A Quote by Fred Ritchin
The inherent non-linearity of the digital allows for more input from others, including the subject and reader as collaborators. The top-down, bedtime-style story is of limited use. A non-linear narrative that allows for increased complexity and depth, and encourages both subject and reader to have greater involvement, will eventually emerge more fully from the digital environment. This, in a sense, is the more profound democratization of media.
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I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
The narrative image has more dimensions than the painted image - literature is more complex than painting. Initially, this complexity represents a disadvantage, because the reader has to concentrate much more than when they're looking at a canvas. It gives the author, on the other hand, the opportunity to feel like a creator: they can offer their readers a world in which there's room for everyone, as every reader has their own reading and vision.
I think a play can do almost anything, because it's also a static form, much more so than in a movie. In a movie you can move the scenery, you can do anything any way. A cartoon, happens in a limited amount of space and a limited amount of time, and you can only get so many words before the reader's gonna get impatient. All of these forms that I enjoy are in a sense a slight of hand, where you have to suggest much more than you really show. You have to, in a sense, seduce the reader and trick the reader or the audience into going with you.
Film has far more color shades. It's called 'bit depth' in digital terms. And most bit depth in digital is about twelve, but film bit depth can be twenty to thirty. And so you just have more shades of yellow and red and oranges and everything.
I'm not trying to create a stand-in or avatar with whom the reader can identify, but separate, believable characters with distinct personalities; I'm trying to place the reader more in the role of observer rather than that of participant. I think this approach comes out of my own personal desire and struggle to understand our world, and the complex interactions of people with one another and their environment. My work is an improvised exploration of this complexity, as opposed to a structured, plot-driven narrative.
All of audio as we know it is an attempt to be more and more perfectly linear. Linearity means higher quality sound. Hypersonic sound is exactly the opposite: it's 100 percent based on non-linearity.
More and more in today's world, the opportunity to imagine and play with friends is compromised by the passive consumption of digital media and the limitations inherent in structured computer games.
If I can be more efficient, I'm actually being more respectful to the reader, which then implies a greater intimacy with the reader.
Digital might capture the dynamics of what I heard before it went to tape a bit more accurately, but on the other hand, when we'd switch from listening to the digital version to the analog, the change was so profound - the music would suddenly go three-dimensional, and it felt much more engaging.
There is a difference between film and digital. Because digital, you know, it's perfect and whatever. But with film, you get depth. You get subject.
The experience of reading a printed comic book will never change, but now, thanks to the digital age, there are many different ways to enjoy the same story. Digital comic books, of course, can be interactive in many different ways, allowing the reader to feel like a participant in the story.
I do believe that with more worldwide influences, the coming of the internet age and digital media, the flow of information is far greater, and people's understanding can expand more easily.
Everybody has felt at one time or another that everyone else in the world had a better shot than they did, so when you engage that, you engage the reader, and I think you create a character that brings the reader more fully into the story.
Our digital experiences are out of body. This biases us toward depersonalised behaviour in an environment where one’s identity can be a liability. But the more anonymously we engage with others, the less we experience the human repercussions of what we say and do. By resisting the temptation to engage from the apparent safety of anonymity, we remain accountable and present - and are much more likely to bring our humanity with us into the digital realm
My background is in like short form digital media, I call myself more of a digital filmmaker than anything else.
More and more, more and more digital, in particular, I think you'll see in our stores next year, as we start combining these digital products and they interface with each other, you'll see that represented in Wal-Mart.
