Friday, February 2, 2007

Designing chaos and fragmentation

Did some schematic sketches on how those "chaospheres" can be constructed. Some kind of complex animatable shape in the center will be generated from a single surface or curve. This will then be covered by a turbulent shell of wires. Like a mechanical crystal ball. Obviously I need to explain this through some images ASAP.

Before going deeper in the design issues I wanted to test the connection between complex lines in closeup and full framed. Check the result here. I feel that the complexity disappears when zooming out so if one want to feel the turbulence in such design you would have to put some extreme closeups to it. When looking from further away it should probably be more turbulent to hide the structure thus making it more mysterious.

In larger contexts I thought of making my work shorter but more intensive. Close to the style in a commercial then a short film. As I've previously said in the post "The lie about Metaphors" I do not pretend this is about any deeper expressions then the simple visual language itself. Moving on from this I now have to think about how that should be expressed. "Perfection is achieved, not when there's nothing more to add, but when there's nothing left to take away". -Antoine de Saint Exupery (even though I found it through Civilisation IV). Or as my well respected teacher, Peter "Something", repeated "Don't get stuck in the fork". In this situation, "adding" or the "fork" would be the connection between the single events and the animation as a whole. This place me in a position when I have nothing to gain in the linearity of time, the elements should be chosen after the composition- not after where we are going, no explanatorials and so on. But on the other hand- I don't wish for chaos, I wish for the non existence of these elements but their absence will also be disturbing for the viewer. In other way, I need to use them as little as possible but not so it's noticeable. I need to implement this in the "story", make a storyboard and move on.

Another loose thought. Forward motion can be mixed up with moving in wide circles. Braking out of the "hamster wheel" will just bring you to a wider circle. The purpose in the long term perspective is as illusionary as the flatness of the world. Maby it is actually flat, but you don't know if you don't try. Now I'm off to Umeå's circles for a while.

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