Montage – Stummfilm – 3D Animation – Theorie zum Film – Film steht für sich selbst
The perception is an automatic process that we can not control consciously and it also significantly depends on the knowledge we already have. The narrative is the most ancient and therefore habitual and convenient form of the knowledge organization and transmission. The narrative contributes to the analytical thinking since it requires understanding and analyzing the cause-and-effect relations. The clip thinking is a term re-appropriated from Fedor Girenok and re-defined for further precision: in a wider sense, it is a state of perception, knowledge and, therefore, consciousness which is formed by the perceptual patterns based on deconstruction of narratives. Practically, the main symptoms of clip thinking are the following: the lack of concentration while dealing with narratives, the inclination to multitask work and random access to the information as well as ’snatch and grab philosophy‘. The latter is a characteristic given by Sutherland-Smith to digital natives: an urge for immediate answers and the frustration if such an answer is impossible to get.
Clip thinking is based on the database logic as an opposite to narrative
The hypothesis of the research implied that clip thinking is brought up by vast influence of New Media; however, it might be that New Media are the response to the needs of postmodern condition and therefore clip thinking. Most probably, the New Media and the clip thinking are interdependent; I believe though that the cognitive patterns can not emerge without an impact from outside. The human invented the New Media that started to change the social environment; then the new environment started to change human mind. In postmodernity a human mind and New Media formed a self-sufficient system and keep influencing each other.
Media perception is similar to language perception: we communicate through media and use media to encode the information we send and receive. According to Whorf-Sapir hypothesis, the structure of native language influences or even determines the mentality and cognitive strategies of the person.
Another hypothesis of this research implied that clip thinking is an attribute of the post- human being. The key aspect of post-human is the decentralized ’self‘. The tools used by the post-human are perceived as ‚exoself‘ which is an integral part of the being. Therefore the human mind delegates some of its cognitive functions to the computer-exoself. In the most common case, it is the function of memorizing: the post-human being starts using the human mind only as a RAM of the computer. Instead of storing the knowledge, the human mind addresses the electronic database (PC, Internet, etc.), retrieves the needed data, processes it and basically forgets it after. There is no need of memorizing anything since the electronic database is always at a hand.
Investigating how film editing (montage) influences the spectator’s perception, we defined montage as a set of techniques for juxtaposing and clashing meaningful units in the film leading to the creation of new meanings. The notion of montage as a clash plays a self- contradicting role – the editing technique that puts together the parts of different stories (as it often happens in music videos) may both mentally unite the stories and formally disorganize the film. There is a number of montage techniques that may turn a film into a clip allowing it to provoke the clip thinking patterns in the spectator’s mind. The notion of the clip is not absolute: the short film can be more or less clipped. In fact, the ‚clippness‘ is the opposite value to the continuity of the film body. At some point the continuous narrative of the film acquires the attributes of a database.
The montage technique of the clipped videos aspires to compress the story in order to fit it into the format of short film; the mentioned techniques can be called the compressive montage. To sum up, a particular type of short films possesses all the needed attributes to provoke the clip thinking patterns in the spectator’s mind.
The purpose is to study the fluency and consistence of the film body and point out if the particular short movie possesses the attributes that allow it to provoke the clip thinking patterns in audience’s minds.
Fedor Girenok. Consciousness: from concept to clip.
Any thinking process demands time and concentration on something. It is impossible
to think and speak at the same time. Clip consciousness asks us: do you want to think? You’re welcome, but to think means to think quickly. Do you want to understand? Not a problem. But to understand means to understand quickly. Everything that prevents thinking quickly and making the decision quickly is to be disregarded. Clip consciousness is an installation.
Speed of thought is slowed by unready language. Clip thinking tries to avoid meeting with language, to minimize its presence. Therefore the first sign of clip thinking is a language minimalism. The instant understanding of the main point occurs in image or the evident scheme.Clip thinking is interested not in a way of one judgment binding with another, but in the evident image of thought as a whole.
Feature of clip consciousness consists in that it can’t be represented as a stream. It ceases to flow somewhere. This consciousness is out of time. It is a series of blowing-up hallucinations, bursting bubbles of subjectivity caused by compression of borders of the anthropological.
Glacis 11:56 – HB 13:13
HB 13:35 – Allhau Abzw Wolfau 13:50
Girenok is a modern Siberian philosopher
FILM SCREENING: The Pleasure of Thinking Differently
The Pleasure of Thinking Differently is a film that visualizes Fedor Girenok‘s philosophy.
The film is based on a chapter from Girenok’s book of the same name. In his book the philosopher calls for a shift in philosophical discourse towards visuality and minimalism. Fedor argues: “Philosophical texts have a tendency towards degradation. Texts that possess script-like qualities and dramaturgy are transparent and easy to understand. These texts can be adapted to screen, stage, they can be illustrated. The task of philosophy is to rebuild the structure of texts by inserting visual, communicative, even cinematic elements into them”.
Die wahrnehmungspsychologischen Grundlagen des Filmemachens oder warum Menschen Filme verstehen
Ein Kurzfilm definiert sich als Gegenstück zum Langfilm ausschließlich über seine Länge. Gegenentwurf zum Langfilm. Er erzählt alles, nur eben in kurzer Zeit, und diese kurze Zeitspanne führt oftmals dazu, dass der – vor allem branchenfremde – Betrachter den Kurzfilm als dem „Genre des Unverständlichen“ zuordnet.
Das ist nicht ganz falsch. Viele Kurzfilme wollen viel erzählen, haben wenig Zeit, und so bleibt vieles nebulös und im Ungefähren. Das trägt natürlich nicht gerade zur Verständlichkeit der filmischen Geschichte bei.