Hypercompendia

Going off in thirty different directions as if playing all the players of a game for lack of friends.  Looking to the board to see the paths, they often run in parallel flight separated but by a hedge too high as in a maze.

In working with Alice, it dawned on me that part of its fascination is the movement, the ability for motion, not just in characters but in viewpoint expressed by camera angle.  This reaches out a tentacle to other projects, such as The Paths or Recycling, both of which I’ve pretty much abandoned for the time.  Recycling is, I think, a decent bit of prose and while I was proud of adding, drawing, taking pictures for the graphics and overcoming my timidity to speak into a mic, the audio, it’s nothing I’m particularly proud of as a piece of work beyond the accomplishment; the learning of the way to make a static text come alive through software.

Now something’s just occurred to me: to learn Adobe Premiere by reworking Recycling may be a good idea, but if I want to really make the piece sing, I must admit I "settled" for rather static objects and images and merely played with Photoshop and Illustrator for effects (while learning that software too, of course).  The images I made up just match the words, but not the story.  Is Jesus Christ supposed to be there or be a metaphor?  Is Earth a place, or Mars?  The only one I think I came real close to, using imagery to match the meaning is the final tunnel turned birth canal and even that’s not quite right.  The poem is about a desire, a conflict and a release.  None of these images truly display that; Earth as Earth impedes, I’m thinking now, rather than follows the flow.

So even as I learn to work with motion, I see its value in other creative areas.  This is something extra Alice teaches.