maandag 25 januari 2016

programming with grawlixes: HOW-TO (1)

1.select a metaphor that calls upon an automatic routine;

for example driving or riding a bike;
(once you have learned how to drive, you no longer think about every aspect of it,
the process of driving is automatic and operates outside awarenesss)



driving metaphor a. your pen is a vehicle
b. the paper is a surface for driving

maandag 11 januari 2016

Stripsody; abstract comics, grawlixes and musical notation



Stripsody is the title of three different works of art: a collection of graphic plates by Eugenio Carmi, a composition realized by Cathy Berberian and a comic-score which Roberto Zamarin drew in collaboration with Berberian.












Grawlixes do not represent sound (see 'programming with grawixes)
this is supported by the above performance. The grawlixes in the 4th score (above the "KXXhh"' should appear around around 0:30, but are not expressed in the live performance.



see also 'Stripsody' https://musicomix.wordpress.com/stripsody/

Władysław Strzemiński (line as creator of divisions)

"there, where there is a division, the painting is cut into parts, what should their relation be?

line,if there is only one, we then see its relation to the border of the painting, if there are many, we see the relations between the lines and between each line and the border of the painting.

line has always created divisions of the painting, where we have divisions, what should their reciprocal relation be? we link the divided parts in a rhythm of mutual connections, one dimension with another, there exists then a rhythm like the essential aesthetic emotions of the painting. this rhythm is formed from the opposition of directions and dimensions.
what is the law of unity of rhythm? the unity of rhythm is achieved by subordinating the dimensional relations to the same mathematical formula. this mathematical formula determines the relation between the height and breadth of the painting. all the fractions and forms are maintained in this mathematical relationship. in this way we achieve an absolute rhythmic unity of all the forms, the largest of which is the painting itself.

however where we have a line, we will have a division and instead of a single painting, we will have separated parts. line divides - the aim must not be the division of the painting, but its unity, presented in a direct way: optically.

in consequence it is necessary to renounce line. it is necessary to renounce rhythm, because it only exists in relations between parts. it is necessary to renounce opposites and contrasts. because only separated forms can create oppositions and contrasts. it is necessary to renounce division, because it gives concentration and the greatest intensity to forms in proximity to outline - and cuts the painting into sections, containing concentrated forms and weak forms."

(...)


"Trees have demonstrated to me what a work of art is not. The form of a tree results from a) the symmetry (in the form and distribution of leaves). This symmetry is the result of the division of the cells of the plant. The painting does not grow, its cells are not subject to division and that is why symmetry has no place here"



Władysław Strzemiński(1893-1952) statements.  in; Harrison, C. Wood, P. (1993). Art in Theory 1900-2000 (p376). Blackwell Publishing.

see also:
http://monoskop.org/images/b/b9/Bois_Yve-Alain_1990_Strzeminski_and_Kobro_In_Search_of_Motivation.pdf 

donderdag 17 december 2015

Some ideas on Abstract Comics

Abstract vs Animistic

The difference between abstract comics and non-abstract comics depends a great deal on how you define abstract.
Are abstract objects abstracted versions of real objects or are they more like inanimate geometrical or mathematical objects?
Marc Terstroet 1983
.

Both examples  above can be labelled as abstract. However its hard not to see the abstract shapes on the left as ‘alive’, or even as two characters wearing a circle and a triangle costume. Whereas in the panel on the right the circle and triangle  are two basic geometrical shapes on a black background.

As a medium of communication, the image on the left is ‘hot’ , you know its a comic because the comic context is given by the motionlines. The image on the right is ‘cold’, it requires deliberate effort of the viewer to see it as a comic.
Both images could be seen a part of a sequence. In that case the motion lines on the left image constitute the context for the right image. Both images become animate as the image on the right is suddenly something like a night shot of the left image
In other words; if you are told beforehand  you’re going to read a comic you automatically switch to animate view.

If all abstract comics are more or less like the above image on the left, then it seems to me that  they are not fundamentally different from non-abstract comics.
Can the image on the above right, on its own be a comic, and can it even be funny?



2.












  

 Higher beings ordain: 
Paint the upper right corner black! 
(Sigmar Polke 1968)

 The original of Sigmar Polke above on the right is funny because of the way it collides the concept of  the mystically inspired artist with the artist as rational  intellectual.
In this case, just like the abstract image on the left without the tekst, the right panel and the black triangle are inanimate, or 'pure' abstract. The added text only changes our perception of how  the triangle got there.
Text can be useful to maintain inanimate abstraction and humour.


