It’s been mutually decided within the group that we don’t want to include any sort of specific language as a form of communication within the world because it isn’t necessary for anything to communicate in a way that would feature already on earth. We also want the idea of whoever owns the brain to be completely ambiguous so that we don’t get wound up in giving the brain owner personality and traits because they aren’t technically an inhabitant of our world (but with development, this could be delved into).
So music has become an important part of our project! It’s our chosen language for the world. I’ve mentioned already that we were really excited about the early origins of abstract animation that Yuan opened us up to as part of Design Discourse, particularly by the work of Walter Ruttman (1887-1941) who heavily incorporated music as part of his work. He produced highly experimental pieces, which played with the language of film through its lack of language, and expression through movement and sound alone.(Breaking the fourth wall of this blog for a second, I feel weird telling animators about known animators. I realise my audience is more than a bit informed on this already, so for that reason, I don’t want to go into much artist history? I’ll make explaining my understanding of this brief, it’s merely here to explain the relevance of the research for my own learning!)
Ruttman’s Lichtspiel Opus 1,2,3,4 series was considered a new phase of art, a tangent of experimentation whose predecessors were in the Futurists, Dadaists and Surrealists. “The obstacle to a direct presentation was that fine arts remain closely tied to frozen form. Music, however, as a rhythmical sequence of sound, is movement, so that these two media are mutually exclusive. This antithesis is now bridged through the moving picture of the music-painter Ruttmann.” (by Leonhard Adelt, from Berliner Tagblatt, April 21,1921)
It’s really important to us as a group to create our world to exist as an experienceable symphony. That the sheer tangible emotions of the place itself could be felt by the viewer in an emotive, connective way, but without the emotion being evoked because of any sense of nostalgic connection to our world.