Reading, writing lau - Revision history

Laurenszautsen: /* Project that may not or the made: */

2023-06-05T12:57:53Z

Project that may not or the made:

← Older revision		Revision as of 14:57, 5 June 2023
Line 132:		Line 132:
	'''What will it be? (Three sentences max)'''		'''What will it be? (Three sentences max)'''

	A series of artworks surrounding generational trauma, healing the inner child and revisiting the past while also letting go through traveling. I will use this theme as a starting point for different outcomes of expression. The outcome of this research is not yet determined and can be in the form of written text, paintings, a performance, a fiction script a visual essay and/or an installation.		A series of artworks surrounding genetic mental health problems, generational trauma, healing the inner child and revisiting the past while also letting go through traveling. I will use this theme as a starting point for different outcomes of expression. The outcome of this research is not yet determined and can be in the form of written text, paintings, a performance, a fiction script a visual essay and/or an installation.

	'''Why'''		'''Why'''
Line 140:		Line 140:
	'''Workflow'''		'''Workflow'''

	For my eye-film I used some of my personal archive in telling an associative story and I want to work with this material again in exploring this theme. Also I made a lot of pictures during my interrail trip while processing certain experiences. Looking through 10 hours of footage of the past shot by my father since ~~I was born until I was five years old~~ and these photo's from the present will be the starting point of the process. I want to let the form unfold itself by collecting material by creating on the on hand and researching the subject theoreticallly on the other. Through different forms of expression and writing I will work towards a prototype for an art-piece that is presentable.		For my eye-film I used some of my personal archive in telling an associative story and I want to work with this material again in exploring this theme. Also I made a lot of pictures during my interrail trip while processing certain experiences. Looking through 10 hours of footage of the past shot by my father since and these photo's from the present will be the starting point of the process. I want to let the form unfold itself by collecting material by creating on the on hand and researching the subject theoreticallly on the other. Through different forms of expression and writing I will work towards a prototype for an art-piece that is presentable.

	'''Timetable'''		'''Timetable'''
Line 162:		Line 162:
	'''Week 32:''' Reflecting on the given outcomes. Making new edits.		'''Week 32:''' Reflecting on the given outcomes. Making new edits.

	'''''Holliday break'''''		'''''Week 33/34: Holliday break'''''

	'''Week 35:''' Shaping new plans/prototypes, looking for combinations, new angles		'''Week 35:''' Shaping new plans/prototypes, looking for combinations, new angles

Laurenszautsen: /* Project that may not or the made: */

2023-06-02T20:18:04Z

Project that may not or the made:

← Older revision		Revision as of 22:18, 2 June 2023
Line 128:		Line 128:

	== Project that may not or the made: ==		== Project that may not or the made: ==
	Back to Ever		Back to Ever / Terug naar Altijd (worktitle)

	'''What will it be? (Three sentences max)'''		'''What will it be? (Three sentences max)'''

	A series of ~~still and moving images~~ surrounding generational trauma, healing the inner child and revisiting the past. I will use this theme as a starting point for different outcomes of expression. ~~This~~ can be in the form of written text, paintings, a performance, a fiction script a visual essay and/or an installation.		A series of artworks surrounding generational trauma, healing the inner child and revisiting the past while also letting go through traveling. I will use this theme as a starting point for different outcomes of expression. The outcome of this research is not yet determined and can be in the form of written text, paintings, a performance, a fiction script a visual essay and/or an installation.

	'''Why'''		'''Why'''

	Generational trauma has been a big part of my own psychological development and is a recognizable theme for many around us.		Generational trauma has been a big part of my own psychological development and is a recognizable theme for many around us. In my graduation film I tried to tell a part of the genetics that me and my mother share and how that influences our daily life through fiction. Now I want to expand my practice and use multiple ways of creating to research the subject of my roots and childhood further.