3.Speech Balloons

 

 











Basically any speech balloon is an indication you are looking at a comic, implies some speech organ and and turns a triangle into a guy in a triangle suit.

 

4.The Abstract Sequence: Animate vs Inanimate motion

 

When we see a film of colliding billiard balls, we don’t think there is a little guy running inside the ball. However, when it deviates from its natural path our perception of it is quite different.
This is shown in the socalled Heider Simmel experiment.

The experiment showed how abstract geometrical shapes that move, not because of some physical impact, are perceived as being ‘alive’, are given specific traits and even seen as actors in an emotional narrative.
The experiment suggests that if a comic sequence and its abstract objects follow a natural cause we dont see a narrative.If its path deviates we see animate characters.
As a consequence, the sequence is no longer purely abstract. Again, the abstract comic will not be fundamentally different from any other non-abstract comic.

5.Humorous combinations of transitions:

 

In ‘Understanding Comics’ Scott McCloud identifies 6 types of transitions between panels

•Moment to Moment:
•Action to Action:
•Subject to Subject:
•Scene to Scene:
•Aspect to Aspect:
•Non-Sequitur:

If objects are perceived as abstract only if they are moved by physical impact, then the only thing that may move sequentially in a narrative way without the comic becoming animate is the way abstract objects are captured in the panel.
Suppose a panel is like a camera,  then creating abstract comics is like moving the camera in funny or interesting ways.










The object remains abstract, non-animistic.
And even if there is no text, there is a possible humorous narrative behind the cause of the shakey camera.

dinsdag 15 december 2015

Grawlixes & mathematical objects

E.Segar (1929)

A cunning, precalculated path towards an object of desire was cut-off by an unexpected event.
In the mind of the rigid character, without a mathematical object, the algorithm or automatic trajectory becomes an  infinite series of objectless computations with no progression towards a solution.

maandag 14 december 2015

Jaffee Grawlixes

A.Jaffee. Tall Tales (1959)

The old couple holds a wishing bone.
 Both picture a path towards a future ideal.
Neither of the anticiapted paths is fulfilled because of an unexpected event;
 the bone does not break.
The path is no longer coordinated towards a future objective and as a consequence it continues as an uncoordinated scribble inside the thought balloon.

zondag 13 december 2015

Grawlixes and the movies; Happy Hooligan (1917)

Another early and very literal representation of Grawlixes;
Happy Hooligan is offert an unexpected trip to the moon.


He pictures the trip in his eyes but the pictured experience of leaving his normal routine becomes so overwhelming that orbits, shooting stars and two saturns appear outside the balloon and fill the entire panel.
The image of the galaxy and the experience of Grawlixes overlap.




Later in the cartoon there is a parallel experience  that  has no immidiate link with the real galaxy but rather with phosphenes or 'seeing stars' following a smack on the head.



Walter Lantz. Happy Hooigan, A trip to the moon (1917)

#Grawlix #Grawlixes #Obscenicons #symbolcursing  # programming with grawlixes

zaterdag 12 december 2015

Grawlixes movies; Earl Hurd, 1917


 Bobby Bumps' Fourth (Earl Hurd, 1917) 
https://www.youtube.com/watch?v=iQCv-O3-QDY&index=14&list=PLH3kk91FHIVCDRQSrOwNcTjxzQ19784r7

Polly wants a cracker, but the expected cracker turns out to be a firecracker.
Grawlixes appear as stars, swirls and censorded (blanked) curses.

A silent film.

Grawlixes like stars and spirals do not replace sound. (see; programming with grawlixes 1,2,3).
However;
Most Grawlixes seem to have disappeared from the movies with the introduction of sound.

therefore it is likely that;

A. Grawlixes must have some relation with language
B. But not with spoken language





vrijdag 11 december 2015

Grawlixes Saturn
















(F.Opper. And her name was Maud (1904) 
from;http://www.stwallskull.com/
 
An involuntary experience, a 'wandering mind', a shooting star, an orbit with stars or phosphenes, singing voices, flawed speech, a bad racial stereotype that even makes the obnoxious farmer Si Slocum who is normally outsmarted by the mule look sophisticated,
and the earliest representation of  a Saturn I've found sofar.