A Quote by W. J. T. Mitchell
I think its a fundamental feature of images that they move from one medium to another. And this has become hyper-evident in our time with the computer, which is a kind of master-medium also and allows us to transfer data of all kinds from one platform to another, turning sounds into sights or language into image. The computer has made something that is very old evident in a new way.
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I'm very pessimistic about adaptations from one medium to another. I've got a very kind of primitive, Puritan view of it. I tend to think that if something was derived for one medium, then there's no real immediate reason to think that it's necessarily going to be as good or better if adapted into another one. There have been very good stage plays that have made some very good films. But there are not so many differences between the theater and the cinema as there are between the cinema and, say, reading a book or reading a comic.
First, we want to establish the idea that a computer language is not just a way of getting a computer to perform operations but rather that it is a novel formal medium for expressing ideas about methodology. Thus, programs must be written for people to read, and only incidentally for machines to execute.
CGI means, just to be clear, creating any type of image with a computer. Basically, starting off with nothing, or with images and manipulating them. The way we did it, everything was actual photographed images. A lot of that stuff was shot through a microscope of chemical reactions, yeast growing, lots of weird things, by Peter Parks. We put it into a computer and collaged it, manipulated it. Meaning we digitally shaped it to fit with other images. But there was no computer-generated imagery at all.
And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.
I have had a hard time settling on one medium and feel like a dilettante at times, taking up one medium and then wanting to learn to work in another. At age 76, I really don't have the time to settle down to one medium when there are so many avenues to explore.
The computer offers another kind of creativity. You cannot ignore the creativity that computer technology can bring. But you need to be able to move between those two different worlds.
We switch to another language-- not our invented language or the language we've learned from our lives. As we walk further up the mountain, we speak the language of silence. This language gives us time to think and move. We can be here and elsewhere at the same time.
We think of them as mobile phones, but the personal computer, mobile phone and the Internet are merging into some new medium like the personal computer in the 1980s or the Internet in the 1990s.
Every time you turn on your new car, you're turning on 20 microprocessors. Every time you use an ATM, you're using a computer. Every time I use a settop box or game machine, I'm using a computer. The only computer you don't know how to work is your Microsoft computer, right?
I do not pretend to know precisely what is on foot there; but I think it pretty evident that there is a very free communication between that country and this body, and unless I am greatly mistaken, I see the dwarfish medium by which that communication is kept up.
We also have the option of scanning in an image from outside the computer... a photo, or a sketch done with traditional tools; and we can then paint, manipulate, process, change, and further develop the image within the computer, watching our progress on the monitor.
Now, the language that had grown up and formed itself on those principles is what one is dealing with, and the problem is to bring a work of art in that medium into another medium formed on different principles and heard and understood in a different way.
In view of all the deadly computer viruses that have been spreading lately, Weekend Update would like to remind you: when you link up to another computer, you're linking up to every computer that that computer has ever linked up to.
Variety is very, very good. Going from medium to medium, if you get the chance to do it, from theater to television to film, which are all distinctly different, keeps me sharp. What works in one doesn't work in the other, and you have to be looking for the truth of the performance, whatever way that medium might demand.
In trusting, we let ourselves go. We know that all kinds of unexpected events may come our way. Our tension eases, our mind and our hearts open spontaneously to be possibilities. It is an ever new state of mind, in the present moment, because we have detached from all we know. But it is also a feeling as old as can be, because, before all betrayals and all disappointments, there was a time in which trusting another was the very substance of our life.
If you view computer designers as artists, they're really into more of an art form that can be mass-produced, like records, or like prints, than they are into fine arts. They want something where they can express themselves to a large number of people through their medium, and their medium is technology and manufacturing.
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