	'''Workflow'''		'''Workflow'''

	For my eye-film I used some of my personal archive in telling an associative story. I want to work with this material again in exploring a theme ~~that has interested me for~~ a ~~long time~~. Looking through 10 hours of footage shot by my father since I was born until I was five years old will be the starting point of the process.		For my eye-film I used some of my personal archive in telling an associative story and I want to work with this material again in exploring this theme. Also I made a lot of pictures during my interrail trip while processing certain experiences. Looking through 10 hours of footage of the past shot by my father since I was born until I was five years old and these photo's from the present will be the starting point of the process. I want to let the form unfold itself by collecting material by creating on the on hand and researching the subject theoreticallly on the other. Through different forms of expression and writing I will work towards a prototype for an art-piece that is presentable.

			'''Timetable'''

			'''Week 23:''' Diving into the subject, reading alongside creating (this will be ongoing).

			Selecting the pictures from the interrail trip, starting to play with them

	'''~~Timetable~~'''		'''Week 24:''' Starting with writing, poetry and performance piece about fatherhood for [[Kaleido]]

			'''Week 25:''' Making pictures, paintings and writings during faerie gathering

			'''Week 26:''' Spotting the footage of my childhood, trying to digitalize the smaller tapes

			'''Week 27:''' Performance at Kaleido at the 8th of july. Preparing in the days before. Making recordings the day itself.

			'''Week 29:''' Making some edits, combining poetry with archive footage

			'''Week 31:''' Making paintings

			'''Week 32:''' Reflecting on the given outcomes. Making new edits.

			'''''Holliday break'''''

			'''Week 35:''' Shaping new plans/prototypes, looking for combinations, new angles

			'''Week 36:''' New studyyear. Writing a script for a new prototype

			'''Week 38''': Refecting on script/dummy for prototype

Laurenszautsen: /* Project that may not or the made: */

2023-06-01T18:23:59Z

Project that may not or the made:

← Older revision		Revision as of 20:23, 1 June 2023
Line 132:		Line 132:
	'''What will it be? (Three sentences max)'''		'''What will it be? (Three sentences max)'''

	A series of still and moving images surrounding generational trauma, healing the inner child and revisiting the past. I will use this theme as a starting point for different outcomes of expression. This can be in the form of written text, paintings, a visual essay and an installation.		A series of still and moving images surrounding generational trauma, healing the inner child and revisiting the past. I will use this theme as a starting point for different outcomes of expression. This can be in the form of written text, paintings, a performance, a fiction script a visual essay and/or an installation.

	'''Why'''		'''Why'''

Laurenszautsen: /* Text on Practice: */

2023-06-01T16:49:34Z

Text on Practice:

← Older revision		Revision as of 18:49, 1 June 2023
Line 126:		Line 126:
	== Text on Practice: ==		== Text on Practice: ==
	[[LauText]]		[[LauText]]

			== Project that may not or the made: ==
			Back to Ever

			'''What will it be? (Three sentences max)'''

			A series of still and moving images surrounding generational trauma, healing the inner child and revisiting the past. I will use this theme as a starting point for different outcomes of expression. This can be in the form of written text, paintings, a visual essay and an installation.

			'''Why'''

			Generational trauma has been a big part of my own psychological development and is a recognizable theme for many around us.

			'''Workflow'''

			For my eye-film I used some of my personal archive in telling an associative story. I want to work with this material again in exploring a theme that has interested me for a long time. Looking through 10 hours of footage shot by my father since I was born until I was five years old will be the starting point of the process.


