TASK In this assignment, students were asked to visualize the information contained within a given artifact. As a rule, each artifact was rich with data, which made it essential for the end product to convey complexity with meticulous clarity and organization. A viewer unfamiliar with the artifact should be able to gain a good understanding of it simply by viewing the visual explanation. The end result was required to take the form of a large, printed poster. The piece needed to be immediately interesting, as well as being meaningful upon deeper observation. The visual explanation should answer questions about the artifact as elementary as, “What is it?” and as complex as, “What does it mean?” and “What should I do with this information?” Whatever message it presented, the final piece had to be clear.
Koyaanisqatsi (Reggio, 1983)
ARTIFACT I was given the film Koyaanisqatsi, a 1983 “ecological documentary” directed by Godfrey Reggio, filmed by Ron Fricke, and with music by Philip Glass. The title is a Hopi Indian word that means “life out of balance.” Koyaanisqatsi visualizes the negative backlash that has occurred as people and nature collide. The scenes are a combination of slow motion and time lapsed shots of natural landscapes and cities. The film contains neither dialogue nor narration; the only words are a few chanted phrases in the musical score and their printed translations in the credits. The film is the first in a trilogy that depicts the hazardous relationship between humans, technology, and the environment. According to the director, the films are intended merely to “create an experience.” It is up to the viewer to interpret their meaning.
Beginning
0 title 1 pictogram/cave drawing
image red lines grow into name of movie several darkly shadowed figures standing next to a taller
music
KOYAANISQATSI: content, structure, navigation duration pan speed subject speed 0:17 0:49 slow still
"koyaanisqatsi" chant
4x
"koyaanisqatsi" chant
4x, two sets
color
nature // people
distance
red-brown
nature & people
close
location
camera movement
subject movement
camera location in relation to subject
zoom in
figure with a crown 2 rocket launch
machinery helping a rocket lift-off, debris flying, flames &
still
slow mo
red-brown/black
people
close
still still still still still still still still still still still still sped up sped up sped up sped up sped up sped up sped up sped up sped up sped up sped up sped up sped up sped up real time
red-brown red-brown red-brown red-brown red-brown/blue red-brown/blue red-brown/blue/green shadowy brown, white sky brown/green brown/green/blue brown/blue brown/blue brown rock, white smoke black/white black/white black/white tan/white/gray tan/white/gray tan/white/gray white/gray red-brown/green/gray red-brown/green/blue sky red-brown/blue sky red-brown/black red-brown/black brown/black tan/white/gray
nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature
far close close close close far far far far far far far far close close close far close close close far far close far far close close
still
still
real time
tan/white/gray
nature
close
still
still
real time
tan/white/gray
nature
close
still
sped up sped up sped up sped up sped up sped up sped up real time real time real time sped up sped up sped up slow mo slow mo sped up sped up sped up sped up sped up real time still
blue/white/gray white/gray white/gray blue/white/gray blue/white white/gray blue/white/gray blue/white/gray blue/gray blue/gray blue/white blue/white blue/white black/white black/white blue/white/gray blue/white/gray blue/white/gray blue/white/gray blue/white/gray blue/white/black green/yellow/blue
nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature nature
far far far far far far far far far far far far far far far far far far far far far far
T to B still still still still still still R to L still still still still still still still still still still still still R to L B to T
L to R R to L R to L R to L R to L L to R B to T L to R T to B L to R L to R R to L L to R T to B L to R L to R R to L T to B L to R B to T still
above above beside above beside beside below beside above above above beside beside beside beside beside above above
1:08:53 fast 1:08:34 fast
still still
green, yellow, orange, pink, white, red (stripes) blue/red-brown
nature & people nature
far close/far
B to T B to T, then zoom
still still
above above & beside
1:07:54 still 1:07:49 still 1:07:42 slow
real time real time slow
gray/white brown/white red/green/yellow/black
people people people
far far close
still still zoom out
B to T T to B L to R (barely)
beside beside in front of
smoke Organic
3 desert
dark instrumental same, but urgent same, but urgent same, but urgent same, but urgent dark instrumental dark instrumental dark instrumental dark instrumental dark instrumental dark instrumental dark instrumental dark instrumental dark instrumental dark instrumental "koyaanisqatsi" chant dark instrumental dark instrumental dark instrumental "koyaanisqatsi" chant urgent instrumental urgent instrumental urgent instrumental urgent instrumental urgent instrumental urgent instrumental "koyaanisqatsi" chant
2x
"koyaanisqatsi" chant
1x 1x, then fade
13 green mountains
