Nice.
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Anhar_Miah
Veteran
It was certainly a valid effort,
however once you have since the Honder Cog advert, its a very high benchmark, granted these individuals didn't have the same budget as Honda, but I felt it was fairly dry:
(a) This was not a seamless shot unlike Honda's which did not have any cuts at all, this leads me to think that it was not an end to end work.
(b) It used to much of the same theme -> fire, this started to get boring, in the Honda advert they used a variety of things, all executed in a 'smooth' and precision way. This in contrast felt it only barely fitted together.
Anyway nice find.
however once you have since the Honder Cog advert, its a very high benchmark, granted these individuals didn't have the same budget as Honda, but I felt it was fairly dry:
(a) This was not a seamless shot unlike Honda's which did not have any cuts at all, this leads me to think that it was not an end to end work.
(b) It used to much of the same theme -> fire, this started to get boring, in the Honda advert they used a variety of things, all executed in a 'smooth' and precision way. This in contrast felt it only barely fitted together.
Anyway nice find.
Blade Borge
Well-known member
When the morning comessss....
Anhar_Miah
Veteran
Well actually the true inspiration is probably the 'Rube Goldberg machines' Circa 1931.
The above artists never filed any lawsuit contrary to speculation.
groveChuck
U-matic Member
http://en.wikipedia.org/wiki/Peter_Fischli_&_David_Weiss
Peter Fischli ( 8 June 1952 in Zurich) and David Weiss (21 June 1946 in Zurich), often shortened to Fischli/Weiss, are an artist duo that have been collaborating since 1979. They are among the most renowned contemporary artists of Switzerland. Their best known work is the film "Der Lauf der Dinge (The Way Things Go)."
This was described by The Guardian as being "Post Apocalyptic" as it is all about chain reactions and the way in which objects fly, crash, and explode across the studio it was shot in.
For their work, they make use of a large bandwidth** of artistic forms of expression:
Film and photography, art-books, sculptures made out of different materials, and multimedia-installations. They adapt objects and situations of the everyday life and place them into an artistic context — often using humour and irony...
... 1987 „Der Lauf der Dinge“ (The Way Things Go, 16 mm, 30 minutes, color, sound, The camera follows the course of the Rube Goldberg Machine (almost)*** without any cut.
** "bandwidth" no doubt used in an ironic, artistic context, exposing the subtext of the underlying themes of... blah blah blah
*** Does "almost" count?
Peter Fischli ( 8 June 1952 in Zurich) and David Weiss (21 June 1946 in Zurich), often shortened to Fischli/Weiss, are an artist duo that have been collaborating since 1979. They are among the most renowned contemporary artists of Switzerland. Their best known work is the film "Der Lauf der Dinge (The Way Things Go)."
This was described by The Guardian as being "Post Apocalyptic" as it is all about chain reactions and the way in which objects fly, crash, and explode across the studio it was shot in.
For their work, they make use of a large bandwidth** of artistic forms of expression:
Film and photography, art-books, sculptures made out of different materials, and multimedia-installations. They adapt objects and situations of the everyday life and place them into an artistic context — often using humour and irony...
... 1987 „Der Lauf der Dinge“ (The Way Things Go, 16 mm, 30 minutes, color, sound, The camera follows the course of the Rube Goldberg Machine (almost)*** without any cut.
** "bandwidth" no doubt used in an ironic, artistic context, exposing the subtext of the underlying themes of... blah blah blah
*** Does "almost" count?
29 minutes is still pretty good.
But I don't like it. There's a point where it transitions from awesomely made project (even with some meaning behind the surface layer) and becomes a pretentious excuse for equally pretentious art critics and gallery goers to talk about what they're really saying. That point is around the twenty minute mark in this case.
But I don't like it. There's a point where it transitions from awesomely made project (even with some meaning behind the surface layer) and becomes a pretentious excuse for equally pretentious art critics and gallery goers to talk about what they're really saying. That point is around the twenty minute mark in this case.
Anhar_Miah
Veteran
Jon Starr
Veteran
I agree, this was kind of crap. Too much 'waiting' for it to burn. The two cuts on the fire got annoying and they defeat the whole purpose (unless they thought they were cleverly hiding their transitions with a cross fade on fire?).
Some interesting moments, like the boat, and the flare, but over-all... meh.
Some interesting moments, like the boat, and the flare, but over-all... meh.