Dream English Kid 1964-1999AD
2015
Mark Leckey
Leckey's use of found footage to create a sense of nostalgia is something that feels important to my practice. Nostalgia is what I feel everyday in some way or another. It's what connects us to certain things/objects and it can also be brought about through the embodied experience, the senses. Therefore how can I explore a sense other than visual through video and found footage to create a narrative? How could I explore consciousness and embodiment through my work?
Human haptic system
Shams, 2021
"A sense of physical touching or being touched engendered by an organization of the film image in which its material presence is foregrounded and which evokes close engagement with surface detail and texture." (Kuhn & Westwell, 2012)
'One of the possible ways of understanding the relationship between nostalgia and embodied experience is a reflection on haptic cinema and haptic vision in general. Haptic vision refers to the relationship between skin and screen, between the sense of touching and the sense of seeing.
The movement of the camera, within the frame and of the frame itself, the synchronisation (or de-synchronisation) between the visual and auditory image contribute to the creation of the haptic image. Mirror neurons in particular play an important role in the perception of impressions of this type.' (Da Pozzo, 2022)
The Empathic Screen: Cinema and Neuroscience Vittorio Gallese - Michele Guerra Oxford University Press, 2019
'Why do people go to the movies? What does it mean to watch a movie? To what extent is the perceived fictional nature of movies different from our daily perception of the real world? We live in a time where the power of images has strongly invaded our everyday life, and we need new instruments and methods to better understand our relationship with the virtual worlds we inhabit every day. Taking cinema as the beginning of our relationship with the world of moving images, and cognitive neuroscience as a paradigm to understand how the images engage us, The Empathic Screen develops a new theory of film experience, exploring our brain-body interaction when engaging with and watching a film. In this book, film theory and neuroscience meet to shed new light on cinema masterpieces, such as The Shining, The Silence of the Lambs, and Toy Story, and explore the great directors from the classical period to the present. Taking a radical new approach to understanding the cinema, the book will be fascinating reading for cognitive scientists, neuroscientists, psychologists, philosophers, and film and media scholars.' (Gallese & Guerra, 2019)
'Haptic Visuality: Touching with the Eyes' by Suzanne, 2017
'Jane Campion - Haptic Visuality' by Georgia Console, 2018
In my practice I explore the interaction and relationship between the body, technology and nature by challenging the senses and perception of the viewer. I use video and sound to explore my environment and magnify the beauty within nature for the viewer to explore their senses and perception. I am interested in bringing the viewer into the artwork by creating an embodied experience for them.During this project rather than going outside and filming the footage myself, using my own body and camera, I am interested in reversing this and using found footage instead, explore other’s bodies and relationship to their cameras to see if I can challenge the senses in a different way. How can I invoke a SENSE other than visual through video and found footage to create a narrative for my audience?How can I create an embodied experience for the viewer through found footage?
Researching into 'Haptic Visuality' has been very useful and I came across these two videos. 'Haptic Visuality: Touching with the Eyes' and 'Jane Campion - Haptic Visuality' on youtube which have given me some interesting ideas and has enabled me to envisage how I can achieve my questions of what kind of shots to look for when finding what footage to appropriate. In the first one by Suzanne it is from a child's perspective and the second one is more from an onlookers perspective and is more cinematic.
I need to think about what feeling or sensation I am looking to invoke and I am leaning towards pleasure and power, especially during these post-pandemic times.
"Haptic visuality does not depend on the viewer identifying with a recognizable figure/character but on a more sensuous bodily relationship between the viewer and the subject. Without representational mediation, the relationship between viewer and image is less one of viewer-engaging-object, than as a "dynamic subjectivity between looker and image." The haptic image is "less complete," requiring the viewer to contemplate the image as a material presence rather than an easily identifiable cog in a narrative wheel. By contrast, the optical image comes equipped with all the resources necessary to be complete, self-sufficient, and legible." (Busuttil, 2022)
"Based on the textual descriptions provided by Marks, the formal and stylistic properties of haptic visuality in cinema include: synesthetic effects; changes in focus, graininess, underand overexposure, unclear imagery, and decaying film and video; optical printing and scratching on the emulsion; video effects and formats such as Pixelvision; the use of extreme close-ups, and alternating between film/video media. (To imagine a painting analogy, think of Impressionist and Post-Impressionist painting as haptic cinema, and 19th Century realist painting as optical cinema)." (Totaro, 2002)
This research has given me more direction and ideas in terms of the formal and stylistic properties of haptic visuality and the kinds of shots I will be looking for when gathering footage to include in my video.
