Music 32N Page
“The Trespassers” is a series of cinematic images and sounds that suggest the narrative of two people entering a forbidden zone in order to have a good time. There are three characters in the piece: the boy, the girl, and the mysterious hallway that transforms from an undulating, barren landscape into an electrified setting.
The piece can be divided into three distinct sections. The first section functions as the introduction and is connected with the “OPEN” sign on the door. This is contrasted with the automated dialogue ordering the viewer to “Close the door.” It is also accompanied by the image of a hallway that appears to be bouncing.
The next section manifests their liberation and can be connected with the girl shouting “RUN!” This is accompanied by the sounds of laughter and feet against the pavement to illustrate their chasing of freedom.
Finally, the piece explodes into a phantasmagoric frenzy of excited images which show their explosive liberation. The ending is specifically designed to mimic the pacing, energy, and the intense interrelationship between music and image in a popular music video. These images all circle around a recurring image of an “EXIT” sign which contrasts with the “OPEN” at the beginning of the clip. This suggests that have entered some other dimension and are now free to return back to their lives.
Featuring Raquel Shrestha and Mario Chris. Music by Zedd, “Hourglass.”
My creative process for “Nocturne” was different than the two previous pieces. I decided to capture an assortment of clips around my dorm. I knew I wanted something a little creepy and surreal so I searched for images that evoked these sensations. I ended up throwing out all clips except for the TV. For some reason, I was compelled to this clip. I was imagining that it had this malevolent soul that would surreptitiously consume its viewers. After deciding on this piece, I filmed a scene a girl that would be superimposed on the TV static.
"Nocturne" imagines the darkness that dwells when nobody is present. Things are not as they appear. Each sound has an eerie resonance while even silhouettes on the wall seem to resemble violent machinery. Ostensibly just a source of entertainment, the TV moonlights either as a portal to an alternate universe or a jail cell for a prisoner.
I leave it up to the viewer to figure out the occurrences that led to the girl’s entrapment in the screen, or even if she is even trapped as all. Perhaps she is in lucid dream state and is drifting in and out of a dream about a television. I’m not sure!
Featuring Raquel Shrestha and Nocturne Op. 9 No. 1 by Chopin.
"About That Life" is a facetious look at small talk. The piece commences with an aimless, pointless conversation between two Stanford students. Their discourse is painstakingly lethargic. They converse with lingo from our generation, the most repeated being "I’m soooo not about that life." This is a casual way of saying "I would never partake in that endeavor by my own volition."
I likened this perfunctory conversation to Edith Piaf’s “La Foule” which contains a circular progression. I looped the introductory bars to further the endless quality of the dialogue. Of course, it’s a surprise to the audience that the dialogue has been loosely tailored to fit the music. However, once it commences, the listener can easily hear the emptiness of their conversation being amplified by the underscore. There is a glaring incongruity between the theatrical, energetic score and the mundane boringness of the conversation.
The final section is after the man’s punchline “I am, but like, I don’t know if I wanna walk that far.” The music alone almost sounds like curtain call music, ironically applauding how their conversation has gone in no direction.
"About That Life" features Raquel Shrestha and Rick Flores. In addition, the audio samples "La Foule" by Edith Piaf.
"ICU2" is an animation piece that utilizes image and text. The piece consists of letters spelling out the title (abbreviating the phrase "I see you, too") that are interjected by images of swirls and arced lines. The piece attempts to explain what it means to be seen. Even though the film is just a series of animated images, the viewer still feels the sensation of being watched, as if conversing with something nonliving.
In certain frames, the text is so heavily integrated into the images that the letters become inextricable from the image. This is epitomized at the film’s conclusion when the “o” inside of the sketch doubly functions as a continuation of the abbreviated phrase as well as the pupil of an eye. Each squiggle and dash is specifically designed to evoke the visual of a hyperactive eye. The eye ball is portrayed with spirals while batting lashes are represented with rapidly appearing lines.
Rhythm plays a significantly important role in this piece. For example, the sequence in which the “u” appears amid many sets of eyes is driven by a steady, predictable pulse of appearing images. However, the rhythm is intentionally incorrect for the appearance of the “2” to make the entrance more surprising. Another instance occurs during the middle of the video when the lashes bat to a distinct 3/4 meter to mark a transition in the video.
"ICU2" Flash Animation Video