Paul D. Miller on Thu, 7 Apr 2005 04:23:21 +0200 (CEST) |
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<nettime> Revised: Scripted Space: Film Form/Film Formlessness |
Hey People - for some reason the footnotes got=20 clipped off, plus it was late at nite, and I=20 forgot to mention that the festival was. So I'm=20 resending the essay's final draft. The Festival,=20 by the way - it's called "Sonar" and its one of=20 the largest electronic music festivals in Europe.=20 The book that accompanies Sonar is called "The=20 Sound of Speed." I've written the introduction.=20 It has essays and interviews from a wide variety=20 of artists involved with the electronic music=20 scene plus film directors and multi-media=20 artists. More info: www.sonar.es Sorry 'bout the mix-up, but hey, that's what=20 happens when you finish an essay at 5 a.m. and oh yeah, it's f*cking multi-cultural contemporary art. The Sound of Speed preface by Paul D. Miller=20 a.k.a. Dj Spooky that Subliminal Kid with Darren Aronofsky Coldcut Matthew Herbert Dj Spooky that Subliminal Kid and others pax, Paul =46ilm Form/Film Formlessness "In Nature we never see anything isolated, but=20 everything in connection with something else=20 which is before it, beside it, under it, and over=20 it." Goethe, 1825 "The Perfect Beat - can never really be found,=20 it's the search that makes the event happen" Afrika Bambaataa - Looking for the Perfect Beat, 1979 goto>text>file>original>flipmode What happens when you see an image, but=20 hear no sound? What happens when you hear a=20 sound, but see no image? These are rhetorical=20 questions in search of rhetorical answers. The=20 method of the inquiry is what drives the=20 investigation. Thought holds the bits and pieces=20 of the process together, but that's my point.=20 These days it almost seems as if media has become=20 an entire ecology for most of the "developed=20 world." With our cell phones able to beam us high=20 resolution videos, our 'podcast attention span=20 searches for the next download almost like a=20 character out of William S. Burrough's "Beat"=20 imagination. Our bill boards switch images with=20 blinding speed, our advertisement drenched urban=20 landscape that stretches from the city to the=20 suburbs, and the exurbs beyond. These=20 hyper-accelerated phenomena of what I like to=20 call "prosthetic-realism" are the principle=20 metaphors for a culture that has shifted away=20 from the physical objects of the 20th century, to=20 the wireless imagination of the 21s. Today, our=20 contemporary information ecology is a coded=20 landscape: it is a Sphinx that asks a riddle for=20 which there is no answer - how do you make sense=20 of the datacloud? The "mix" has absorbed all of=20 this. Artificial or real, nature or nurture - the=20 idea of nature has been displaced by the man made=20 environment of the urban NOW. All of this we take=20 for granted. We wake up in the morning, and we=20 turn on the computer to download the days=20 details. We move in a stream of data that almost=20 seems insatiable. Bits and bytes are how we=20 define the information around us. In our info=20 experience economy, they are omnivourous and ever=20 present. Go to: To put it in some perspective, a Terabyte=20 could hold about 3.6 million 300 Kilobyte images=20 or maybe about 300 hours of good quality video. A=20 Terabyte could hold 1,000 copies of the=20 Encyclopedia Britannica. Ten Terabytes could hold=20 the printed collection of the Library of=20 Congress. A brontobyte is million million=20 petabytes, enough to store everything that's ever=20 been filmed, taped, photographed, recorded,=20 written, spoken, and probably even thought . At=20 the current moment, humanity produces about 5=20 petabytes of data a year - most of it is data=20 transmissions - cell phones, faxes, and whatnot.