Descrição
ABSTRACT
The state-of-art of moving image is to understand it became design. Terms such as rhythm, metre (metric), composition and interval are originally established terminologies of the musical language. This essay tries a brief walking through database, memory, remix (and the different meanings between in it when its on first caps lock character) - maybe a drift on audiovisual arts: a dialectic approach to film form, graphics, typography and cinema (the experimental ones, the found footage and essay-film or the sci-fi ones). In short, it is a flanerie, a strolling essay on the video aesthetics procedures in order to become a composition, in its current three movements. Or, should we say three movements forward an essay on composition? Or, maybe, could be a composition with three movements in the process of essay? Like "the collision" in Eisenstein montage theory, pathos is averse to logos. Aesthesis speaks to us on sensations, those things which reason couldn't whole (composite/ composed of) define.
KEYWORDS
Design, editing, aesthetics, motion graphics, Black Mirror.||O estado-da-arte da montagem audiovisual é compreendermos a imagem em movimento como design. Termos como ritmo, métrica, composição e intervalo são originalmente parâmetros instituídos (e operacionalizados) pela teoria e linguagem musical. Essse ensaio tenta um breve caminhar sobre banco-de-dados, memória, remix (nas suas vertentes com e sem capslock) e talvez uma deriva sobre as artes audiovisuais: dramaturgia da forma, grafismo, tipografia e cinema (experimental, de filme-ensaio, found footage ou sci-fi). Trata-se, enfim, de uma flaneurie, um perambular ensaístico sobre os modus operandi das estéticas videográficas afim de tornar-se composição, aqui em brevíssimos três movimentos. Ou, deveríamos dizer, três movimentos para um ensaio sobre composição? Ou, ainda, uma composição de três movimentos sob ensaio? Tal qual o choque na montagem eisensteiniana, a páthos é avessa ao lógos. Aesthesis nos fala sobre sensações, aquilo que a razão não consegue definir por completo (ou por complexo).
ABSTRACT
The state-of-art of moving image is to understand it became design. Terms such as rhythm, metre (metric), composition and interval are originally established terminologies of the musical language. This essay tries a brief walking through database, memory, remix (and the different meanings between in it when its on first caps lock character) - maybe a drift on audiovisual arts: a dialectic approach to film form, graphics, typography and cinema (the experimental ones, the found footage and essay-film or the sci-fi ones). In short, it is a flanerie, a strolling essay on the video aesthetics procedures in order to become a composition, in its current three movements. Or, should we say three movements forward an essay on composition? Or, maybe, could be a composition with three movements in the process of essay? Like "the collision" in Eisenstein montage theory, pathos is averse to logos. Aesthesis speaks to us on sensations, those things which reason couldn't whole (composite/ composed of) define.
KEYWORDS
Design, editing, aesthetics, motion graphics, Black Mirror.
