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EXPERIMENT TWO – DIGITAL MEMORY AND STORYTELLING

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Nowdays we have devices of «digital memory» (Clipnarrative, Mecam…etc) that offer us the possibility of storage our daily live for an affordable price and little effort.

I´m really interesting in all the questions that this fact open about a possible future where we can rewind our memory everytime we need and the consequences of  this permanent digital memory. We know that the act of remembering is as important as the act of forgetting (We need both in order to have a healthy mind). But beyond this questions I want to use this devices in order to experiment with multiperspective narrative, memory narrative and digital visualization of forgetting.

I´ve been thinking about create the following exercise (this is an idea in development).

1. Four people are asked to use for one day this tiny camera.

2. These four people have to be a group (friends, family etc) who are going to be part or attend to the same event that day.

3. The event should be a meaningful event for that group. Of course the most interesting the event and the group of people are the more interesting will be the exercise. So this is a very important point, but I need time to think and research about it. 

4. Days after the event they will be asked about what they remember about that day (They will be asked to try to remember everything hour per hour).Their memories will be recorded.

5. The memories of each person will be check with the image they recorded.

6. The image will be distort through a process called «Databending» creating an effect called «Wordpad Effect». This software disrupt, intentionally, the information contained within a file. The level of distorsion in the image will be directly proportional to the level of forgetting in their memories. So if certain moment is remebered by the person very well the image will be very clear without «Wordpad effect». In the case a moment is forgotten the image will be highly distorsionated by this effect.

7. I will try to recreate that day an their experience mixing togueter all their memories within an Spatial Montage, where we can see and hear different interpretations of the same day and verify their memories. I think I can create an interesting exercise with all these elements but I have to think more about it. So…

To be continued…

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RECREATING MOVEMENT

Recreating Movement is a computer program for analysing film sequences and has been developed within a diploma thesis.

With the help of various filters and settings Recreating Movement makes it possible to extract single frames of any given film sequence and arranges them behind each other in a three-dimensional space. This creates a tube-like set of frames that «freezes» a particular time span in a film. By using the keyboard the viewer can browse through the sequence of frames, chose any kind of view of the sequence of frames and influence the displayed frames directly via a displayable menu bar.

If you want to see more please see the link bellow…

http://www.recreating-movement.com/index.html

EXPERIMENT 1- MEMORY AND SELF AWARENESS

`One of the most persuasive mistakes is to believe that our visual system gives a faithfull representation of what is «out there» in the same way that a movie camera would do. (…)You are not seeing the world in the rich detail that you implicitly believed you were; in fact, you are not aware of most of what hits your eyes. You only encode small amounts of information. The rest is assumption´

This words come from the book «Incógnito» written by the neuroscientist and writer David Engleman. I read this book time ago but a few months ago re-reading the parts that I highlited, I started to think if what we see, our level of atention, can be even more reduce in situations we´re too aware of ourselves. I found this idea relevant for my research because is related to the idea of  «Reconsolidation» expose in my Research proposal and lead me to the idea that memories can be less reliable as much closer we´re involve on them. So I asked my self:

How much can change the level of attention if an spectator watch a situation  with and without him?.

Which one is going to be more reliable when the spectator will remeber them? The one he is involved in or the one who is not?

What Can the difference between the level of attention tell us about the spectator? What Can the difference between his memories ( where he is involve or not) tell us about him?

This questions are linked to the core of my research proposal:

«Obviously, it was all a product of her illness, but as strange as it might sound, the way in which her memories evolved –with all those deliriums of fantasy- helped me understand and get to know who my grandmother really was.»

The evolution of memories can help us to decipher the inner self and the multiple layers behind the surface, as I experienced with my grandmother.

And because I think this is crucial for understanding the brain´s narrative so therefore the narrative I´m seeking for my project I want to made the following experiment:

1. Film 5 persons in an specific situation without them being aware of it.

2. Show to each person the video. In one part of it the person is involved and in the other part the person is not there. Meanwhile they are watching the video one camera (in the same situation of the screen) is filming the person. This video will be used to obtain the eye tracking in order to see how much attention have the person about the global scene while he is there (how much the person look himself during the sequence) and when he is not involved.  This will be the first indicator of self awareness.