=20 The basic implication is that database aesthetics=20 are the way we think - the creative act in this=20 environment is as much about how we explore the=20 information that we live in, as it is about how=20 to play with the density. Collage? Forget it - its last century's news. Bricolage? So very 1920's. =46luxus? C'mon=8A Neo-Expressionism? C'mon=8A that went out in the 1970's. It's tired. New term: Scripted Space Public Expression, private space: a flux of=20 architectures frozen and then dethawed. Think of=20 the description as the liquid play of software,=20 wetware, and hardware. Like Warhol: From A to B=20 and back again. The loops these beats are made=20 from move between the realm of the visual and the=20 audio, the tactile and the invisible. They=20 describe the space in between all of the defined=20 points on the landscape to create a mesh of=20 invisible correspondences. A new axiom remixes=20 the old: from landscape to datascape and back=20 again, we live the exchange. Call it=20 transactional realism. Scripted space: Architecture is nothing but=20 frozen music. Music is nothing but liquid=20 architecture. We dethaw the process. This is the=20 experience economy. It's generally agreed that the first known use of=20 music with the cinema was on December 28, 1895,=20 when the Lumi=E8re family attempted to test the=20 commercial value of some of its earliest film=20 works. That first screening, with piano=20 accompaniment, took place at the Grand Caf=E9 on=20 the Boulevard des Capucines in Paris. It's also=20 generally believed that at the fist public=20 showing of the Lumi=E8re program in Britain, at the=20 Polytechnic on Regent Street, a harmonium from=20 the Polytechnic's chapel was used to accompany=20 the screening. This performance occurred on=20 =46ebruary 20, 1896, and by the time Spring arrived=20 in April that year, orchestras had become popular=20 musical accompaniment for films wherever they=20 were played . The idea of the "theme song" took=20 on a life of its own as cinema evolved from the=20 small theaters to become a genre in its own=20 right. Today when we look at remixed video clips=20 by groups like Emergency Broadcast Network,=20 Hexstatic, or Eclectic Method, one can see the=20 same logic at play: essentially, sound is meant=20 to be the glue holding the collage of experiences=20 together. The theme song is an audio logo lifted=20 from any scene, any mix CD, and sound file - and=20 given an imaginary context. Theme and scene.=20 Rhythm and edited context. The spectator puts the=20 meaning together. Again, the mix, is what you=20 make of it. A couple of years after the Lumi=E8re crew=20 made their name in the film industry the Russian=20 composer Alexander Scriabin created works that=20 were meant to embody a concept where light=20 projections were extensions of the orchestral=20 works he composed. Light and sound were meant,=20 essentially, to be interchangeable. It's hard to=20 say whether Scriabin was a madman, a genius, a=20 philosopher, or a mystic. All that's certain is=20 that he wanted to, as he would put it, create a=20 'theater of sound' that immersed the listener in=20 an imaginary landscape. "I create you as a=20 complex unity" he wrote in his "Po=E9m de l'Extase"=20 (Op. 54, Poem of Ecstasy, 1905). A visionary?=20 Scriabin was all of this at the same time - a=20 personality that combined contradictions. I like=20 to think of him as a "conceptual engineer." CD:dir> Sample clip begins: We take a sample from a text, and flip it=20 into the remix file: In his first compositional=20 phase, which lasted until around 1898, Scriabin=20 was explicitly influenced by Chopin. After that,=20 he became interested in philosophy, and explored=20 several systems of thought, but didn't delve=20 deeply into any. Having read authors like Goethe,=20 Nietzsche, Schopenhauer, Plato, and Schelling,=20 Scriabin decided on synthesizing a system of his=20 own. Wagner's idea of "Total Work of Art"=20 attracted Scriabin's attention, because like=20 himself, Wagner was a totalist - he wanted to=20 create music that acted as a crucible for an=20 entire spectrum of experience, and in a sense, he=20 followed the path that Wagner set up, but added=20 several layers of complexity. Like Wagner,=20 Scriabin could not consider music as "pure" - it=20 was a reflection site for almost any possibility,=20 a reference point that could combine with any=20 circumstance. Music, because of its total=20 invisibility was the location of sonic alchemy.