Communication consists of basic units of information transferred between emitters and receivers, often functioning inside a whole structure called language that allows the formation of an unlimited multiplicity of relationships. Conscious or tacit, communication ranges from the explanation of a complex idea, to the natural reading of body conditions that manifest that an individual is up to reproduction. That natural sense of decoding, lets us automatically recognize a certain relationship between whatever two objects we put together, like how a black object relates to a white one, or a top one to the bottom, or even one to the many, constituting a primitive sense of idea, order or thought, without even a representation of the subject. Applied to Film, those kinds of relationships between forms are rhythmic relationships, and rythm is basically the essence of filmmaking, as film (same as music) is a form of art that takes place along time and in the rendition of movement, but rather precisely in the temporal distribution of connected blocks of image/movement, timed chains of tension and release that give a certain sense of mathematical relationships settling the base for an universal language, Giving these considerations , what happens when the language of film is ranslated into a computer programming language in order to emulate cinematic properties? What tensions and nuances emerge? This paper will address these issues using an arts based research project of recreating a short abstract film using entirely the popular media arts prototyping language Processing.
Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.
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