The Use of Exhibition Space to Create Meaning

The way is which the space around an exhibition is composed can greatly effect the meaning of it. For example, the "Rocky" exhibition at the Tate Modern is in it's own room. You cannot see inside the room from a distance, as you have to turn a sharp corner upon entering. The room is dark, and several images are placed around the disturbing video being played (pictured below). The darkness makes the viewer entering the room go quiet, as darkness is associated with silence (like if you were to go into a cinema for example). This helps the viewer to be able to concentrate solely on the exhibition, rather than on background interference. If this exhibition were to be placed out of context, in a busy city perhaps, it would not have the same effect on the viewer. The exhibition may not even get a quick glance.

Sounds, lighting, temperature and imaging can all contribute to the effect of the exhibition. Though not needed, utilizing the space around the exhibition can greatly change the desired effect on the viewer.

Koyaanisqatsi

Koyaanisqatsi is a 1982 experimental film by director Godfrey Reggio. Koyaanisqatsi is a Hopi indian term "life out of balance".

The film is 86 minutes long and focuses on a collection of scenes from places and environments around the world. The scenes are time lapsed; slowed down and sped up to create certain effects such as calmness and busyness. There is no specific plot to the movie, but the way in which the scenes are edited together along with the soundtrack (Phillip Glass), there is a clear middle beggining and end.

There is little to no diegetic sound in Koyaanisqatsi, however the tempo of the non diegetic soundtrack is changed frequently to create a sense of contrast, awkwardness or tranquility. For example, the soundtrack does not always match the images in the frame, e.g. slow, peaceful music when a catastrophic event is happening on screen.

The main occuring concept of the film is change, and how people effect the world. Although the theme of natural flow is apparent throughout the film, we can see how, as time goes on, Koyaanisqatsi occurs. In other words, the flow still goes on, however it becomes more corrupted and chaos burden everytime the cycle happens.

Doll Face (Andy Huang)

Concept
The main concept of Andy Huang's "Doll Face" is the idea that people are heavily influenced by the media.
We first see the robot extend from within the box toward the television. Once the robot can see the television, it is bombarded by random flashing images, and cuts to a woman wearing make-up. The robot sees this woman and imitates her by also applying make up.
This could be compared to how people see celebrities on television and try to be like them. Another interesting interpretation could be how the robot is trying to be human; a lot of people try to be something they're not. That goal, however, is unattainable.
After the robot has copied the woman from the television, the television retracts further away from the robot. Again, it displays random flashing images and cuts to the same woman as before. This time, her skin is clearly toned and she is wearing more make-up. As before, the robot imitates. The television retracts again, but this time the robot cannot reach. The robot pushes all boundaries to get to where it wants to be. It fails, and breaks.

Craft
Doll face is a heavily animated piece. It is mainly, with the exception of the robot's "face" and the television images, computer generated. You can see that the person who's face is on the robot would have had to interact with non existent objects, such as the mechanical arm that inserts the robot's eyes. You can clearly see that this work would have taken a very long time to execute and get exactly right, especially the face in synchronization with the animation.

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Hello, this is my blog for Media Studies.