See no evil 

3 People 

Animal Encyclopaedia: Humans 

Chimpanzee skull on human skeleton

Booth Museum of Natural History

Along with the Svankmajer exhibition, on the 18th November, i visited the Booth Museum of Natural History in Brighton. The Booth museum is the personal collection of taxidermy collected by Edward Booth in the late 1800's. On his death, as he had no heirs, Booth gave his collection (the museum) to the peoples of Brighton and Hove. His collection includes that of birds, butterflies, fossils and skeletons, the museum even has a nearly complete skeleton of the extinct prehistoric dodo bird.What i loved about this museum, even if it did seem a tad cruel, was the fact that i could see the real minute details of the birds and butterflies that are near impossible to see in everyday. Booths collection of butterflies was especially great, filling close to three whole rooms. Before visiting the museum i did not think it possible for there to even be that many types of butterflies, and their beauty was so incredible! it really made me marvel at how beautifully fascinating and amazing the creation of life really is.

There was also one other thing that impressed me ever so. This was the museums collection of aninmal skeletons, ranging from something as seemingly insignificant as a newt to the skull of a rhino and the bones of a killer whale. This part of the museum really really impressed me! to see the size of such animals in the flesh. But as amazing as it was this also brought me sadness. For as i viewed the skeletons they were shown alongside information cards, cards reading details such as whetehr the animals were common, rare or maybe even indangered or extict. And the reason this sadened me was that i saw so many animals were told to be endangered or extinct. On viewing the primates my girlfriend said something that struck a cord with me and still does to this day. She mentioned to me at how similar the bones of the chimpanzee and the orungutan were to the human skeleton, which was shown besides. I then got thinking as to how close we are tthe primates and how we too were one of the main blames when it came to their endangerment. On this note i then came to try and persue this argum,ent within my art, arguing on the behalf of those without voices. 

'Inner life of objects'- Jan Svakmajer

On the 18th November 2013 i went to Brighton to see Jan Svankmajers 'inner life of objects' exhibition at the Brighton university gallery. Here i saw samples of Svankmajers incredible 50 year career, from his Imaginary creations in his encyclopedia to the sets and creations from his films such as Alice. I also got the chance to watch snippets of some of his films and a large part of Alice, in which a swimming rat started to make dinner upon the gold locks of the little girl.
This exhibition was surreal. It allowed me to see up close the work of Svankmajer that i before had only seen behind a screen, it was such a pleasure. The works he created were so life like although made out of complete imagination and impossibilities. Out of everything at the exhibitoon there was one thing that hit home for me and made me start thinking in a totally new light. This was Jan Svankmajers Decalogue. I have taken the points in his Decalogue and have and continue to use for myself in life and in my own practice.
The points of the Decalogue read:

1. Remember there is only one form of ‘poetry’. The opposite of poetry is professional expertise. Before you start making a film, write a poem, paint a picture, create a collage, write a novel, essay etc. Only by cultivating your ability for universal expression will you ensure you will produce a good film.

2. Surrender to your obsessions. There is nothing better. Obsessions are the relics of childhood. And the most precious treasures come from the depths of childhood. You need to always keep the gate to your childhood open. It is not about specific memories, it’s about feelings. It’s not about consciousness, it’s about unconsciousness. Let the inner river flow freely through you. Concentrate on it but at the same time relax completely. When making your film, you need to be 24 hours submerged ‘in it’. Only then will all your obsessions, your childhood, enter your film, without you being consciously aware of it. And your film will become the triumph of ‘infantilism’. And that is what it’s all about.

3. Use animation as a magical operation. Animation isn’t about making inanimate objects move, it is about bringing them to life. Before you bring an object to life, try to understand it first. Not its utilitarian function, but its inner life. Objects, especially the old ones, were witnesses to certain happenings, people’s actions, their fortunes, which somehow marked them. People touched them in different situations, while acting under various emotions, and they imprinted onto them these different mental states. If you want to disclose some of these hidden aspects of objects through your camera, you need to listen. Sometimes even for years. First you have to become a collector, and only then a filmmaker. Bringing objects to life through animation has to be a natural process. Life has to come from within them, and not from your whim. Never violate objects! Don’t tell through them your own stories, tell theirs.

4. Keep exchanging dreams for reality and vice versa. There are no logical transitions. There is only one tiny physical act that separates dreams from reality: opening or closing of your eyes. In daydreaming even that isn’t necessary.

5. If you are trying to decide what is more important trust the experience of the eye or the experience of the body; always trust the body, because touch is an older sense than sight and its experience is more fundamental. Apart from that, in our contemporary audiovisual civilization, the eye is rather tired and ‘spoilt’. The experience of the body is more authentic, uninhabited by aestheticisation. But be aware of synaesthesis.

6. The deeper you enter into the fantastic story the more realistic you need to be in the detail. At that point you need fully to rely on your experience of dreams. Don’t worry about being ‘boringly descriptive’, pedantically obsessive about an ‘unimportant detail’, documentaristic. You need to convince the viewers that everything they are seeing in your film concerns them, that it is a part of their world too, and they are submerged in it to their ears, without realising it. You need to convince them about that, through all the tricks you possess.

7. Imagination is subversive, because it puts the possible against the real. That’s why you should always use your wildest imagination. Imagination is the biggest gift humanity has received. Imagination makes people human, not work. Imagination, imagination, imagination...

8. Always pick themes that you feel ambivalent about. This ambivalence has to be strong (deep) enough so you can walk on its edge and not fall to either side or even both at the same time. Only by doing that will you be able to avoid the biggest sin: film à la these.

9. Cultivate your creativity as a form of self-therapy. Such an anti-aesthetic attitude brings creativity closer towards the gates to freedom. If there is any purpose at all in creativity it is that it liberates us. No film (painting, poem) can liberate a viewer unless it didn’t liberate its author first. Everything else is a question of ‘common subjectivity’. Creativity as a process of permanently liberating people.

10. Always put the continuity of your inner vision or psychological automatism before an idea. An idea, even the greatest one, shouldn’t ever be a sole motivation for wanting to make a film. The creative process doesn’t mean stumbling from one idea to the next. An idea becomes a part of a creative process only when you have found the theme that you want to express and you fully understand it. Only then will the right ideas emerge. An idea is a part of creative process, not an impulse for suddenly becoming creative. Never work, always improvise. Script is important for a producer, not for you. It’s a non-binding document you should only return to when your imagination lets you down.

Although I have formulated this Decalogue on paper it doesn’t mean I consciously refer to it. These rules somehow emerged through my work, they didn’t precede it. Anyway, all the rules are there to be broken (not avoided). But there is one rule which, if broken (or even avoided), becomes destructive to the artist: Never subordinate your personal creativity to anything but freedom.

My drawing of Svankmajers puppet from
'Little Otik' 2000 

Pages from my sketchbook. I was inspired by Svankmajers
Exhibition to create my own make belief animal. 

A day out in London: Flipagram video

A few days ago I downloaded Flipagram on my iPhone. Flipagram is an app in which you can put together a series of photos to collectively make a slideshow or miniature film. What I like about the app is that you can too add music of your own choice, choose where the film starts in respect to your music and also how long each photo is shown for. On downloading this from the app store I thought it a good idea to put together a film of a couple of my days out, one of which my day out in London. So... here it is. Sorry about the quality, it didn't transfer from phone to computer very well. The video shows Topshop, Hamleys, and the Apollo Victoria Theatre where I saw Wicked the musical.