from NUSQUAM
As a methodology or workflow, questioning the authorship of a design and given tools that typically produce linear sequences after a story has been completed, the project starts with the assemblies of multiple ‘databases’. Extracting texts from Bruno’s book Streets of crocodiles and using them as input for disco diffusion. Referencing other artists’ visual composition and engaging GPT3(AI text generator) for narrative structure. The process is never linear but more a lopped design discussion between me, AI, Bruno, and other artists for their visual styles. It’s simultaneously an act of distancing from banality into a world of endless, enchanting metamorphosis.
''What, exactly’, does it mean to be 'countercultural?’
A counterculture defines itself in opposition to mainstream norms, values, and behaviours: it is a rejection and rebuke of hegemonic cultural mores.''
The project is a synthesis of pictures and poems, set in motion by the film. While referencing back to the work of Brother Quay and Jan Svankmajer in terms of stop-motion animation compositing techniques, the project will combine the live-action and the digital-made to form a hybrid image that emphasizes the tactile experience of a Mimicry and legendary psychasthenia dream. An emphasis on the image, the rejection of classical convention, and close interaction with literature, theatre, and the visual arts. The space itself becomes objective humor, humor that is neither abstract nor cynical since it springs from the depths of a reality that has turned sour.