=20 Thus he made his works tone poems. For him, the=20 basic process of understanding how to make=20 meaning from sound, and provide visual content=20 for it was the contex of the composition. Think=20 of the tension between context and content as a=20 deliberate ambiguity. It's that kind of mapping=20 that I'm writing about in this essay - it was an=20 attempt to break down boundaries between the=20 invocation and the conception of music and images=20 as separate artforms. Music had to express=20 something. Wagner's concept of Gesamtkunstwerk=20 was based on a convergence of philosophy,=20 religion, and art. And for Scriabin - this was a=20 location where a transubstantiation would be=20 achieved through music - he wanted a tone-poem of=20 sound leading to ecstasy. Through this musical=20 rite, he intended to recover the ancient history=20 of magic powers (Bowers 1970,1:319). Again: this=20 was his alchemical impulse. It's in "Prometheus, The Poem of Fire", his last=20 symphony (1908), that his project was fully=20 realized. It's essentially one of his most=20 profound compositions. Unlike much of\\classical=20 music before or after it, "Prometheus=8A" set the=20 idea of light and sound solidly combined to=20 create a fully immersive experience - as such, it=20 was a predecessor to much of what we experience=20 today. Flip the script - read the light, hear the=20 projection, taste the sound: "Prometheus=8A"=20 requires, besides the orchestral apparatus=20 (orchestra, choir, and piano), a "tastiera per=20 luce", a keyboard for light that projects=20 predetermined colors in synchrony with the music.=20 In the original score, there is a motif entitled=20 "Luce", that indicated musical notes=20 corresponding to the colors determined by the=20 composer. For Scriabin, this correspondence was=20 meant to occur in a synthetically. Think of all=20 of the material on one palette - color tones,=20 modes of projection, and of course, how the=20 intent of the piece is an invocation of a=20 different world, and you get an idea of the power=20 of the poem as audio logo. With this view,=20 starting from an arbitrary, personal color scale,=20 he matched the colors chosen with the fundamental=20 notes of the inversions of the synthetic chord.=20 The "Luce" motif ends up accompanying the=20 harmonic succession of the work - sound became=20 abstract image, abstract image engulfing the=20 spectator in a mesh of correspondences. With "Prometheus", Scriabin opened a new=20 vocabulary in his musical language. He created a=20 musical calculus where concepts of basic=20 traditional harmony such as the idea of tonality=20 are replaced by almost "ready-made" harmonic=20 nuclei that could generate the theme and unify=20 the derivations of the chords in the composition.=20 Like "lego blocks" of sound, he made structures=20 that were mutable, yet consistent with his=20 compositional strategies. The orchestral work=20 was essentially a large scale multi-media poem=20 before the idea of multi-media had come into=20 existence. Today, what for Scriabin was at the=20 edge of the imaginable, we now do with the ease=20 of a generation that has grown up in an=20 environment akin to almost everything artists=20 like him anticipated. We do the same thing with=20 software. It's an inheritance as much as from=20 Duchamp's "found objects" as it is from the idea=20 of using pre-composed blocks of sound (then=20 having an orchestra play them). Musical=20 variations on a myth become software=20 improvisations, game strategies for the digerati.=20 In this context the "sample" is an abstract=20 machine: it can be any instrument. Check it: For=20 Scriabin this "nucleus" in the middle of his=20 chord is a code generator - he described it as=20 the "synthetic chord", also known as tonality=20 chord or mystic chord. It's used continuously as=20 an emblem of composition enmeshed in poetry,=20 besides serving as a basis and a unifying=20 principle. The poem is a code of repetition. The=20 code in an editing machine. Repeat. Update the=20 formula, and transfer the metaphor. The will of=20 the producer is the driving force - in this=20 context, the musical discourse became a kind of=20 ideological software. So to with multi-media. I=20 draw a link - it's up to the reader to connect=20 the dots. Myth thinking becomes myth science.