transition from dark clouds to light (sunrise?) clouds in shadow, brighter clouds beyond clouds in shadow, brighter clouds beyond clouds in shadow, brighter clouds & sun beyond on top of fluffy white clouds rolling clouds in mountain basin clouds in shadow, blue sky beyond rushing waterfall gentle waves gentle waves moving clouds moving clouds moving clouds choppy waves choppy waves rolling clouds in mountain basin rolling clouds in mountain basin rolling clouds in mountain basin rolling clouds in mountain basin rolling clouds in mountain basin foggy mountain basin aerial view of lush mountains, descends to skim water of a
"koyaanisqatsi" chant bird chirps anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental anxious instrumental peaceful instrumental
14 fields 15 rocks/water
manmade lake that produces power aeriel view of rows of colorful flowers/crops close up pan of rock, then water, then rock formations in
peaceful instrumental peaceful instrumental
water exploding ground exploding cliff slowly rolling mining truck, first shot of a person, truck is
peaceful instrumental peaceful instrumental ominous instrumental
4 canyon
5 sand
6 desert mountains
7 cave
aerial view of empty desert landscape close up of rock rormation close up of rock formation close up of rock formation close up of rock formation, pan to view of sky aerial view of empty desert landscape aerial view of desert landscape with brush rock formations in shadow rock formations & desert, partly shadowed rock formations & desert, partly shadowed aerial view of partly shadowed desert canyon and river smoking rocks smoking rocks smoking rocks smoking rocks rippled sand dunes, blowing sand rippled sand dunes, blowing sand rippled sand dunes, blowing sand sand cliff, blowing sand rocky mountains with brush, swift cloud shadows rocky mountains with brush, swift cloud shadows close up of rock formation, swift cloud shadows aerial view of desert mountains being shadowed aerial view of desert mountains being shadowed close up of shadows of birds on rock smoky interior view of cave, peripheral light, birds flying smoky interior view of cave, peripheral light, birds flying smoky interior view of cave, peripheral light, birds flying
Clouds
8 clouds
9 water
10 clouds
11 water 12 clouds
Resource
16 explosions 17 truck
18 machinery
19 explosions Vessels
20 people
21 vehicles
slowly enveloped in black smoke pipe cutting through desert power lines in desert (5 scenes) aerial view of smoking power plant close ups of cooling ponds in desert close up of swinging anchor thing explosion machinery machinery crushing machinery/flames incinerator explosion explosion/mushroom cloud (NM) sleeping sunbathers with power plant beyond crowd staring at sky skyscraper with reflection of clouds runway, blurry with heat, oncoming airplane aerial views of cars on highways, with each subsequent shot
3:45 slow slow slow slow slow slow slow still still slow still still, then slow slow still still still still still still still still still still still still slow still
2x
2x
11:42 slow still still still still still still 13:31 (1:12:30) slow 1:12:10 still 1:11:59 still 1:11:48 still 1:11:32 still 1:11:26 still 1:11:14 still 1:10:59 still 1:10:35 still 1:10:19 still 1:10:13 still 1:10:07 still 1:09:59 still 1:09:52 slow 16:24 1:09:38 fast
Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe Santa Fe
Lake Powell
R to L R to L T to B L to R B to T R to L R to L still still L to R still still, then L to R zoom out still still still still still still still still still still still still zoom in still
1:07:07
urgency
abrupt end to urgency haunting/peaceful
23:01
San Onofre
zoom out still
24:06:00 26:10:00
gaining momentum
orange/red/blue/white
LAX
getting closer and closer; shifts to view oncoming traffic;
Cloudscape Pruitt Igoe
22 explosions 23 cityscape 24
25 demolition
Clouds & buildings
26 clouds over city 27 clouds & buildings
Slow people
28 people
airplane in background rainbow of parked cars military tanks air force plane/pilot (2 shots) view from an army plane over desert missile landing missile launching rocket & debris exploding unlaunched atomic bomb ("Fat Boy") military barges (e=mc2) 18 shots of various explosions/bombs/missile NYC skycrapers, time lapsed cloud shadows pan along river beside skyline shots of desolate buildings, debris, no people people on doorstep, trash in street girl eating a banana out of window neglected slide broken street lamp broken windows aerial pans of abandoned high-density residences, close ups of broken windows demolition of those same buildings (3 shots) cranes/rigs simultaneously fall bridge explodes highrise demolished skyscrapers demolished (3 shots) close up of smoke and debris smoke fades into time lapsed clouds over city reflections of clouds & blue skies on skyscrapers (4 separate, extended shots) time lapsed shot of fast moving people in a very crowded subway station
Partial data inventory model of Hiroshima bomb Napalm in Vietnam abrupt silence sounds of traffic dark instrumental
31:05:00 31:44:00 Bedford-Stuyvesant, slum "human surplus"
urgency
St. Louis
urgent vocals begin
music softens slow, minor instrumental
39:19:00
people noises
40:49:00
DATA I began the data inventory by recording what was happening in each individual scene, including the imagery, music, duration, and emotion created. I also documented information like colors, the speed of the camera, the speed of the subject, the pace of the playback, and the physical relation of the camera to the subject. The film contains over 300 scenes, which means that most of them last only seconds. My inventory became tedious very quickly, and it seemed that my end product wouldn’t require nearly so much detail. I scaled back some, recording information about chunks of scenes and entire chapters.
