Korsakow Group Meeting #2

by stronged

At last, good feedback! Hurrah! Feeling a whole lot better about my project now. I have chosen to stick with the three clouds VerticalsRoundsHorizontals to act as the structure for my K-Film. I thought my experimenting with the temporality of each SNU may have backfired, as cutting within a SNU seems to jar the Korsakow process of re-construction from singular video units. It seemed to work though (see point 3). I also overlayed the K-Film with an atmos track of the Bend of Islands that develops through two different climates (windy to calm). Tried to sync it thematically as my bro speaks of the fluctuating temperament of the Bend.

I must remember these three main points:

  1. Syncing the voice over with each individual SNU to instigate or at least provide context for the adjusting temporal rhythms of each sequence within the SNU
  2. Experiment with repeating the same shot within the one SNU sequence.
  3. Duplicate SNU’s in order to allocate one for the beginning of the K-Film (a quick edit jumping from clip to clip within the SNU) and one for later in the K-Film (a slowed down version of the same SNU sequence to emphasise the intricacies of each item filmed). This will allow the interested users to be rewarded as they continue to watch the K-Film. Whereas those who are impatient will miss the evolution of the project.

Also showed my little “Hello” K-Film for a giggle. Adrian thinks I should not loop the main SNU. I’m not sure if I agree though. Looping it allows you the opportunity to mix the preview greetings with the primary greeting. Without it being looped you can only animate whatever you hover the cursor on.

The notion that Korsakow Films work in a more musical sense appeals to me. I read a great article from Marie-Laure Ryan’s book Narrative Across Media written by Eero Tarasti titled “Music as a Narrative Art.” In it he uses a great quote from Claude Lévi-Strauss, claiming that music is the “langage moins le sens” (language minus meaning). I find this is also the case with Korsakow. We impose our own meaning upon a poetic K-Film. The temporality incites our interest in trying to understand why certain rhythms are evident (i.e. slow, fast, repetitive, etc.). I like this idea because it also can be used to understand how space turns into place. A space may be geographically constructed, longitudinally and latitudinally, yet does not transform into a place until personal bonds are formed between an individual and the interface of that space – it’s facets, the objects that constitute it.

It was great seeing other people’s work tonight. I am really inspired by seeing both Federico’s and Patrick’s K-Films. I agree with Adrian that Federico needs another program to create the type of documentary he is after. I like the idea of navigating your way around Melbourne’s grid (either by tram, foot, etc.). The project has so much potential. It is epic though. Feel like Federico needs an army of documentarians to accomplish such a feat.

Patrick’s K-Film was great as well. So much potential. Love the concept of the South-North divide in Melbourne. And the personable nature of the instagram filming. Didn’t realise Instragram has an inbuilt stabiliser. Good to know.

An important note was brought up when discussing Patrick’s work: let the nature of the individual SNU’s dictate the structure as opposed to imposing your own structure upon the footage at hand.

Two doco’s were discussed in the meeting, which I’m keen to track down:

  • Florian Thallhofer’s first film Small World, and
  • Agnes Varda’s doco Daguerrotypes (1975)