=20 Play variable X to generate variable Y, cut and=20 paste the end result. Edit, loop, break it down.=20 Compile and render the file. Repeat . Sample Clip=20 Ends: goto>text>file>original: So what are we art loving, ADD (attention deficit=20 disorder) frazzled, and digitally overloaded=20 artists, writers, and musicians to think about=20 all of this? My answer is simply this: think and=20 play. Plug and play. Download and play. Always=20 remember: the keyword in this search engine:=20 "play." So many of us are too serious. We in the=20 United States have had the most mediated war in=20 human history fought in front of our eyes, and no=20 one knows what's going on. We've watched=20 elections televised, edited, and sequenced in a=20 way that would have made Stalin proud. It's that=20 obvious, and still, the population has no idea=20 what's going on. How does one of the most=20 advanced nations on the planet have one of the=20 most ignorant populations on the planet? Simply=20 put: our media ecology, like so much else in the=20 world, is completely screwed up. It doesn't take=20 a rocket scientist to understand that the=20 difference between Europe and the U.S. is based=20 on a different ecology. The soundtracks are=20 different too! Once it gets to multi-media and=20 contemporary art, the difference meter goes off=20 the scale. I don't even know where to begin or=20 end the critique, but the main thing to think=20 about is that the way we consume entertainment is=20 a good place to start. A parade of characters -=20 That Subliminal Kid, Dizzee Rascal, Blacktronica,=20 Airborne Audio, TV on the Radio=8A. Hexstatic,=20 Coldcut, Macrosound listserv, Amon Tobin's "Chaos=20 Theory" sound track to Tom Clancy's "Splinter=20 Cell" video game, Scanner's soundtrack to Derek=20 Jarman's "The Garden is Full of Metal," Illegal=20 Art - www.illegalart.org, Craig Baldwin's=20 documentary on audio theft and copyright=20 violation entitled "Sonic Outlaws," Emergency=20 Broadcast Network's "Zoo TV" tour for U2, Kembrew=20 Mcleod's "Copyright Criminals," Panoptic=8A And so=20 on. These are names of producers, artists, and=20 creatives. These are pseudonyms for the work they=20 do. Flip it: The method is the mode. The mode is=20 the medium. According to the Economist's April 2005=20 edition and TNS Media Intelligence=20 (www.tnsmediaintelligence.co.uk/) there are=20 something like 400 to 700 brands that come into=20 existence everyday. And each and every one of=20 them needs attention. It's a world where identity=20 and attention are scarce resources. In this=20 info-drenched landscape the sounds of film, the=20 film of sounds, are a mytho-poetic space. They=20 create a logo-centric realm where we inhabit the=20 images that we create with an ease that would=20 have astounded Scriabin and the Lumi=E8re family.=20 One era's technology is another era's mythology.=20 That's what I've been hinting at all along: the=20 multimedia environments you'll be reading in the=20 rest of this book are conversations about a=20 certain kind of media literacy. One that posits=20 "reading" as being aware of the interplay of=20 archival elements, and asks, like a dj, for you=20 to make your own mix of the fragments. Again, we=20 go back to the idea of the "audio logo" - this=20 time think about the impact of Raymond Scott's=20 compositions that were used as backdrops for Bugs=20 Bunny, and think about how each character's=20 movements are accompanied by a shift in sound=20 texture. The fragments become echo chambers for=20 the movements that they reflect. The same thing=20 happens with multi-media and film composition in=20 a digital environment. "Whatever our hearing tells us about space and=20 the directions from which sounds reach us is not=20 strictly indispensable=8A space and time are=20 annihilated=8AIt strikes us as uncanny that=20 pictures can be sent by telephone, and that we=20 can see by radio=8A " Rudolph Arnheim "Film As Art: A forecast of Television" 1935 "Cellulae" means simply, in Latin - "little=20 rooms" or "compartments" - think of the same word=20 applied to cellular networks, cellspace, mobile=20 networks, virtual reality, evolution,=20 nanotechnology, and mobile media - frames per=20 second on celluloid, or lines per millimeter for=20 NTSC and PAL. You've just mapped one metaphor=20 onto another. Biology meets technology in the=20 exchange. And both gain. It's a situation where 1=20 + 1 =3D anything. Think of the wordplay on the term=20 "media" and apply the same metaphoric shuffle,=20 and you get all sorts of multiple perspectives.