Bahar Oktay

Undefined, hard, anxious and corresponding. These words identify my point about our performance. During each rehearsal contrasts and gestures of the music give me the background of the visual interpretation of solidity and narrowness with eternal options. Under the identity of minimalism the performance itself, draws a metaphor for each act and gesture. Identifying that music from an overviewed perspective is a way of seeing the music itself as a living organism, a visual format of diversion between human and instrument. Documentation of an adaptation is the way of seeing things as an order, nearly like a command of adjustment while finding out the real motion between all the other dimensions. “The art of association is when the image is associated with things other than what the artwork itself” (Baker 36). Visibility of each stop and changeable corners of each rhyme generates the tension of vibration that leads the visual interpretation of the music. Creation of that interpretation leads the artist to an emptiness and darkness while searching the music as a whole.


“The implicit analogy between works of art and their viewers had to be undone, in the minimalist view, because the distinction between the animate and inanimate, between active, responsible beings and inert ones is an obvious first principle for an effort to see and think about the world

clearly” (Baker 1988).


Interpretation of each step needs to direct the artist to several points. Exceptions without seeing any other objection or trust towards the work itself must be acceptable by both creator and the viewers. All simple acts of visuals have to imply the performance and gestures of viewers. Relation between each cut needs to show variety of the work itself. So without any strict connection viewer needs to focus on the work by associating with his or her own acts.



Experimental way of Montage


Visualizing an experimental performance, like seeing it under neat from a river, needs a focal point. Each note, vibration and gesture of the performer generates the contrast of the visuals. Striking of visuals and the montage of those implementations creates a situated movement. Making the connection between sound and image presumably is named as synchrony. But the cognitive way of telling each abstract movement, for me is the sensitivity of the experimental film that reacts towards the montage itself with jump-cuts, dimensional focuses and transitions of each image from the point of editor. But that interpretation not only relates the editor himself but also relates to the musical gestures and their reflection towards to the audience. In a classical narrative each shot implies the character itself. Shots follow the order and the synchronization relates the visual itself. When that link loses its effect on the visual, so the order of the visual interpretation misleads the sounds itself. So visual becomes the pre-leader of the sound. In other words sound itself becomes the object/character. And for my point that’s the exact reason of why a contemporary music video includes unlinked short cut visuals. Visualizing of a music piece connects two different points. One is the dynamics of the rhythm and second is the emotional expression. Each abstract footage shows the recording of those narrations. Because the instruments direct all the gestures, interpretations and motional acts that comments the piece. “The uncentered mobility of sounds and voices exploits what exactly is most potentially radical in essayistic expression in cinema” (Corrigan 2011). The problematic part of that montage underlies the question of “What I need to discover for myself?” and at a point somewhat that question also leads another question “What is the purpose of directing that image to that rhythm?” That dependable questioning leads the actions of the visual interpreter. For me that it was a kind of subtraction of each narration that comes through me.

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The ones omitted by my view are the ones that lead the steps of the performance. So using a split-screen or multi-layering, abstraction with over layering always leads the audience to another way while watching the performance without any distraction of their direct listening. According to Michel Chion, “the voice is there to be forgotten in its materiality.”(1999) Each time artist’s statement questions that link. The true expression of visual montage never satisfies the visual reader. The significant dream of the pure connection between visual and sound always struggles under the war of dominance of one to other. Each experimental approach documents and highlights a single drop in the ocean of interpretation. So for my perspective the importance of the balanced connectivity for the visual interpreter is to find out the next drop that could starts to create a living organism in it.


Works Cited


Baker, Kenneth. Minimalism: art of circumstance. New York: Abbeville Press, 1988. Print.


Corrigan, Timothy. The Essay Film: About Portraying Expression. Oxford Press, 2011


Chion, Michel. The voice in Cinema. New York: Columbia University Press, 1999. Print.