This project is based on the speculation that there is a hunch in the film industry that a systematic approach to cinematic notation is possible but has yet to be developed. As such, filmmakers could use a system of symbols to build a story, just like the staves and notations used by musicians. I used I Ching, or book of changes as a way to encourage the unforeseen in the editing or film process, which is breaking the filmmaking rules, and relinquishing control from the filmmaker's decision.
Ningrui Liu, AKA Akira
Aleatoric or deterministic, mystical or logical, are familiar adjectives in experimental music since the 1950s. For instance, in 1951 John Cage used an Oriental fortune teller system to create Music of Changes for piano: he consulted the I Ching to make compositional decisions. The fact that these sounds could somehow be captured by dots is remarkable. Filmmakers tested the I Ching system in their creative production too. The Godfather’s film editor, Walter Murch once mentioned his experimental use of I Ching to relate to his film.
This project is based on the speculation that there is a hunch in the film industry that a systematic approach to cinematic notation is possible but has yet to be developed. As such, filmmakers could use a system of symbols to build a story, just like the staves and notations used by musicians. I used I Ching, or book of changes as a way to encourage the unforeseen in the editing or film process, which is breaking the filmmaking rules, and relinquishing control from the filmmaker's decision.
My visual and sound outcomes are currently trying to interrogate the idea of transforming chaos into an ordered system by using I Ching’s hexagram system, and its divination process to generate the sound and the images, then combining them into sequences. in order to see what is happening between chaos and order. Is this process transforming chaos into an ordered system? Or the other way around?