Archive for September, 2008

Experimental Excesses

September 28, 2008


Right, so what follows is a sort of experimental brief.  I responded to a series of questions directly, so that explains the numbers/letters.  


1a.) The concept of my thesis is…the elimination of censored personal expression by means of character immersion.  A multimedia diary shall be employed for the purpose of utilizing a fictional character as a mouthpiece to talk about taboo social topics.


1b.) This concept is important to myself and others because I feel that political correctness is hindering the progression of our society.


2a.)  Character was the focus of this particular experiment.  Within my narrative exists three main characters; I felt that the objective of character immersion would be easier achieved if one character was effectively developed as opposed to three.


2b.)  The goal of this design experiment is to, through extraction of the existing narrative’s essence, define each of these characters, and then represent each by some form of media.  The character found most relevant to the experience of my thesis will be chosen for further development.


3a.)  By conducting this research I am first and foremost attempting to designate one of my main characters as the axis around which the rest of my thesis shall rotate.  I am also trying to identify thematic similarities in the processes that will be used to form conclusions.  The sooner I can select a small number of formidable processes, the sooner I can begin striving for uniformity in both internal and external faculties of the thesis final product.


4a.)  My experiment was a translation of the narrative text into both visual and written disciplines, based on abstract hypothetical principles, and performed within the clarity of my solitude.


4b.)  The actions of the experiment are as follows:

Firstly, I made the decision to use the existing narrative text (born from the process of collective writing) as a tool to define my three main characters.  I theorized that the genuine definition of the characters existed within the text, but was obscured by the manuscript’s linearity.  It was my belief that the purpose of linearity is to appeal to the perceptions of the real world reader, and this was an unnecessary function within the cavity of my then-needs.  My first task, therefore, was to eliminate the narrative’s relevance to the real world in order to expose hidden truths.

I printed out the entire manuscript and physically cut it into dozens of paragraphs.  I decided to honor the structure of the paragraph because each paragraph is supposed to be reminiscent of a single idea, and the dissection of these ideas would result in a textual cacophony that would be of little use.

After this step I commenced the formalization of my process by granting significance to the number 3: there are three main characters in the narrative, there were three writers collaborating to produce the narrative, the earlier prototype was initially composed of three steps.  3 was already infused within my project – it seemed logical to recognize its presence.

While still retaining their original sequence, I counted off each of the paragraphs up to three.  Resulting was a collection of paragraphs designated as “Paragraph Group One,” “Paragraph Group Two” and “Paragraph Group Three.”  From each of these groups was randomly extracted twenty-seven paragraphs (twenty-seven, a multiple of three), the respective subdivisions arranged into a sequence of ambiguous inclination to further demolish the spirit of linearity.

Next, I assigned each collection of paragraphs to a character.  This was not done randomly.  The three main roles in the narrative are filled by a teenage white female (Nancy), a black adult male (Cedric), and a white adult female who is the aunt of the teenager (Anna Maria).  Ostensibly, Cedric is most out of place in this group.  Out of the numbers 1, 2 and 3, the number 2 is significant because it is even while 1 and 3 are odd.  Therefore, Cedric was assigned Paragraph Group Two.

Nancy was assigned Paragraph Group One because of her single-mindedness and fatalist tendencies when perceiving the world.  Anna Maria was assigned Paragraph Group Three because to me, 3 escapes both the limiting singularity of 1 and the black-and-white duality of 2.  3 is a set of undefined possibilities that does not necessarily have to adhere to the truth of the world, and therefore matches pleasantly with the Anna Maria’s habitual resignation into the sanctuary of her mind.

This assignment process having been done, I next began to decipher the paragraph collections while keeping within the framework of their respective character: Paragraph Group One interpreted into a smaller set of coherent paragraphs that revealed Nancy’s belief that the world’s ordinariness and ugliness is a distraction meant to shield its wonders from normal people.  This set of paragraphs was then summarized into one sentence written from the perspective of Nancy.  This was my attempt to translate chaos into digestible form, a process symbolic of Nancy’s transition from teenage years into early adulthood.

Next, I worked with Cedric.  Because Cedric is a poet whose ideas and thoughts are usually manifested into extremely vivid mental visualizations, Paragraph Group Two was translated into a picture that represents Cedric’s distaste and discomfort with a person using another’s environment for means of escapism (i.e. going on vacation):


Depicted is a scene where a number of beings have unwisely crept from their environment of darkness to explore the curious phenomenon of light.  The light is a force beyond their comprehensive capabilities and easily manipulates their wonder and inexperience into tools of puppetry.

The final character, Anna Maria, possesses a mind that is unaffected by the stringency of conventional thinking and perception.  For this reason I chose not to translate Paragraph Group Three into something coherent, but instead created an animation that demonstrated the beauty of controlled chaos:The paragraphs float within a cellular environment in which exists only individual meaning and not collective:


4c.)  Except in the case of Anna Maria, the translation of chaos into coherence yielded evidence of character ideas and intentions once hidden.


5a.)   The design question that needed to be answered from this experiment was which of my three main characters I should choose as the nucleus of my project.  The question, fortunately, was answered.


5b.)  The experiment resulted in my decision that Nancy was in possession of the most coherent, most obdurate core, and therefore would be the most effective platform from which to elicit participant response in the thesis final product.  Not only that, but I concluded that the stability of her internal complex would prove suitable for any embellishments of her character that I would recognize as necessary.


5c.)  I am faced with the challenge of moving away from the utilization of a very mechanical process to reach conclusions.  It is my natural tendency to impart each step of my creation process with an abundance of meaning, and then explain all of it with unparalleled delight.  There is a possibility that if a more reactionary, emotive method is employed for the production of material, the result will ring with a vigor and freshness once hidden and cringing beneath the shadow of my tailored eye.



September 16, 2008

The concept of my Diploma Hurdle is…The elimination of censored expression through character immersion.


Participants will use a fictional character as a mouthpiece to freely talk about certain topics nobody ever really wants to talk about.


This will be done by means of a book that encompasses various media elements.  More on this later? Maybe.

Feeding the Blogasaurus

September 7, 2008

It’s been fed.