I wanted to develop my work with SRT. files and I was unsure of how to continue this piece of work. I liked the idea of these films conversing with one another and creating narratives of their own by using a non-linear structure.
The idea behind this emphasises my interpretation of where we place ourselves within these films and manipulates the lives within these timed structures. What if films never ended - they were a constant flow of dialogue and scenes. To create this space is interesting but almost too literal with the use of film clips so I considered creating a sketch that only pulls lines from these films.
Ben Grosser's You Like My Like Of Your Like Of My Status is a sound and video instillation. Each screen follows a progressive generative text pattern of increasingly "liking" each others "likes".
I liked the simplicity of this piece in design and the clunky robotic conversations that come from it. Grosser's work deals with themes of connection online and the amalgamation of likes within these interactions.
I Randomly Love You / Hate You by Exonemo is a work that resembles iMessage on an iPhone. We see messages sending and being received by the two screens one side communicates hate and the other love. Adverbs are chosen at random by a computer and inserted into the phrase "I love you" or "I hate you" randomising the outcome as seen above. I particularly liked how this piece was exhibited between two screens as I had explored that in my previous srt file work.
These conversations between two films with such similar narratives was really interesting and dissection these dialogues and rearranging them in a non-linear format outwith the context of the film also completely changed this work. The outcomes were interesting and funny and sad.
I could imagine this piece being turned in this nonsensical script for two people two perform as an outcome.
However, like always we had some bugs. Do to the messiness of my code as I was very short on time I tried to format in a way that would help the flow of the conversational text.
Reflecting on these communications we manipulate the tiny snippet of knowledge we have of the film in question into a completely different staging. It's interesting that there is always little queues that pop up reminding you this is not a real conversation happening. Considering dialogues in movies on there own hold so much importance - they are how we understand and gain information about what has happened, what will happen.
These queues are different - they are completely down to chance, wee do not know what will happen.
I kept experimenting with formatting but I still want happy with the way this piece looks and I could've been happier about how it worked so I signed up for a tutorial spot with Paul to gain some help with resolving some of the problems I had with information being crossed between sides and other small bugs.
We agreed collectively it was easier to write a sketch that removed all the nonsense such as timecode and formatting from an SRT file and create something that would spit out a new text file with just the data we wanted which was the lines from films.
With a big help from Paul for advising me and creating the code to do this after a few failed attempts at fixing my original code.
At this point I had to begin designing this work in a way that communicated my ideas and looked clean and easy to understand.
I also experimented with a few different kinds of films to see what other outputs I could get.
The results were really varied but I wanted to stick to my previously discussed decision of choosing 2049 and The Trial.
I tested the work projected once I was happy with its formatting - unfortunately I didn't have many plain walls within my home so I didn't get the documentation I would've liked from this.
