IZU-UZI
Friday, December 7, 2012
Wednesday, November 14, 2012
IZU- Sound Walk
November 11, 2012
Start time: 11:30 am
My “walking meditation” took place
in Long Island City, NY, specifically the neighborhood of Astoria.
I began from Steinway Street, known
for its colorful cultural shops with motifs, grocery/butchers, and restaurants mainly
of the Middle Eastern and/or Islamic culture. Car tires on pavement fill the air as does the
sound of squeaky brakes. I walk pass a couple of Middle Eastern restaurants with a few men
sitting at sidewalk tables, chatting, drinking coffee or tea and smoking. I hear an excited voice from one table
expressing to his friends a story that seems to amuse them all since they all
burst into laughter at once. Some children
are yelling and running in the background and I spot them across the street with
their mother yelling at them.
A bus screeches to a stop to pick-up
passengers. The bus beeps as it lowers
itself so that it can make itself assessable for picking-up a passenger in a wheel-chair. I hear a car honk its horn, and like a domino effect
three different car horns follow. Car tires
screech off around the bus. I hear many
conversations in many languages: English, Spanish, French, Russian, Arabic, and
Hungarian to name a few. I hear plates
clatter together as a waitress gathers the dishes from a table doing
brunch. The voices from the restaurants
are excited and muddled as some people are speaking with their mouths full.
I hear plastic bags from shoppers
bagging their fruits and veggies. The
trains overhead rumbles as it enters the station with the conductor’s voice announcing
the train stop. I am startled when hear
a small child screaming at the top of his lungs then I hear the cries silenced
and notice that the parent gives the
child a cookie. Car doors slam as I walk
past a more residential area. I hear a
front door open and package is dropped to the floor.
The sounds are becoming more spacey
as I enter an area where the density of people is less. I notice the flapping from birds’ wings and I
hear the leaves rustle in the breeze. I
hear the scuffle of the feet of people walking behind me, in front of me and
across the street. The car tires on the
pavement are more pronounced and I notice that each car engine has its own
distinct sound. I hear neighbors greet
each other and I hear kids laughing and playing on a playground. As I near Astoria park, the tightness and
density of sounds is not only spaced out but sounds that were obnoxious are
tolerable. I notice my pace of walking slow down as I near the water.
The calming sound of the water
hitting against the bridge and the water bank grounds me.
Tuesday, November 13, 2012
Wednesday, October 17, 2012
Saturday, September 29, 2012
Life is a gray zone….
I am inspired by
the ambiguity and beauty in the space of nothingness. The space that connects and differentiates
dichotomies is the space I seek to illustrate.
This gray zone is often overlooked in the world of classification and
differentiation.
I am often
inspired by images I collect from my vivid dreams. I dream vividly and lucidly, and I find the
dream world to be synonymous to the gray zone that I am trying to emulate in
this dimension. Overall, I love to capture beauty.
I enjoy peeling
off the layers of what is considered mundane to reveal the silent and at times
archaic beauty.
I seek to
highlight the beauty in what is often overlooked, and to also create portals of
beauty that can be construed as artifacts of soft power.
I find art to be
more than imagery for the senses but it can serve as a provocative platform to promote much
needed dialogue on issues that may difficult to discuss outside of the Arts.
My influences
cross many terrains and cultures. I am
constantly drawn to the similarities in the differences of cultures. My traveling has only intensified my desire
to help promote empathy within humanity.
I follow the
philosophies of wabi sabi, which is finding beauty in the imperfections. As time progresses, its wear and tear leaves
its mark on the living and inanimate objects.
This stage of progress is the gray zone that I love to capture. We are in the gray zone, from new to old, everything
under the sun goes through the process of absorbing time’s mark.
I am inspired by
films by directors such as Jean Luc Godard, Ousmane Sembène, to Yi Jae
Yong. My taste in music and visual arts
are an eclectic mix that has no limits.
The differences in the world need not cause division for we
are all linked. The differences should
be examined not from a point of superiority but to connect the dots of our
humanity.
IZU - Mise-en-scène analysis
http://www.youtube.com/watch?v=hQhpansqN1k&feature=relmfu
The Color of Paradise (Rang-e Khoda) by Majid Majidi is an Iranian film about a blind boy named Mohammed. Mohammed is the protagonist, who goes to a school for the blind in Tehran, and he is contrasted sharply with his father, whose values spiral downwards as he seeks to take a wife at the expense of eradicating any indication of having a blind son.
There were so many great sequences
to choose from in the film for this mise-en-scène blogpost, but I selected a
clip that perfectly contrasts Mohammed to his father—from the beginning of “part
3 of the clip sequence” till 3:12.
The clip opens with a medium
close-up shot of Mohammed’s grandmother as Mohammed is giving her a gift. His love for the women in his family is
clearly evident as is his sensitive nature.
The shot cuts from a group shot to a MCU of each relative then to
close-up shots of the gift given by Mohammed.
The close-up is done to allow the viewer to see that Mohammed gives
thoughtful gifts of beauty though he is blind. Since he is blind, his other
senses of touch and hearing are enhanced and this is evidenced throughout the
film through enhanced sound effects which allows the viewer to be in the shoes
of Mohammed.
Mohammed is always seeking to
decipher the “language” of his environment. The scene where the grandmother and
Mohammed are walking towards the tree that he planted the previous year uses
the rule of thirds with the placement of the tree. The bond of the grandmother and
Mohammed is further elaborated through a wide shot cut of them walking through
the farm of planted grains. As Mohammed
asks his grandmother what she planted, the camera cuts to a shot of the
grandmother’s hand guiding Mohammed to “see” through the sense of touch, the
grains planted. Overall there is a sense of discovery and hope with Mohammed.
From Mohammed there is a cut to a
high angle, extreme long shot of Mohammed’s father shaving at a river. The distance from this character is
significant as it translates to the viewer not knowing and/or understanding
this complexly flawed, but forgivable character. While preparing for shaving at the river the
shots change from ELS to medium close-up, to extreme close-up. The extreme close-up coincides with the
father hearing an ominous sound and nicking himself with the razor blade. The sound is only heard by him as evidenced
by the juxtaposed shot of the horse that stands calmly by the riverbed. The ECU of the father’s image in the broken
mirror also serves as an omen of negative things to come in the film.
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