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+ About evilSpins ...
++ "The idea of the name comes from Anton Newcombe, who defines music as something that must remain independent, + hence his quote "keep music evil", from which 'evil' and 'spins' refer to music as an object that turns (cassette, + vinyl, CD...), music is a living object in perpetual motion and it's 'evil' / independent / unmanageable because + it makes you dance, it takes the listener without even realizing it. ++
+ + Each compilation is the original soundtrack of a non-existent film. It must leave room for imagination and + reflection. + A compilation tries to produce the effect of a film, to provoke imagination. + It's an opportunity to decontextualize forgotten, outdated, or unconsciously caricatured musical genres + (bluegrass, + punk, folk, hip-hop...) or simply to discover new genres. + Approach music without thinking about the stylistic references of the piece, like in a film. ++
+ + A compilation can therefore offer several readings, + - a panel of characters, + - several versions (short, long like a director's cut, side A/B (side B could be a parallel version with the same + artists in the same order but with different titles very close)) + - several possible reading modes (mode 1: only the mixed sound and artworks (only play/pause is available), + mode 2: portraits and names of the protagonists, anecdotes, quotes, and web links (possibility to go to the + next/previous track and to 'seek')) + - an artwork (square format (vinyl) or 16/9 + black band (cinema)) - vocal samples to make characters speak? + (samples of artists in interviews, for example) + - a mix must follow this order: + DISCLAIMER : + : list of quintessence sound : + 5.2. accessible but instrumental + 6.4. more researched and instrumental + 7.6. more rhythmic instrumental + 8. rhythmic sung + 9. rhythmic instrumental + 10.10. Instrumental + 11.12. bluegrass final Evils spins from the idea that music needs the imagination of its listener. ++
+ + Design: timeline of the player like the itinerary of a journey on a map OR like a display board at a train + station/airport "A problem created cannot be solved by thinking in the same way it was created." "God only depends + on the imagination of men" Drawing situations where you meet someone you think you know well but who doesn't have + the same vision of things as you. Example: discussion about music and completely divergent points of view, (Nick + Waterhouse = completely inaccessible jazz) Going to see local labels inventing a religion and therefore a god, is + only a way to personify one's conscience. The projects converge on the concept of a "cyber residence of artists" + drawing a face to one's morality. Dreams are nightmares, nightmares are dreams. Starting from reflections on the + use + of new technologies; questioning one's use of the internet on one's computer, phone, etc., allows one to wonder + what? when? why do I need the internet, to watch a movie, to listen to music... In my case, the answers to these + questions propose a use that mixes tools and methods from different eras. TOOLS & METHODS FROM DIFFERENT + ERAS/CONTEXTS Just like in the film 'La fille du 14 juillet', it can be very interesting to play on the contrasts + between different eras by mixing them in the same visual and sound realization. Idea of realization graphic novel + or + comic book: Observation: with the revolution of the internet and new technologies, cinema has become a major art + that everyone masters more or less. The public's gaze is sharpened and everyone knows how to apprehend + cinematographic realization. The plans, camera movements, sound effects are a language that everyone knows how to + read (cinema is carried by all through downloading & streaming) ... and even write (I can make a film with my + phone, + reflex cameras have become affordable). How to draw cinema? Try to take key scenes from cinema, draw/paint them + and + animate them. fixed plan? traveling? zoom? panoramic? plunge? counter-plunge? wide-angle? long focal? work on the + Wikipedia of 'film noir' re-watch film noir link with the polar noir? film noir has a pretentious approach at + first + glance. so we need to find a technique (visual? sound?) to disarm this bad image. to do this we need to start by + isolating and understanding the possible pretentious aspect of film noir. ++
+ + The solitude of the character? The + voice-overs that narrate the thoughts? The appearance of the protagonist? The cliché (visual & script) of the + polar + noir too worn out? (the detective alone in his thoughts, in his apartment smoking a cigarette on the balcony) the + cigarette can still be a more powerful visual element than a cliché transition with animation of the cigarette? + cigarette = huge filmographic symbol == we find it in most films especially in the era of film noir == commercial + influence tool == influence of American culture (cowboy), == symbol of the ephemeral, like life, like the + characters + of a film, like a film. the 2 mega clichés: Nicholson/Polansky in Chinatown & Ridley Scott in Blade Runner How to + integrate the cigarette? = 3D animation? (often ugly, technically very difficult, aesthetically difficult) = + hand-drawn animation? (long... very long to do but good pretext to train) = vector-drawn animation? (technically + moderately difficult but aesthetically difficult) = film excerpts? (technically easy & aesthetically very easy BUT + not really creation (montage), and illegal... to check) = animation of the spin (film zoom in Cassette, CD, Vinyl, + the plates of a hard drive (joke -> why not make a montage effect), find an equivalent for digital (server bays, + server fan? (joke))) why not call the box to meet at Slift to turn it properly and start a collaboration? + otherwise, + a lot of material to Bellecours photo + ... Fnac? no, much more interesting to go through a collaboration. Take + out + the rushes of films. ++
+ + + The thinking of Jack Nicholson in Chinatown No visual drawing during the reading of the piece, + only why not the log / cover / artwork of the album the reading should not look like a PowerPoint, the + counter-example is everywhere on YouTube. On the other hand, a drawn and animated artwork in parallax why not. See + 3D js cover -> at the mouse movement: preview with animation -> At the click fade of the box zoom on the cover the + animation is no longer manual but automatic (linear movement? random?) after the cigarette... the smoke... too + cliché? possible but the smoke can make a transition between 2 listens / animations. the listening ends the smoke + arrives brings us to the cigarette which brings us to a protagonist who brings us to a film excerpt. why + evilspins? + The spin obviously refers to the movement of music both by its format (cassette, vinyl, CD) and by its effect + (membrane, air movement, dance) possible sound effect: end of the piece Purple Mercy - Purple -> the end of the + piece ends with an abrupt snare with a subtle reverb -> effect felt: conclusion on an impression of grand space -> + effect analyzed / symbolic: grandeur of the proposal but above all empty room -> no public -> therefore call to + the + public -> idea expressible: maybe too pretentious again. film noir has a pretentious image at first glance. we + need + to find a technique (visual? sound?) to disarm this bad image. to do this we need to start by isolating and + understanding the possible pretentious aspect of film noir. The solitude of the character? The voice-overs that + narrate the thoughts? The appearance of the protagonist? The cliché (visual & script) of the polar noir too worn + out? (the detective alone in his thoughts, in his apartment smoking a cigarette on the balcony)" ++
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