John Baldessari

I love finding "new" artists (new to me, definitely not the art community) that somehow managed to release work long before what they were doing was "cool" or "stylish" or important for that matter, to anyone else. There are definitely many associational elements to Baldessari's works. If the different elements on the image plane of Baldessari's artwork had a functioning brain, I don't think they would necessarily associate why they are on the same image as the other. There is a lot of mystery in his work. His uses of shapes to disguise the "people" in the work prevent the work from having a narrative as to what is going on.
The piece I chose to show doesn't necessarily make my point clear. I think I chose it because 1) I like the piece and 2) I love playing guitar. But again, there is some ambiguity in the photo, once again preventing a straight narrative. We can certainly make our own associations as to the purpose of the piece.

Robert Rauschenberg

Although technically categorized as abstract expressionism, "Estate" by Robert Rauschenberg can still be relevant in a conversation on the abstract & associational films viewed in class. Rauschenberg's juxtaposition of images on his canvas carries the same relationship as the pieces that make up the "abstract" dancer in Ballet Mechanique. There is no clear definition as to what Rauschenberg wants to say through his pieces of work. The overall theme is maintained throughout some of his pieces of work such as 'Estate," but his pieces are so often left up for interpretation. Very appropriate to the conversation, the same can be said about the abstract associational films I have recently viewed.

Abstract/Associational Forms

So far in class we have watched a number of films, many of them capable of being formally described as abstract or associational. These two forms have a number of similarities and differences. First of all neither are rhetorical in form. There is no narration involved in these types of films. There also lacks a particular order in which the images are sequenced. Both types of films (abstract and associational) contain basic objects with color, shape and size.
When someone views an abstract form film, they will not look for linked events that make a narrative or an argument. An abstract film is usually organized around visual features, in a way that is referred to as "theme and variations." "Ballet Mecanique" (a film watched in class) is an example of an abstract film that uses theme and variation, as well as rhythm. It is set up with a basic look and feel at the beginning, it keeps the same "theme" throughout the film, but there is no argument or narrative involved.
Associational films obviously share some qualities with abstract film, but at the same time they share their own unique qualities. The associational form invites interpretation. They have a general meaning behind them but the viewer can interpret it their own way. Koyaanisqatsi is an example of that. We all know its basic point is to serve as environmental commentary. It shows how the environment and society has evolved since industrialization. But, it lacks narrative therefore leaving it relatively open to specific meanings.
Ballet Mecanique being the abstract example, and Koyaanisqatsi being the associational example, are good "examples" of each type of form. A viewer will interact with these films differently (for many reasons), but they carry some similar qualities. Both lack narrative, both carry some type of rhythm. Althought Koyaanisqatsi's rhythm is often broken up and completely changed. These are good examples of their "genre" and how the two "genres" (abstract and associational) are similar and different.

William Burroughs

Burroughs as a writer, wanted to explore areas "opened by the space age." He speaks of developing a technique as "new and definte" as the techniques of physical space travel. His techniques involved moving parts of the story around, almost out of "order," as a way to get out of the bounds of basic time. This is called the "fold-in method." This is similar to the way films use flashbacks. This is very unconventional for a writing technique. The method, as stated by Burroughs, is used in music where we are moved backward and forward on the time track by repetition and the rearrangement of musical themes and ideas.

Koyaanisqatsi

(1982) A film by Godfrey Reggio.
Reggio takes his audience through different parts of the world showing them things they may have seen before but not quite in the way he shows it. He uses well thought out, massive cinematical shots involving anything from a helicopter to time lapse. The music changes throughout the film to match the feel of the video that is currently on display. The mood is contantly changing while different parts of the world are shown. He shows time lapse camera shots of city life. You see busy traffic intersections with cars moving by very fast as the music changes to something with faster rhythm. Although the shots are dramatically diverse from one clip to the next, it feels natural. The editing keeps the film flowing at a steady pace. The film has an environmental theme behind it. It contrasts time before industrialization and the present day. It shows the interaction between humans and their environment, often times in a negative light.
Overall, a beautiful film with well composed shots.