=20 Again: that's the point. The woes that have=20 befallen the "old media," all puns intended, have=20 reached cartoonish proportions. Let's look at=20 Sergei Eisenstein's essay written in Moscow,=20 April 1929 after the rise of the Soviet Union -=20 and see how resonant it is with our media=20 landscape: A DIALECTIC APPROACH TO FILM FORM Thus: The Projection of the dialectic system of things Into the brain Into creating abstractly into the process of thinking yields: dialectic methods of thinking; dialectic materialism - Philosophy. And also: The projection of the same system of things While creating concretely While giving form Yields: Art. What Eisenstein focused on was a kind of=20 "dialectics" of projection that we are now living=20 in as a basic foundation for contemporary=20 multi-media. He went on to write: "The foundation=20 for this philosophy is a dynamic concept of=20 things: Being - as a constant evolution from the=20 interaction of two contradictory opposites. Synthesis - arising from the opposition between thesis and antithesis=8A. The spatial form of this dynamism is expression. The phases of its tension: rhythm. [script>goto:skip>fade>enter:] When the record collection of noted=20 anthropologist Harry Smith was released as a=20 statement that sought to define American folk=20 music he was perplexed. He won a Grammy Award for=20 it, and he was still pretty confused. For him,=20 his record collection had always been a sound=20 track to play for friends that would come over to=20 his loft in downtown Manhattan. The records would=20 play, and he would switch them in time to the=20 collage films he had hand drawn in sequence to=20 music by the likes of Charles Mingus, Prince=20 Albert Hunt's Texas Ramblers, and the Beatles.=20 =46rom Cajun social music to Appalachian murder=20 ballads, his film's record-turntable soundtracks=20 were collages of radically disparate cultures=20 and, like the multi-media scene today - they were=20 often unfinished and unstable. They were drawn by=20 hand because that was the way things worked for=20 Harry Smith. For our digital media drenched=20 landscape, we edit by hand and use software to=20 interpret the gestures. We've come full circle.=20 The Beats of the 1950's represented a break in a=20 hyper conservative American culture, and in the=20 same way that Eisenstein would link montage to=20 his state apparatus (he made films dedicated to=20 Lenin after all=8A), Smith made films that=20 reflected his milieu. Multi media - the speed of=20 sound, the sound of speed, reflects this like an=20 archaeology of broadband. See how those old 56k=20 modems work in the era of Land Area Networks, and=20 cellular relays, and think of what it was like to=20 play records at a "Beat" party of the 1950's with=20 projections. For us, the Beats have become our=20 beats. We move to rhythms dispersed like=20 waveforms, our sounds are alive like the last=20 living leaf from a dying tree. We reflect deeply=20 uncertain times. Again: the natural and the=20 artificial blur with blinding speed. In the 19th=20 century Karl Marx could say "all that is solid=20 melts into air." In our era, we repurpose that=20 phrase and remix it: all that was solid becomes=20 software. Music is a mirror held up to the world=20 to see what stares back. The image is what we can=20 make of it. Sound track/image track. All mutable,=20 all mutually conditioning. >goto> Scripted Space>Sample Clip begins> Norman M. Klein, film historian>C:dir> Where does that leave our public culture today?