			'''Timetable'''

Laurenszautsen at 11:38, 8 March 2023

2023-03-08T11:38:15Z

← Older revision		Revision as of 13:38, 8 March 2023
Line 124:		Line 124:
	The limit of this piece is that it is a film. It's cinema. Cinema has endless possibilities, but the limit itself is that it is cinema. It is made to be displayed at a screen. It is not something you can step into half way through as it is a piece that has a a beginning and end		The limit of this piece is that it is a film. It's cinema. Cinema has endless possibilities, but the limit itself is that it is cinema. It is made to be displayed at a screen. It is not something you can step into half way through as it is a piece that has a a beginning and end

	== ~~Session 6~~: ~~first draft~~ ==		== Text on Practice: ==
	[[LauText]]		[[LauText]]

	~~== Session 7: second draft ==~~
	~~https://docs.google.com/document/d/14edabH4j7caBodziJWINjAf79EgIkclLUt4pdYq_XBw/edit?usp=sharing~~

Laurenszautsen: /* Session 6: first draft */

2023-02-08T13:17:16Z

Session 6: first draft

← Older revision		Revision as of 15:17, 8 February 2023
Line 112:		Line 112:
	I made this scene quite intuitively, comparing to some of the other parts in the film that were constructed in a certain order of shots and actions. In this scene I improvised more, letting my DOP slide through this crowd of sweaty men. We used a glass in front of the lens to make blurry, steamy atmosphere.We took long takes in which I gave instructions to the extra's and the actor. We filmed this scene in an actual sauna. I was afraid first it would look too much 'staged'. But because of the lamps and the hot summer day the space was quite warm during filming, which was perfect. We used glass in front of the camera's to create an image that was more blurry and steamy. Also the make-up department had a special kind of spray that produced the illusion of sweat (which we sometimes didn't even need). The light was connected to the idea of heat and fire.		I made this scene quite intuitively, comparing to some of the other parts in the film that were constructed in a certain order of shots and actions. In this scene I improvised more, letting my DOP slide through this crowd of sweaty men. We used a glass in front of the lens to make blurry, steamy atmosphere.We took long takes in which I gave instructions to the extra's and the actor. We filmed this scene in an actual sauna. I was afraid first it would look too much 'staged'. But because of the lamps and the hot summer day the space was quite warm during filming, which was perfect. We used glass in front of the camera's to create an image that was more blurry and steamy. Also the make-up department had a special kind of spray that produced the illusion of sweat (which we sometimes didn't even need). The light was connected to the idea of heat and fire.

	All the actors in this scene are non-actors. We had an intimacy coordinator to make sure everybody felt comfortable in being filmed (partly) naked. The extra's in the scene have ~~been~~ found through similar tactics. Some of them are friends of mine. Some responded to an online add. The one who is doing the infusion actually works at the place where we were filming. I asked him on the day if he wants to do a small part.		All the actors in this scene are non-actors. We had an intimacy coordinator to make sure everybody felt comfortable in being filmed (partly) naked. The extra's in the scene have en found through similar tactics. Some of them are friends of mine. Some responded to an online add. The one who is doing the infusion actually works at the place where we were filming. I asked him on the day if he wants to do a small part.

	In the editing I decided to fade the footage into each other to give it more a ritual, psychedelic effect. All these choices in esthetics are made in an attempt to make the audience feel a bit overheated themselves.		In the editing I decided to fade the footage into each other to give it more a ritual, psychedelic effect. All these choices in esthetics are made in an attempt to make the audience feel a bit overheated themselves.
Line 126:		Line 126:
	== Session 6: first draft ==		== Session 6: first draft ==
	[[LauText]]		[[LauText]]

			== Session 7: second draft ==
			https://docs.google.com/document/d/14edabH4j7caBodziJWINjAf79EgIkclLUt4pdYq_XBw/edit?usp=sharing

Laurenszautsen at 15:45, 25 January 2023

2023-01-25T15:45:07Z

← Older revision		Revision as of 17:45, 25 January 2023
Line 123:		Line 123:

	The limit of this piece is that it is a film. It's cinema. Cinema has endless possibilities, but the limit itself is that it is cinema. It is made to be displayed at a screen. It is not something you can step into half way through as it is a piece that has a a beginning and end		The limit of this piece is that it is a film. It's cinema. Cinema has endless possibilities, but the limit itself is that it is cinema. It is made to be displayed at a screen. It is not something you can step into half way through as it is a piece that has a a beginning and end