ART GIVES SAME LEVEL OF PLEASURE AS BEING IN LOVE - NATIONAL ART PASS
Art gives same level of pleasure as being in love
2011
ArtFundUK
Continuing my research into haptic visuality and in particular looking into the pleasure sensation following on from a previous post about continuing a theme of creating a pleasurable or powerful video from found footage. I have been recommended to read into The Emphatic Screen: cinema & neuroscience and through this I have found an article Viewing artworks generates in the brain the same reactions of being in love which is based about the neuroscientist, Semir Seki who has done studies in to the concepts of beauty and aesthetic pleasure.
From the introduction of The Emphathic Screen: cinema & neuroscience -
"The involvement of neuroscience in art and aesthetics is a fairly recent devel-opment; research in this area has concentrated mainly on how the brain pro-cesses images. Semir Zeki is a pioneer in this field and to him goes the merit of a new line of research, “neuro- aesthetics.”2 This approach immediately became widely diversified; some neuroscientists employed art forms just as stimuli to gain a better understanding of how the brain functions, using paintings and sequences taken from movies, with no direct reference to their aesthetic and cultural qualities, to improve comprehension of the neurobiological basis of cognitive faculties not specific to art. Others, including Zeki himself, used brain imaging techniques such as functional magnetic resonance imaging (fMRI) to study the concepts of “beauty” and “aesthetic pleasure,” and also, on a more general level, to study the neural mechanisms responsible for the visual perceptive analysis of various formal characteristics of works of art." (Guerra et al, 2015)
Link to an interview with Semir Seki: https://brainworldmagazine.com/beauty-lights-brain-interview-neuroscientist-semir-zeki/
All this research has confirmed that the feeling I would like to concentrate on visually imbuing is pleasure. Considering the state the world has been in over the last 2 years through the pandemic, I feel strongly that the mental health of a lot of people has been in a decline with the uncertainty of it all. Anxiety and depression have been on the increase and for myself, I know a lot of people who have suffered loss, addiction issues and hopelessness even more so. I feel it is important for me to bring the feeling of pleasure to my audience and to find a way of doing that through the medium of video using found footage.
Leviathan official trailer
2012
Leviathan - Sensory Ethnography Lab
In my film I wanted to concentrate on imbuing the sensation of pleasure, however after much research on this, I have come to learn that pleasure can be different for everyone. What one person finds pleasurable, another person may not find it pleasurable. My aim is to gather the collective pleasures and more so what the collective might find beautiful. I will concentrate on how the camera movements create a sense of tactility and record what sensations come up for me whilst watching them. I plan to send the same videos out to my peers in order to get some primary research on what kind of senses are ignited whilst watching them too. I have done some mind mapping and come up with various things to search for when finding the footage. I think the thing to concentrate on here is how the camera is used as an extension of the body to imbue a sensory affect. I found this trailer to the film Leviatan by Sensory Ethnography Lab and feel it is a perfect example of how the audience could be taken along a sensory journey. The use of camera angles is brilliant. 'The films are an act of embodiment, via the human and the nonhuman, designed to heighten the viewer’s senses through associative remembering' (Joseph Gilson, 2017)
Mind mapping on pleasure...
Mind Map of pleasure
2022
Amie Dodgson
Mind Map of pleasure 2
2022
Amie Dodgson
Hearing Tarantino
2015
Izzy Maharramov I came across this video whilst researching for footage. It is an amazing example of Haptic visuality in film. It has inspired me to look into cinema. I feel like limiting myself to just one emotion could be super hard and given the time constraint on developing something I may have to expand the feelings I am wanting to imbue and just concentrate on the haptic visuality instead. I am unsure. I will keep looking and see what I can find.
Macro shooting provide immersive perspectives. Here are some videos I found by Macro Room that feel relevant to my narrative of imbuing the senses.
"There are also commonly noted psychological effects of color as it relates to two main categories: warm and cool. Warm colors – such as red, yellow and orange – can spark a variety of emotions ranging from comfort and warmth to hostility and anger. Cool colors – such as green, blue and purple – often spark feelings of calmness as well as sadness." (arttherapyblog, 2022)
Pills Dissolve
2017
Macro Room
Ink in Motion
2018
Macro Room
The multi-colours in this videos could imbue all sorts of emotions and feelings. How does colour effect the sense of taste and smell? "This question pertains to the condition known as synaesthesia. This condition describes how our senses work together. For example - with respect to sight, taste and smell - seeing a color may evoke any number of other sensations. Green may be evocative of the smell of grass, lemon yellow may evoke a sour taste. This is best understood by the fact that each sense has a pathway to the brain. These paths are parallel to each other." (colourmatters, 2022)
I will be using this footage and editing it into my videos somehow to imbue the sensations.
Process for finding footage - searching YouTube.
Screen shot of finding footage.
Comments