Whiteboard sketching
ANALYSIS With the data collected, it was essential to parse the information and draw conclusions about the film. The assignment suggested considering basic elements of the artifact, including content, structure, and navigation. Plenty of other considerations came to mind, as well. What was the main idea? What were the most essential takeaways? How could I help outsiders make sense of this non-verbal documentary? The data divided naturally between three overarching categories: image, music, and timing. In 87 minutes, using these devices, the film conveyed a number of themes, motifs, and contrasts, including: canyons water skyscrapers rockets explosions crowds highways channels of motion real v. artificial nature v. technology slow v. fast permanent v. temporary
Large-scale brainstorming
FOCUS I chose to narrow my focus to the core message of the film: life is merely a cycle of building and destroying. For all its organization and innovation, technology has thrown things out of balance; society is building in excess and experiencing magnified destruction, as a result. To represent the three primary categories of data from the film (image, music, and timing), I zeroed in on a representational element for each one. Image would be depicted with color, music depicted with a comment about the emotion it produced, and timing depicted by a visualization of the relative pace of certain scenes.
0:00:05 This is a comment about emotion. It relates to the scene above and indicates the time in the film that the scene begins.
0:00:05 This is a comment about emotion.
0:00:05 This is a comment about emotion.
00:49 A repetitive chant creates an eerie, foreboding mood.
0:00:05 This is a comment about emotion.
0:00:05 This is a comment about emotion.
13:54
17:28
03:58
7:34 The pace picks up in a montage of landscape scenes.
18:18 Humans ominously appear.
21:00
13:08
22:28
23:40
0:00:05 This is a comment about emotion.
24:06 The slowly taxiing airplane and blurry heat are haunting.
26:10
31:05
33:11
36:35
0:00:05 This is a comment about emotion.
37:45
0:00:05 This is a comment about emotion.
0:00:05 This is a comment about emotion.
39:19 Anxiety builds as clouds are reflected onto skypscrapers.
40:45
42:31 For the first time, words appear in the film.
43:56
0:00:05 This is a comment about emotion.
47:18
50:29
54:03
54:39
1:02:37
1:05:49 The urgency of the film climaxes.
0:00:05 This is a comment about emotion.
1:10:45 The aftermath of building and technology appears to be sad, vulnerable humans. The music returns to the eerieness of the film’s opening scenes.
0:00:05 This is a comment about emotion.
1:13:20
1:15:55
0:00:05 This is a comment about emotion.
1:16:40 A final commentary on where technology and society are headed. Destroyed, burning, and falling to their death.
1:20:29
First and second drafts
CONCEPT + EXECUTION The visualization is grounded by two large titles—“BUILD” at the top and “DESTROY” at the bottom. For a distant observer, these serve to attract attention and immediately express the essence of the film, without any significant visual investment. Upon closer reflection, the poster offers details about the film (title, subtitle, and credits), as well as a secondary focal point in seven lines of movie stills. These channels of imagery mimic the theme channeled motion from the film. The images are a small selection of important scenes, chosen for both their color and content. Different viewers will observe them and ask different questions of them.
