to] communicate through mediums.

digression: How is communication prioritized? I guess that’s left to attention. Communication is just information.

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[todo: American culture and music -> media]

an older page

Music is awful. It blocks thinking. Gives energy, for physical exercise, but actions are not thought of, just taken. It blocks thinking before taking an action. The decision-making phase is skipped. Is this action? Is this life? How can such mindlessness be? How wild the affects of music are.

Leave a comment | Categories: Action, Applied Philosophy, Communication, Drafts, Experience, Filmmaking, Health, Humanities, Media, Metaphysics, Music, Personal, Philosophy, Philosophy of Language, Philosophy of Music, Philosophy of Technology, Semiotics, Social Philosophy, temp, Thoughts

An Interview with Chris Marker

30 December 2015

interviewer: Does the democratization of the means of filmmaking (DV, digital editing, distribution via the Internet) seduce the socially engaged filmmaker that you are?

Chris Marker: Here’s a good opportunity to get rid of a label that’s been stuck on me. For many people, “engaged” means “political,” and politics, the art of compromise (which is as it should be—if there is no compromise there is only brute force, of which we’re seeing an example right now) bores me deeply. [1] What interests me is history, and politics interests me only to the degree that it represents the mark history makes on the present. [2] With an obsessive curiosity (if I identify with any of Kipling’s characters, it’s the Elephant Boy of the Just-So Stories, because of his “insatiable curiosity”) I keep asking: How do people manage to live in such a world? And that’s where my mania comes from, to see “how things are going” in this place or that. [3] For a long time, those who were best placed to see “how it’s going” didn’t have access to the tools to give form to their perceptions—and perception without form is tiring. And now, suddenly, these tools exist. It’s true that for people like me it’s a dream come true. I wrote about it, in a small text in the booklet of the DVD.

1. Marker is not interested in politics (seemingly not of political philosophy / theory), he’s only interested in how history shapes contemporary culture; Politics just happens to be a part of history [which often shapes contemporary culture]. [todo: may have to reread a few times more]

2. The nomadic manic.

3.1. There was something I wanted to talk about here, about perception into form, especially the urban film-essay style of Chris Marker. Of putting together one’s perception of reality into a film; That is, one’s awareness of reality, the history and culture behind each image [and sound?]. [todo: should continue elaborating on the process from perception to film and perception of film as knowledge]

Marker’s form of film, the essay film, enables the director to bring out awareness of reality, to decipher reality. Through a standard realistic film one’s mind accepts some unrealistic structures which form the film, despite the strong desire of the director to recreate social reality. When watching a direct cinema film (and to a great extent, cinema verite and documentaries), it is up to the viewer to extract knowledge from the film, to deconstruct it. Marker serves as the philosopher of his images, in addition to the selector of images. Anyone can deconstruct an image, but it requires a bit more skill to put philosophy-provoking images together in a beautiful manner.

When one creates a documentary, wherein the camera-holder is the subject and the view of the camera is the object, reacting to reality, especially apparent in cities, one creates content which is closest in form to human perception.

That kind of content could be quite useful to environmental psychology. If people simply had camcorders close to their eyes, one could gather a great amount of data useful for environmental design (urban design, etc.). Though, there may be a problem with treating humans like lab rats; Then again, aren’t cities just a rat race?

Still, even with the eye-level camcorder footage, it may not be as useful as Marker’s films, because it lacks a smart subject who has intent to be aware of certain things, and make aware of more things from those things, which brings some order out of the information, [which though not required for an education, saves time,] and creates some direction. Though, at times, not much.

3.2. Camcorder as a tool to give form to one’s perception. Perhaps the greatest artistic tool because it produces a form closest to reality.

3.3. Those who are best placed — place in society, health, education, good perception, and mean of transport — now have access to the camcorder.

an interview with Chris Marker, “Originally published in Libération, March 5, 2003. With thanks to Antoine de Baecque.”

Leave a comment | Categories: Art, Environmental Psychology, Filmmaking, Films, Humanities, Philosophy, Philosophy of Film, Urban Philosophy

Buying a Professional Video Camera

18 February 2012

is a nightmare.

There’s far too many choices. Do I get a consumer camcorder, a prosumer camcorder, a DSLR with video capabilities, or a real professional film camera? Well, the consumer camcorders have the consumer look, prosumer camcorders produce the same quality but have more buttons, DSLRs are missing features to consider it as a video camera, and a real film camera costs $7000.

A “pro” would say. Buy a real film camera. If you don’t have the money but know that film is what you want to do in life, save up for a real film camera.

A smart person will tell you to film with whatever you have. If the camera is limiting your abilities, buy whatever is within your budget.

If I could turn back time I’d buy a $600 TM-900 and start shooting; Then buy things as I need them.

That didn’t happen. I over-researched, spending more time reading when I could have been shooting. I ended up with a $1150 Panasonic DMC-GH2 with the 14-140mm lens. Although I don’t regret my purchase I do regret the time wasted.

Hm, now I’m unsure if I should provide the research I did as it may enable a reader to continue researching.

Might be updated soon!

Even though that Panasonic was the gem of DSLR / mirror-less film-making, it sucked as a film camera. The stabilization made it impossible for any sort of recording while walking. The camera itself was large. The camera would eat up battery and memory cards.

I sold it and bought a Panasonic v750. USB-powered and steadicam-like stabilization. If only I had bought the camcorder two years ago.

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