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31. Oktober 2015

Gedichte von Ernst Jandl / Poems of Ernst Jandl (Bestiarium)





Hochgeladen am 19.05.2011
Gedichte von Ernst Jandl (Bestiarium) von Eku Wand, 1989

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Ein überdimensioniertes Lippenpaar kündigt die „gra-fisch-e text-in-ter-pre-tat-ion mit com-puter-graf-ik und an-imat-ion“ an: Ernst Jandls Gedichte sind Grundlage für diese frühe Computeranimation, die Eku Wand Ende der 80er Jahre mit einem Amiga 2000 gestaltete.
25 Quadrate bilden als viereckiges, rasterartiges Mosaik die grundlegende Anordnung. Sie sind jeweils ausgefüllt mit der gleichförmigen Abbildung eines Mundes. Eku Wand bringt sie in Bewegung, indem er einzelnen Lauten zugeordnete Lippenstellungen abruft und kombiniert. Dem von Jandl selbst gesprochenen Text entsprechend, kann so z.B. parallel zum gesagten Begriff „Zelle“ der Buchstabe „Z" durch die Kombination von zwei unterschiedlichen Lippenpositionen entstehen. Freie, ornamentale Muster und rhythmische Reaktionen illustrieren Jandls lautmalerische Poesie.
Der computergestaltete Clip erscheint wie ein optischer Synthesizer, der eingegebene Klänge aufgrund eines geschlossenen Systems in visuelles Geschehen verwandelt.
Quelle: Medien Kunst Netz des Goethe-Institut / ZKM Zentrum für Kunst und Medientechnologie Karlsruhe: http://www.medienkunstnetz.de/werke/g...

Poems of Ernst Jandl (Bestiarium) by Eku Wand, 1989

An oversize pair of lips announces a “gra-phic text in-ter-pre-tat-ion with com-puter graph-ics and an-imat-ion”. Poems by Ernst Jandl, spoken by the poet himself, form the basis of this early example of computer animation, which Eku Wand created with an Amica 2000 at the end of the 1980s.
The basic arrangement consists of a grid-like mosaic of 25 squares, each completely filled with the same image of a mouth. Wand sets them in motion by retrieving lip positions connected with particular sounds and combining them. Free, ornamental patterns and rhythmic reactions illustrate Jandl's concrete poetry.
The computer-generated video clip acts as a kind of optical synthesizer that, by means of a closed system, transforms sounds fed into the computer into visual events.
Source: Media Art Net of Goethe-Institut / ZKM Center for Art and Media Karlsruhe: http://www.medienkunstnetz.de/works/g...


Awards

Poems of Ernst Jandl has been awarded at various venues, among others in 1991 at “Imagina”, “Siggraph” and in 1993 at “Prix Ars Electronica”. Latest award received in 2008 at ZEBRA Poetry Film Festival, Berlin. Further prizes, distinctions and more than 100 screenings on computer animation and film festivals through out the world: http://www.facebook.com/poems.of.erns...

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Production insights

“My diploma animation work from 1989 at Berlin University of the Arts realized with an Amiga 2000 (1 MB RAM and 20 floppy discs) ...”

“Sometimes I call it “Lippentypografie — Lip Typography” with just 6 letters: A, E, I, O plus U (5 vocals) and the mouth when it's closed (1 consonant) ...”

Q: “How long did it take to sync all of that up?”
A: “It must have been 4 to 6 weeks ... I hardly can't remember as I produced some 10 further little onomatopoeia episodes within 6 or 8 month time ... will upload them time by time. But 'Bestiarium' is far most the best of them all.”

Q: “How did you sample the audio for such a long duration? The Amiga 2000 RAM was limited to 1 MB!?”
A: “At that time in 1989 the only chance we had in our computer lab was either to record to 16 mm film or to record the Amiga animation frame by frame to a modified U-matic low-band recorder while the tape was pre-recorded with the audio track from Jandl. Imagine lib syncing 90 sec by 24 fps just for the poem itself ... I had trouble with drop outs because I had to record it over and over to get it as accurate as possible ... This technic did not allow syncing spoken words in a slow motion manner — I had to cope with regular tape speed ... finally I got an expert on my lip typography sync system indeed.”

Q: “Did you create every single frame (as frozen image) in the computer and recorded it via amiga video out to U-matic tape frame by frame? Could you set TimeCodeIn and TimeCodeOut for recording at the U-matic tape?”
A: “Yes — frame by frame recording. Of course I had my matrix, but in/out was always just one frame ... as I had to estimate by head phones how long each voacal an consonant needs to be displayed, while variations in duration were no exceptions but the rule in spoken language!” ...
Carsten Moritz: “Frame by frame for a duration of about 2.50 min?!? That means 170*25=4250 frames!! You're completely crazy ...”

Creative Commons (CC BY-NC-ND 3.0)
© 1989—2014 Eku Wand, eku interactive, Berlin/Bad Homburg/Jakarta.
About me: http://about.me/ekuwand Homepage: http://www.eku.de

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