Emblem for quickness

5 03 2011

While deciding on an emblem for quickness I knew that my emblem had to come from the realm of music.  The repeated mention of the narrative rhythm made me think of the rhythm and speed found within music.  As such I decided upon the drum as my emblem for quickness.  Drums can be played just as quickly as a man can run or swim but it goes beyond that.  The purpose for any rhythm section is not just to play quickly but to play in order to establish a certain sound and beat.  The drums have the ability to set the movement, timing, condition, and anything time or anything speed related.  

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Analogy for quickness

5 03 2011

I see an application of Calvino’s quickness in the simple game of “rock, paper, scissors shoot”.  The quickness, rhythm, and simplicity of the game reminds me of the story of Charlemagne Calvino mentioned so heavily.  The game leaves out the unnecessary details of why one particular symbol would beat another just as the Charlemagne’s tale avoids getting bogged down on the specifics.  As a result both examples run smoothly and are satisfying  through their remember-able nature of their flow.  Additionally the start up of the game creates a specific beat that the participants must follow in order to show their choice at the same moment.   The result is a forced speed for the narrative of the game to take place, whether fast or slow.





Graphic element of quickness

4 03 2011

The “rhythm and balance” characteristic of graphic design clearly aligns with the rhythm to be found in the narrative quickness of literature.  Rhythm, as a function of graphic design, is described as “a strong, regular, repeated pattern: the beating of drums, the patter of rain, the falling of footsteps.  Speech, music. and dance all employ rhythm to express form over time.”

The concept is scary familiar in regards to the e-lit known as “deep surface”.  The work is based off of the mechanic of free diving in which the reader must choose how far he or she descends and has to come up repeatedly for air.  As such a rhythm and flow to the readers pace is strictly enforced or else he or she will end up “dead” and have to restart.  The reader must be quick not only to discover more glimpses of the prose but to understand and decide when to retreat.  My first three attempts ended in quick death because of the difficulty in both juggling the work at hand and worrying about time spent “under”.





E-lit example of quickness

3 03 2011

I find that the e-lit “still standing” perfectly displays the values of quickness.  Due to the nature of the work the reader must stand still in order to read a glimpse of the actual text.  As such the time and rhythm of the work is in a sense dictated by this mechanic.  The reader can only read once the text gathers around his still frames shadow.  Obviously the readers normal pace and orientation is going to be effected by the restrictions and as such the quickness of the piece is also determined.





Calvino’s Quickness

3 03 2011

Quickness is a form of rhythm and understanding time and narrative time.  The main reference Calvino makes is that to a quick story about Charlemagne.  A special ring which attached Charlemagne is sited as having a special charged property that hold the action and focus of the story.  As such the ring becomes a driving force which controls the tempo and creates action.

Calvino’s emblem for quickness is the horse which can gallop slowly or quickly depends on the rhythm of its choosing.  Additionally Calvino reveals his personal model “Festina Lente”(hurry slowly) to the reader.  The form of the butterfly and the crab describe this motto.

A work I have recently encountered that invokes the concept of quickness is the film Inception.  I am sure another student will mention this but the way in which inception works a dream inside another dream relates directly to Calvino’s point about “Scheherazade”.  Scheherazade talls a story in which someone tells a story joining stories and discontinuing time.  Likewise, Inception doesnt even attempt to hide the fact that it is doing this but rather embraces the distortion of time as a key element of the plot.





Emblem for lightness

3 03 2011

The emblem

In my opinion a proper emblem for the quality of lightness is found in the humble umbrella.  The umbrella invokes lightness from my

understanding of it because it is capable of being lifted and flight white under the influence of a breeze or the wind.

My idea for the emblem is partly inspired by the movie Mary Poppins in which the umbrella is not only able to defy gravity on its own but also carries Marry Poppins around with it.  As such I believe the umbrella, as an emblem, inspires the concept of freedom and removal of weight that Calvino speaks of.  Additionally, the umbrella as an emblem relates to the wotclock in the minimalistic approach both take.  The wotclock is elegant, clear, and for lack of a better word basic.  There is not a lot of “weight” to be found in the wotclock just as my emblem is to be simple and graspable.

Mary Poppins, light as air with the aid of her umbrella

Mary Poppins, floating lightly with the aid of her umbrella





Graphic element of lightness

2 03 2011

The graphic element that defines the wotclock is clearly the time and motion element.  Obviously the very fact that the e-lit is a clock links up with time and the movement of the work relates to motion, but the correlation goes a little bit deeper then that.

According to Lupton and Phillips “Film is a visual art.  Designers of motion graphics must think both like animators and filmmakers”.  I feel that the author of the wotclock found a way to elude some of the normal restrictions of a moving piece.  By adding an algorithm that automatically determines what appears on the screen the restrictions involved in determining the motion, change, and time of the work.

The wotclock is light because it is free from a lot of the weighty aspects of normal design which would both burden the author and the viewer.  Rather then spending time on considering the decision making process involved in creating the scene the reader can instead just appreciate what is in front of him or her for what it is.  The result is a light and free experience.