How to Love the Bomb

Most emotions, if not every one, are triggered by a reaction to an event. And every event is essentially a balance between three things; interior subtext and text. The interior of how1 I feel affects the subtext of what I think, which in turn dictates what I say or do. All drama is built on conflict and all conflict is built on a contradiction between people thinking one thing and saying another.

Thus, my intention is to present a structure that allows me to translate any event to images at once felt, seen and heard. This will manifest itself in the development of a total narrative; an ongoing and potentially endless series of songs, scenes and garments2 that are conceived in unison, released in unison and experienced in unison. A series capable of expressing a range3 of emotions that would otherwise remain fractured under the limitations of singular exploration.

The various links4 between these three things are what give the series its character. Among them you find the difference between a static image and one that truly lives and breathes; not even the slightest detail will exist independent of an authentic relationship. It will be this fact that gives the world within this series its hold; each event its purpose. Here, the three senses we use to navigate the natural world appear as those songs, scenes and garments5 to form impressions of it’s theoretical counterpart.

So, what do a song, scene and body (to which the garment only exists in relationship) have in common? All three find definition in movement. A song6 that doesn’t move is a note, a scene7 that doesn’t move is a picture and a body8 that doesn’t move is dead. Once focused on this unifying factor, a structure of equivalency is used to assure that the experience of these things conceived and released in unison is one in which all three move towards a singular whole. To do9 this, the structure finds equivalency between the diatonic10 scale of musical harmony, the diaframic11 scale of compositional harmony and the diaformic12 scale of kinetic harmony.

All three scales are composed of seven degrees. The movement of a piece is dependent on relationships built between these degrees, the order they appear and patterns that are created when that order is altered or repeated. In regards to a song, its overall aesthetic quality is determined by how the more subtle harmonic13 movement alters or complements the melody it sits beneath.

In the scene, those seven degrees manifest as the seven primary frames14 that can be arranged and repeated to an effect that isn’t reminiscent of the song, but instead its structural equivalent. Just as the song is built on a series of chords, so is the scene built on a corresponding series of frames. And even if the words spoken around steps taken draw your attention more directly, it’s how the camera dances between intimate close ups and contextual wide shots that give it character.

In the garment, those seven degrees manifest as the seven primary movements in space15. When combined in patterns16 and altered by the use of different limbs and starting points, you gain the ability to design poses17 in a process that directly mirrors the construction of musical chords. Once I have a pose that corresponds to a degree in the song and frame in the scene, I will use a form of kinetic construction18 to drape a garment directly onto the body. Each time the three change in unison, more of the design will be draped so that each garment contains both the DNA of19 and transitions between multiple degrees. In this way, the initial sketch or design idea would only be visible when the body resumes a corresponding pose, making movement as central to your experience of the garment as it is to both the scene and song.

Once this structural union between shots, chords and garments conceived in unison are released within the context of a series whose script, melody and design are motivated by a shared narrative; an experience will be built in which every event is at once felt, seen and heard20. A series whose conception will be able to provide authentic relationships to a landscape that understands the value of narrative/branded content, but has failed to move past glorified product placement. A series whose joint release will force the consumer to judge the value of the garment in the same manner as the song and scene, building a distinction between merit and cost of production. And a series which will provide possibilities for a retail experience that moves past arbitrary cafés, to the cultivation of a space where exploring the true relationships between film, fashion and music will take president over peddling hollow cosmetics.

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Music:

Composer - Julian Ortega

Arranger - Tony Tixier


Film:

Writer - Julian Ortega

Director - Julian Ortega

Editor - Julian Ortega

Cinematographer - Maya Lusky

Sound Design - Nick Long

Producer - Jessup Deane

Garment Construction Method:

Direction - Julian Ortega

Synesthetic Method - Julian Ortega

Photography - Jessup Deane

Kinetic Garment Construction - Rickard Lindqvist


Presentation:

Web Design - Jermaine Davis

Graphic Design - Jermaine Davis

Animation/Illustration - Kylar Loya

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