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Week 4 Blog Post
One part of the reading that struck me was within Bernstein’s article about The San Francisco Tape Music Center. From the first page it began talking about the Trips Festival. I bring this up because of the recurring topic about drugs that came up in the past lectures and readings. It seems that there are a niche of artists that try to capture the alternate reality that drugs present so that others may experience that same reality. This is not to try and discredit this style of art, but rather, show how there is clearly an audience within society that craves this psychedelic version of reality. Within the lecture, we were shown a film of radiating and transforming light that took control of the screen. It was almost impossible to tell how it had been created, even not seeming from this world. From this film, I was curious to see within contemporary society how this art form has been pushed. A unique artist I found within the Bay Area was Joe Roberts. Joe is quite public about his drug use and how he uses it to inspire his art. He takes N-Dimethyltryptamine, or more well known by its street name DMT, and takes the visuals he gets from his experience and puts it on a canvas. It is interesting to see how this unique art form of psychedelic visuals has continued to be pushed as new artists have joined the scene. It is also interesting to think about what next will come for this art form as Joe Roberts has transcended the obscurity that may come with this experimental art form as he has recently signed a deal with Supreme, a highly popular and commercial clothing brand, to create their next line of clothing.
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Week 3 Blog Post
A quote that struck me from the reading is, “As an experimental filmmaker and lesbian, [Barbara has] advocated that radical content deserves a radical form” (Hammer). This quote did not shook me for its sexual nature, but rather, what is in store next for the radical form as acceptance continues to rise among contemporary society with the LGBTQ community. It raises an interesting question of how long experimental art will actually be considered avant-garde. Contemporary society as a whole is becoming more accepting of different values and beliefs making it harder for acts considered taboo to be shocking. It would not surprise me for experimental art to die in that it would lose its current label and be replaced with something that fits more for a form that is a part of pop culture. The other portion of the reading I struggled with were within the article “For An Active Cinema.” The idea was with the term active cinema. In the text she defines it as, “Active cinema respects the physical and mental intelligence of its viewers by increasing rather than subduing self=awareness.” It was hard for me to accept this term as true because of her example immediately following her definition for active cinema. For her film to take effect with its audience, the viewers need to forget the reality that they are in, watching a film, and be transported into the swimming pool. In this act they are subduing self-awareness to be fully enveloped in the film. Further, it seems that only through allowing yourself to forget about your present reality and accept the film as truth that this art form takes on its most impactful form.
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Week 2 Blog Post
The main takeaway that I got from Craig Baldwin’s lecture was the value that visual reality has on film making. By taking a look at on of the films that Craig showed us in class, The Lead Shoes, I was immediately asking myself if the entire film was in reverse or just had segments of it in reverse to add values to those specific scenes. Because of this unusual style of filming this short film, it got me to focus more on the visuals in every scene rather than just hone in on the general plot. Further, it made me question the entire purpose for the film and what Sydney Peterson was trying to accomplish with her unorthodox style. It was expressed best in the reading for this week in that it makes a dull scene of burying a diving suit and drawing hopscotch squares into a, “symbolic drama of monstrous birth… and [the hopscotch scene] suggests that the balancing of affections within the nuclear family” (Sitney). From this reading, it got me to explore older films like The Petrified Dog. You can see some parallels with affecting visual reality by how in one of the opening scenes the viewer questions if the painter is painting a real painting or not as the canvas almost looks transparent. Then Peterson has a man stand behind the canvas, and although it seems the painter is unable to see him and continues with his work, the audience is left confused on what is reality and what is not. Further, the fight scene were the man almost seems to teleport away from being punched every time morphs reality again and agitates the viewer to have a reaction as to what is reality and what is not. Baldwin also does this with his work in his first film, The Wild Gunman, lacks dialogue just like the other two films, and instead focuses on a visual representation of the world. His juxtaposition of cinematic scenes incites a reaction out of the audience that would not have been normally experienced had there been a narrator or other forms of dialogue. The lack of having a human voice in the film forces the viewer to experience the film without a guide. It allows for the viewer to draw different conclusions about the film, and thus gives the film more value.
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