[.hek] __post_mada

Stanisław Lem :: SOLARIS ::

hektor — Mon, 28 Feb 2011 22:50:47 +0000

Solaris – the novel by Stanisław Lem
eng:
http://english.lem.pl/works/novels/solaris/2-introduction
pl:
http://solaris.lem.pl/ksiazki/beletrystyka/solaris/28-solaris

Milan Kundera “Life is Elsewhere”

hektor — Mon, 14 Feb 2011 22:58:12 +0000

Milan Kundera – “Life is Elsewhere” 1973
References::
eng:
http://www.worldliteratureforum.com/forum/showthread.php/21003-Milan-Kundera-Life-Is-Elsewhere
pl:
http://www.milankundera.webpark.pl/artykuly.htm

Van Doesburg & The International Avant-Garde

hektor — Sun, 07 Feb 2010 20:55:55 +0000

Van Doesburg & The International Avant-Garde
Constructing a new world

Van Doesburg at Tate Modern – FT.com

1930 saw the launch of two short-lived rival formations of abstract non-objective artist: van Doesburg’s Art Concert and Seuphor and Torres-Garcia’s Cerle et Carre.
The proclamation called for a universal art composed of planes and colours executed crisply and mechanically. Form ab rhythm were to be governed by mathematical priciple, while abstract cinema provided a model of combining space and time in a single work of art.

Piet Mondrian,
Composition with Double Line and Yellow 1932, oil on canvas;

Van Doesburg’s Counter-Compositions rejected aspects of Mondrian’s theory of Neo-Plasticism, such as distinction between line and plane. After the reconciliation in 1929 and van Doesburg’s death in 1931, Mondrian began to reconsider his practice. In 1932 he introduced the so-called ‘double line’ into his scheme, creating a sense of overlapping and interweaving as we read the white between the two horizontallines passing under the vertical line. Mondrian had avoided such spatial effects before but from now on would use lines to produce rhythm and dynamism in a new way.

Piotr Hektor Kowalski – DandyID

hektor — Sat, 07 Nov 2009 00:32:33 +0000

Piotr Hektor Kowalski – DandyID

Posted using ShareThis

Final Show.

hektor — Sun, 20 Jul 2008 00:37:49 +0000

http://www.ma08.org.uk/madigitalarts.html?startidx97152=10

More footage editing ..

hektor — Sat, 09 Feb 2008 16:17:49 +0000

Editing day at LZ again, today didn’t go well for some reason. I am more concern about the sound issue. I am pretty sure, that editing my sound or even putting ‘external’ music wouldn’t lose my film as a documentary form. It would be just another ‘esthetic’ solution. Human perception of 2d moving images / films, within last 100 years of development of the language, structure (narrative), nauczyla us to percept the story, the ‘meaning’ of the film. My experimental try to reshape documentary form is a failure them, the same way i could try to persuade someone that some particular still image, animation, or any other product is documentary form. I have to open a bit and try to define my work with in the ‘rules’ – parameters determined by history of art/culture, rather than try to prove I am making documentary movie.

So a problem is in a subject at the moment – what am I trying to show?

I’m trying to find help elsewhere:

“Film Theory and Criticism” Leo Braudy, Marshall Cohen, [256] > Film and Reality;

“Film Art an Introduction” David Bordwell, Kristin Thompson [ Chapter 3: Narrativ as a formal System ]

- and some technicality:

I was using compressor today and having a wider look on new FC studio pack, did some test with compression for web purposes..

Footage editing

hektor — Fri, 08 Feb 2008 19:12:50 +0000

The edit day, I was focus on footage taken south of Paris. Scanning some notes also as my back-up – that’s the description of editing tools I was using in bits of my videos. I am planning a lot with tempo (speed); reversing, slowing or speeding up some cuts gives quite good effects.

I am strongly consider the sound. At the moment, I am treating sound parallel to sticked image. I am a bit afraid of editing separately. I’m not sure if the documentarian value of image is loosing. But is it a documentary al all? If so, what am I documenting ?

The result seems not to look as documentation at all, following these way of thinking it could be a “poem” as well (sic!).

Technically , the very reach session today. I’ve found brand new and extremely powerful machine in Learning Zone, at Davies Street, that I occupy frequently [most of the students around Davies St. are about Fashion ].

There is full FinalCut Six. I did some test with new compressor by Apple, ProRes. and compare it to HD 1080i50. The results is very good, as it looks that with my quit chromatic footage it saves around 30% of hd space with similar (if not) better quality. [ I am not fan of Apple products at all!]