Color test and full-size print at group critique
REVISIONS The colors, comments, and visual representation of the passage of time were not initially resolved. Through various iterations, a high contrast color scheme drawn from one of the iconic scenes seemed to most appropriately convey the main idea of the film. The comments were filled in to express emotion, and every image received a time stamp to demonstrate their chronological nature. A small note was added to clarify that this artifact is, indeed, “a film.� Printing a smaller color sample of the poster, as well as a full-size, black and white, preliminary print, helped to manifest some weaknesses in the visual explanation. For example, the titles were too much alike, the pace of the film still wasn’t clear, and the comments were much too large to convey the streamlined channels that were intended. It was useful to see the clarity provided by color, and it was also eye-opening to see just how large the final piece would be.
Peer feedback received at critique
FEEDBACK I received various helpful comments via a group pin-up and critique. Overall, viewers seemed to understand the main idea of the poster, and they appreciated its clarity. There were a few important tweaks suggested, though, to help polish the final version of the visual explanation. For instance, the titles should intentionally receive different treatments; while the top title bleeds beyond the bounds of the poster, it was recommended to make the smaller bottom title jagged and distorted. Similarly, the images were one of three standard sizes (to represent short, average, and long scenes), but it was suggested to treat them more individually. By scaling them according to their relative duration in the film, it would become more apparent that longer images represent long, slow scenes, while the middle lines of smaller images demonstrate the film’s increased urgency and speed.
Final printed piece
FINAL PIECE In the end, the poster seems to accomplish all of the necessary goals of the visual explanation. Its message is immediately profound—”BUILD” opposed with “DESTROY,” whatever might that mean? By virtue of displaying the data from a film, a viewer is already somewhat familiar with what he or she might encounter, which allows him or her to make the leap that the poster is likely displaying chronological information. Once the viewer is drawn in, the colors, imagery, comments, and increasing pace all help to solidify the conclusion that this film is a critique of its subject matter. The viewer gets a clear idea of Koyaanisqatsi very quickly, and then is able to make his or her own connections upon further consideration of the presented data. It is, at once, both informative and provocative.
00:49 A repetitive chant creates an eerie, foreboding mood.
03:58
17:28
13:54
18:18 Humans ominously appear.
24:06 The slowly taxiing airplane and blurry heat are haunting.
37:45
47:18
7:34 The pace picks up in a montage of landscape scenes.
21:00
26:10
50:10
50:29
40:45
54:03
23:40
33:11
36:35
42:31 For the first time, words appear in the film.
56:43
54:39
1:10:45 The aftermath of building and technology appears to be sad, vulnerable humans. The music returns to the eerieness of the film’s opening scenes.
1:16:40 A final commentary on where technology and society are headed. Destroyed, burning, and falling to their death.
22:28
31:05
39:19 Anxiety builds as clouds are reflected onto skypscrapers.
13:08
1:13:20
1:20:29
43:56
1:02:06
1:02:37
1:15:55
1:05:49 Climax of film.
Samples of typefaces and colors
Detail of titles
31:05
33:11
40:45
36:35
42:31 For the first time, words appear in the film.
54:39
Detail of images and comments
56:43
1:02:06
43:56
1:02:37
REFLECTION I was initally intrigued by the idea of extracting data from a non-traditional source of information; non-verbal films don’t seem to lend themselves to traditional visualization of statistics and data. Imagine my surprise, then, when just a few minutes into the film, I was already overwhelmed by the amount of data available to record! It was useful to focus on the essential bits—the representative pieces of the film—that would give viewers a complete sense of my artifact without actually having seen Koyaanisqatsi themselves. Obviously, one “explanation” of the film would have simply been to play all 87 minutes of it on a screen. There is something to be said, though, for this visual explanation that allows for the rapid observation of both data and a new layer of interpretation and analysis. Viewers learn something additional by reflecting on my piece, making it relevant to outsiders, as well as those familiar with the film. The main lesson of the assignment is a deeper understanding of clarity. Viewers understand the linear passage of time, particularly in the context of scenes from a movie, so the depiction of a film was already reasonably clear. Learning to accurately convey the nuances of a dramatic, opinionated perspective, however, took careful consideration. In order to provide a rich visual explanation, rather than a predictable collection of data, it was necessary to overlap layers of information, while maintaining readibility and understanding.