3. Some questions will be asked to the person about what happened in each part of the video.  The difference between the level of attention in each part of the video (the one he is involved and the one he is not) will give us the second level of self awareness.

4. After the screening the person will be asked about what he remember about the two parts of the video.

5. After a period of time the person will be asked 9 times more (with an space of days or months among them)  about what he remember from the two parts of the video. With this points (4 and 5) I want to see if the memories where we are involved could be less reliable than the memories we are not. But also see if the memories where we are involved are more supceptible to change while recreating them than the one we are not involved in.

 I´m still thinking about this exercise and new points to ad an change but I think it could be a very interesting process in order to see how our level of self awareness can change our perception of facts and memories and how much the act of «reconsolidation»  reveal about us.

…to be continued…

A LIAR STATMENT

   

 «When Diaghilev began again producing Russian ballets, some critics complained that Petrushka’s decorations had lost the startling polychromy they originally possessed: yet they were the same ones, perfectly conserved. Diaghilev saw himself forced into heightening the tones to put them on par with the spectacular memory that remained of these.»

Around the Day in Eighty Worlds (La Vuelta al Día en Ochenta Mundos). Julio Cortázar.

I’m interested in ‘lies’ and their conscious and unconscious mechanisms to transform truth; the daily lie that lives within each of us as a mode of survival or as a reflexive act, a natural and spontaneous lie. I’m interested in the creative lie that enables biographies to become artistic manifestations; the lie that permits the spectacular memory of the sets of Petrushka and the lie that rewrites history books. I’m interested in lies, in all their variety. A ‘lie’ called fiction or fantasy and that is capable of slipping into reality and transforming itself into truth.

Postproduction is a way of ‘lying’. Perhaps that is why it interests me so much, not only as a means to an end but also as an end in itself, as an artistic expression. A postproduction that is capable of creating multiple layers, new meanings and original perspectives of the research material. I’m interested in everything related to postproduction, the processes that can manipulate, sample and forge, and their translation into an artistic and cinematographic language.

But if I’m interested in lies, its because above all I’m interested in truth, in being honest in the process of profound change that my work finds itself in.

THE RUSSIAN DOLL

“In that gigantic instant I saw millions of delightful and atrocius acts; none astonished me more than the fact that all of them together occupied the same point, without overlapping or transparency… What my eyes saw was simultaneous: what I shall transcribe will be successive, because language is successive.”

 Jorge Luis Borges, El Aleph

 

I want to make a film with a fragmentary narrative that compiles different times, whereby all three stories each (with their own sequential narrative) are subordinated to one superior narrative: spatial montage. This structure will permit that the three parts act in parallel creating links that can participate in different stories and vice versa. I therefore want to establish a linked narration system that –much like a Russian doll- puts in contact both narration levels within a complex system.

Schematically, this narrative could be defined as a kind of superior cover: a spatial montage (installation and interactivity) that is host to three stories that make up a film. In this montage I aim to highlight the “between” of the stories: the relation between generations. A “between” that takes into account what is not told but what exists as a link and works through synapse, as memory itself does. In this montage, past, present and future can converge, offering us a second level of narrative.

The contact between these two levels will generate intersections between concepts such as times/space and reality/imagination. During the Master, it will therefore become necessary to revise these concepts depending on the evolution of the artistic installation, the internal structure of the film and the relation of the viewer with it. I will seek to develop the construction of a single voice within the narrative. The voice will not be gender specific, but a uniform us (a ‘you’, a ‘me’, a ‘her’) that changes constantly, lending sense to the term “family memory”. The voice thus becomes a collective; a multitude, a family.

Successfully articulating this narrative concept will be one of the main challenges in my research. This necessary challenge will give the project its own language; a language that will be faithful to the complexity of memory and the different space-time layers.

I have sketched a scheme of themes and generational links to organize the structure on which I would later develop the second level with a spatial montage.

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