Conclusions:

I’m up for AppleProRes comp., as the compression subject is wide and endless, my current editing would be some kind of a test for this particular solution. (I still need to find one for dv recorded footage – DVC Pro?…)

The Meaning of a sound in footage ( within it’s documentarian aspect ) – I am confused about sound in my piece generally. The treating it in parallel works well, and gives effects also as as soundtrack, but doesn’t add a values as a doc ( at least in practice). Therefore my previous quote , thinking was wrong, The good prove of it is footage used during my presentation. I didn’t use any sound during it, but for you tube publish i briefly compose it with Morton Feldman music. Id change the mood, that is much stronger now. But it didn’t loose the value as documentary, I guess ( I am talking now about my ‘practical” impressions, away of theory).

History of tower blocks presented 2

hektor — Tue, 08 Jan 2008 17:18:17 +0000

History of tower blocks presented 2:

::LONDON::

A juxtaposition to Goldfinger’s quit famous, and recently very popular architecture I am going to present the building that have been raised on locals authority demand.

The great example of these housing estates accumulation:

The Ferrier Estate in Kidbrooke, south-east London, is a typical example of system built social housing in the United Kingdom from the 1950s to the 1970s. The complex was constructed by London Borough of Greenwich on an old brownfield site to the east of Blackheath.

TBC

Content of my project: History of tower blocks presented 1

hektor — Sun, 06 Jan 2008 18:16:35 +0000

Architecture formulates spatial systems which are then repeated on the level of content: modes of behaviour, perceptions and actions can appear to be marked by architectonic structures. The utopian edifices of the late 1960s, in particular, saw architecture less as the material realisation of social concepts than as a responsive body reacting to its inhabitants. Today these isolated examples of modernism are mostly seen as a failed attempt to translate social structures into building structures.

::LONDON::

One of the main names that appears history of Tower Blocks in London is Erno Goldfinger.

Hungarian born architect (brutalist), widely inspired by Herman’s Mutesius’s ‘Des englische Haus’, as well as Le Corbusier’s ‘Vers une Architecture’. In 30’s occupied ‘HighPoint I’ – one of the firrt social flats complexes in London [ located in Hampstead]

In 1938 build his estate in Hampstead [2 Willow Road].

Laiter builds also:

Alexander Fleming House (later Metro Central Heights) – early 1960s the complex of flats above the ‘Elephant and Castle’ tube station Golfinger also designed the Odeon there, but it had been demolished in 1988.

Balforn Tower 27 syorey, – the block situated in Poplar (near to Blackwall Tunnel);

also 2 other buildings:

Carradale House and Glenkerry House, that are the part of the same complex.

( Next to it Robin Hood Gardens by Alison and Peter Smithson )

Trellick Tower – commisioned in 1968, finished in 1972, sister of Balforn Tower, based on the same project,

mark lewis

hektor — Fri, 04 Jan 2008 19:52:09 +0000

I have been investigating videos by Mark Lewis videos;

paraler:

He’s work investigates the pictorial possibilities of the moving image. He is interested in how the specific formal qualities of film and mobile camera optics have transformed classical pictorial idioms (such as ‘landscape’, ‘portraiture’, ‘genre scenes’).

I’m especially interested in two of his work Children’s Games (Heygate Estate) and
Tenement Yard (Heygate Estate)

This project has received significant support from the Culture 2000 programme of the European Union. ‘Children’s Games (Heygate Estate)’ takes the form of an uninterrupted travelling shot, 7 minutes and 21 seconds in length, in which the camera moves along the above-ground walkway that runs throughout the estate. Weaving between stairwells and tight corners, the camera swoops along the walkway. The modernist architectural features of the tower blocks and ‘rationally planned’ spaces dominate the frame but, at the periphery of vision, small human actions take place. Children of many nationalities, reflecting the diverse cultural make-up of the Estate, play a variety of games. Whether cycling or flying kites, tumbling or playing football, the children fill the marginal spaces of the brutalist architecture with lively activity. Inspired in part by Brueghel’s painting’ Children’s Games’ (1560), ‘Children’s Games (Heygate Estate)’ might also be seen as an exploration of the modernist architect Aldo van Eyck’s famous dictum that “‘space’ in the image of man is ‘place’”.

http://www.csm.arts.ac.uk/25390.htm

http://www.fvu.co.uk/marklewis/html/english/filmpreview.html