			== Session 6: first draft ==
			[[LauText]]

Laurenszautsen: /* Session 5: Annotation */

2022-12-05T12:13:00Z

Session 5: Annotation

← Older revision		Revision as of 14:13, 5 December 2022
Line 106:		Line 106:
	== Session 5: Annotation ==		== Session 5: Annotation ==
	[[LauAnnotation]]		[[LauAnnotation]]


			This is a scene from the short film 'RELEASE'. In the scene the protagonist, Bo, enters a very stuffed sauna where a pouring is about to start. While the infusion starts, the space gets hotter and hotter by a worker who's wafting the hot air with a towel. Bo is trying to endure the happening, battling the heat, having 15 naked men around him puffing and doing the same.

			I made this scene quite intuitively, comparing to some of the other parts in the film that were constructed in a certain order of shots and actions. In this scene I improvised more, letting my DOP slide through this crowd of sweaty men. We used a glass in front of the lens to make blurry, steamy atmosphere.We took long takes in which I gave instructions to the extra's and the actor. We filmed this scene in an actual sauna. I was afraid first it would look too much 'staged'. But because of the lamps and the hot summer day the space was quite warm during filming, which was perfect. We used glass in front of the camera's to create an image that was more blurry and steamy. Also the make-up department had a special kind of spray that produced the illusion of sweat (which we sometimes didn't even need). The light was connected to the idea of heat and fire.

			All the actors in this scene are non-actors. We had an intimacy coordinator to make sure everybody felt comfortable in being filmed (partly) naked. The extra's in the scene have been found through similar tactics. Some of them are friends of mine. Some responded to an online add. The one who is doing the infusion actually works at the place where we were filming. I asked him on the day if he wants to do a small part.

			In the editing I decided to fade the footage into each other to give it more a ritual, psychedelic effect. All these choices in esthetics are made in an attempt to make the audience feel a bit overheated themselves.

			This scene is introducing the concept of adapting to an established ritual. The main-characters comes in and doesn't know what he got himself exactly into. But his longing to understand and be part of a subculture pushes him to remain seated, even though he actually can't stand the heath. How much do you push yourself to go along and when do you set boundaries? The element in this scene is fire. This scene is about this, about trying to get through something and fighting the flames.

			Before this the protagonist enters the gay-sauna for the first time in the opening of the film. After this he will continue his journey through the complex.

			If I could change one thing in this scene it's the lack of diversity in the extra's. It's now just a bunch of white men. The problem was always that we had a limited amount of people that applied to be in this film and they have been quite similar in their apeareance. But on the other hand it does show the kind of people that actually come to this place since many of the extra's were regular visitors.

			The limit of this piece is that it is a film. It's cinema. Cinema has endless possibilities, but the limit itself is that it is cinema. It is made to be displayed at a screen. It is not something you can step into half way through as it is a piece that has a a beginning and end

Laurenszautsen: /* Experimental Writing Workshop 'Smoke and mirrors' - 3-nov: */

2022-11-30T15:27:49Z

Experimental Writing Workshop 'Smoke and mirrors' - 3-nov:

← Older revision		Revision as of 17:27, 30 November 2022
Line 103:		Line 103:

	I feel a deep connection to expressionism. Deep, raw, but also theatrical work. Work that switches perception, but doesn’t become too literal or rational. I work from feelings that I try to uncover and visualize in a way an audience becomes part of the experience. I want the audience to question, not to know. I want the spectator to project themselves, not just seeing somebody else. I want to find the common gemstone in healing and refinding. I want to tell the truth in the most subjective way possible. I’m a cameleon. Using the medium that serves me in the moment. Not trying to excel, but tell and be honest. That’s my job. That is the assignment spiritual forces beyond me whisper in my ear subconsciously every single day.		I feel a deep connection to expressionism. Deep, raw, but also theatrical work. Work that switches perception, but doesn’t become too literal or rational. I work from feelings that I try to uncover and visualize in a way an audience becomes part of the experience. I want the audience to question, not to know. I want the spectator to project themselves, not just seeing somebody else. I want to find the common gemstone in healing and refinding. I want to tell the truth in the most subjective way possible. I’m a cameleon. Using the medium that serves me in the moment. Not trying to excel, but tell and be honest. That’s my job. That is the assignment spiritual forces beyond me whisper in my ear subconsciously every single day.