=20 We return to arrangements vaguely similar to the=20 Baroque mercantile public world of 1620 A.D. but=20 dominated by new systems of power - under the=20 cybernetic impact of metaconsumerism (from=20 warfare to computer games). This eccentric blend=20 of miniature and the massive produces monuments=20 for transconsumerism, like the Rococo ceilings in=20 Las Vegas super malls, and IMAX cinemas, a faux=20 sky, a transnational special effects sunrise,=20 instead of the hundreds of thousands of lights=20 that mapped the Coney Island amusement parks in=20 1910. Beside it, like princely lords, a baronial=20 warlord capitalism takes on the heraldry and=20 paradox of mercantilism in 17th century Rome or=20 =46lorence. Entertainment, public space, and=20 electronic feudalism become essentially=20 indistinguishable. Not that this is new. Feedback=20 systems have always been essential to special=20 effects =8A Scripted space implies code as the=20 foundation for any kind of media environment. It=20 was Oscar Wilde who said so many years ago; "mere=20 color, unspoiled by meaning, and unallied with=20 definite form, can speak to the soul in a=20 thousand different ways." I like to think of this=20 essay as an exercise in collage thinking, of=20 starting the reader on a path into the other=20 writers, artists, and musicians who inhabit this=20 cinema mediated realm. Turn the page and a=20 different story emerges from each text. End>scripted>space:endtext> I'm not exactly sure where its all going, but=20 then again: I know this - for those who are open=20 to the world and the information that describes=20 it, its going to be a very very very fun century.=20 Make your own mixes! This is a text that says=20 simply: play instead of pressing "play." goto>text>file>original>flipmode Paul D. Miller alias Dj Spooky that Subliminal Kid NYC 2005 Endnotes: Smart Papers: http://www.smartpapers.com/13_kb/13f_dig_gloss_ac.asp - top bit Bit is a contraction of the words "binary=20 digit". It is the smallest unit of information in=20 a digital computer and can define two conditions=20 (on or off, 0 or 1, black or white, etc.). bit depth A measure of the tonal resolution of a scanner=20 or output device. For a scan, bit depth refers to=20 the number of grays or color that are represented=20 within each pixel. A one-bit scan can represent=20 two levels: black and white. An eight-bit=20 monochrome scan can represent 256 levels: black,=20 white, and 254 levels of gray. A 24-bit color=20 scan can represent over 16 million levels. For an=20 output device, bit depth refers to the ability to=20 vary either the size or the intensity of the=20 smallest mark that they make. bitmap Strictly speaking, a bitmap is a=20 resolution-dependent computer file (usually a=20 scan, but perhaps a file from a paint program) in=20 which each pixel contains one bit of tonal=20 information. In practice, people don't limit the=20 use of the term bitmap to single bit per pixel=20 images. bits per second (bps) The rate of data transmission by a modem, for=20 example: 300, 1200, 4800, 9600, 14400, and 28800=20 bits per second (bps). Bits per second is=20 sometimes referred to as "baud," but bits per=20 second is the more accurate term to describe=20 modem speed. byte A standard unit measure of computer file size. There are eight bits in a byte. See gigabyte (GB), kilobyte (KB), megabyte=20 (MB), terabyte (TB) and petrabyte (PB). It's 2=20 to the 50th power (1,125,899,906,842,624) bytes.=20 A petabyte is equal to 1,024 terabytes. Film Music: A Neglected Art, by Roy M.=20 Prendergast, p5 WW Norton and Company, 1977 Sample taken from: "The Mythical Time in=20 Scriabin" by Lia Tomas an essay written for the=20 =46ifth Congress of the International Association=20 for Semiotic Studies, Berkeley 1994=20 http://users.unimi.it/~gpiana/dm4/dm4scrlt.htm "A Forecast of Television (1935)" taken from=20 "Film as Art" by Rudolph Arnheim, p191 University=20 of California Press "A Dialectic Approach to Film Form" - taken=20 from "Film Form" by Sergei Eisenstein, pp45-47=20 1949 Harcourt "The Vatican To Vegas: A History of Special=20 Effects" by Norman M. Klein, p404, 2004 The New=20 Press # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: nettime@bbs.thing.net