			== Session 5: Annotation ==
			[[LauAnnotation]]

Laurenszautsen at 15:47, 3 November 2022

2022-11-03T15:47:03Z

← Older revision		Revision as of 17:47, 3 November 2022
Line 85:		Line 85:

	about spaces full of questions		about spaces full of questions

			about spirituality

	about abstract and concrete		about abstract and concrete
Line 95:		Line 97:
	I am a filmmaker. And I’m not? A fiction director. And I’m not? A performer. And I’m not? A poet? An artist? I don’t see myself as contemporary. I also don’t see myself as commercial. What stamp can I find that defines all the interests and the things that serve me in my practice? I hate the binary so I don't feel like I should even find a single title myself, but it still seems necessary and useful somehow. I feel I’m a reborn infant but only with a name. Just three letters.		I am a filmmaker. And I’m not? A fiction director. And I’m not? A performer. And I’m not? A poet? An artist? I don’t see myself as contemporary. I also don’t see myself as commercial. What stamp can I find that defines all the interests and the things that serve me in my practice? I hate the binary so I don't feel like I should even find a single title myself, but it still seems necessary and useful somehow. I feel I’m a reborn infant but only with a name. Just three letters.

	I feel like I'm starting to learn to walk again. But I want to walk a different path compared to my bachelor. Being here on PZI has made me realize what I left behind when making certain choices during my life. I don’t know if I would have done it differently now, I only know that I will redefine myself from the days that follow.		I feel like I'm starting to learn to walk again. But I want to walk a different path compared to my bachelor. Being here on PZI has made me realize what I left behind when making certain choices during my life. I don’t know if I would have done it differently now, I only know that I will redefine myself from the days that follow. I don’t want to forget the old. I’d rather re-invent the old and add the new awesome influences that capture today.


	So what is it that defines me?		So what is it that defines me?

	I feel a deep connection to expressionism. Deep, raw, but also theatrical work. Work that switches perception, but doesn’t become too literal or rational. I work from feelings that I try to uncover and visualize in a way an audience becomes part of the experience. I want the audience to question, not to know. I want the spectator to project themselves, not just seeing somebody else. I want to find the common gemstone in healing and refinding. I want to tell the truth in the most subjective way possible. ~~I want to stay singular in doing and trying~~ a ~~lot~~.		I feel a deep connection to expressionism. Deep, raw, but also theatrical work. Work that switches perception, but doesn’t become too literal or rational. I work from feelings that I try to uncover and visualize in a way an audience becomes part of the experience. I want the audience to question, not to know. I want the spectator to project themselves, not just seeing somebody else. I want to find the common gemstone in healing and refinding. I want to tell the truth in the most subjective way possible. I’m a cameleon. Using the medium that serves me in the moment. Not trying to excel, but tell and be honest. That’s my job. That is the assignment spiritual forces beyond me whisper in my ear subconsciously every single day.


	~~Feedback:~~

	~~Core~~ that ~~feels satisfying~~. ~~Embody. Break a path. A multitude path. Fragnebted~~, ~~Multitiude. A signature that is still becomingl. Candid. A period of change. A combination of the old~~ and ~~new~~. ~~More comfortable with the person you're now~~. ~~Relearning. Embracing this doubt. Poetry. Editing. Combination audio-visual, theatre. Certain parts of~~ the ~~fiction proces. Acting. Different roles. Whatever serves. Kameleon~~.