Friday, May 14, 2021

Israël/ Gaza


 

Israël/ Gaza


 

A history of the Middle East - Robert Kaplan


 

Fear of civil war in Israël and the Palestinian Territories / Peur d’une guerre civile en Israël et dans les territoires palestiniens


 

Noteworthy

 Nouveau poème par Denis Samson

Exiting Gluttony

 


Le conflit Israël/ Gaza et ses ramifications potentiels pour la France


 

A history of the Middle East - geopolitics

 


Israël/ Gaza 1


 

Saturday, April 24, 2021

Cherry tree with blossoms (early spring)


 

Naebang Station, Seoul/ 내방역 서울 — Sony a6400 camera test


 #Sony_a6400 #Sony_a6400_video_test #50_mm_Sony_prime_lens

Shot at Naebang Sagori in Seoul with an a6400 and 50 mm lens. The a6400 is APS-C, therefore the focal length is equivalent to approximately 75 mm.

What kind of camera?


 

Any thoughts on what sort of camera (eg., mirrorless, etc.) was used to take this picture?


Quel espèce de caméra était utilisé pour prendre ce photo ?

Best camera for its price 2


 

Best camera for its price 1


 

Friday, April 23, 2021

Naebang Station, Seoul — Sony a6400


 #Sony_a6400 #Sony_a6400_video_test #50_mm_Sony_prime_lens

Shot at Naebang Sagori in Seoul with an a6400 and 50 mm lens. The a6400 is APS-C, therefore the focal length is equivalent to approximately 75 mm.

Sony a6400 1


 

A Temple near Gyoungju/ 경주의 가까운 절


 

Thursday, April 22, 2021

Soraepeul/ 서리풀


 

A great cafe in Seoul/ 산무퉁이 카페


 #산무퉁이 카페 #SeoulCafe #Sanmotonggi #부암동 


A brief personal video about a cafe in Seoul with a spectacular hilltop view of parts of the original city.


From my collection of ambient and authorial movies. My focus is on videopoetry; however, I work in other genres and art forms as well.


Facebook: 

https://www.facebook.com/finn.harvor


Wednesday, April 21, 2021

Seocheon, Seoul

A view from a residential neighborhood toward the mountains just behind the Presidential Palace, Chongwhadae.
 

Walking trail/ 산책 길 - summer/ 여름


 

Trees/ cameras/ YouTube

 


Above is a short shot at Soraepeul the same time as I made a brief vlog post about the speed of climate change in South Korea (link: https://youtu.be/swF7F2Wgs34 )

The short below is shot in 4K. Maximizing resolution can be done via clicking on the three vertical dots in the right hand corner of the YouTube screen. Sometimes YouTube allows playback at full resolution (2160p), sometimes the ceiling is 1080p. Either way, the visuals are improved if one chooses a higher option than the default settings. 

Shooting at 4K has pros and cons; on this camera , a Sony a6400, the sensor/processor has trouble keeping up and is very prone to rolling shutter. And for that reason I deliberately sometimes shoot in 2K because it’s a superior — or at least, less troublesome — setting for vlog-style posts. But considering how much this camera cost when I bought it two years ago and the features it comes with (very reliable audio and superb picture profiles of I’m shooting a more complicated project), I’m generally happy. I have two Nikons (d5300 and d5500) that shoot only in 2K. However, they get superb out of camera colours (the Sony is pretty good too), and I find the manual settings somewhat easier to control than on the Sony. One can now buy a d5300 body for around 300 USD; a remarkable price for a camera that is now considered passé but also has some remarkable characteristics.
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Ci-dessus une courte photo de Soraepeul en même temps que j'ai fait un bref article de vlog sur la vitesse du changement climatique en Corée du Sud (lien: https://youtu.be/swF7F2Wgs34)

 Le court-métrage ci-dessous est tourné en 4K.  L'optimisation de la résolution peut être effectuée en cliquant sur les trois points verticaux dans le coin droit de l'écran YouTube.  Parfois, YouTube permet la lecture en pleine résolution (2160p), parfois le plafond est de 1080p.  Dans tous les cas, les visuels sont améliorés si l'on choisit une option plus élevée que les paramètres par défaut.

 Le tournage en 4K a des avantages et des inconvénients;  sur cet appareil photo, un Sony a6400, le capteur / processeur a du mal à suivre et est très enclin à rouler.  Et pour cette raison, je tourne parfois délibérément en 2K parce que c'est un paramètre supérieur - ou du moins, moins gênant - pour les articles de style vlog.  Mais compte tenu du coût de cet appareil photo lorsque je l'ai acheté il y a deux ans et des fonctionnalités dont il est livré (audio très fiable et superbes profils d'image de je suis en train de photographier un projet plus compliqué), je suis généralement satisfait.  J'ai deux Nikons (d5300 et d5500) qui ne tournent qu'en 2K.  Cependant, les couleurs de l'appareil photo sont superbes (le Sony est également très bon) et je trouve les réglages manuels un peu plus faciles à contrôler que sur le Sony.  On peut maintenant acheter un corps d5300 pour environ 300 USD;  un prix remarquable pour un appareil photo qui est maintenant considéré comme dépassé mais qui possède également des caractéristiques remarquables.


Monday, April 19, 2021

Noteworthy

 Alex Good on Gerald F. Seib’s We Should Have Seen it Coming, and Trump’s exploitation of conservative paranoia about government, and his dismantling of traditional conservative decorum.

Trees and Climate Change in South Korea (4K)


 # Trees #Trees_and_Climate_Change_in_South_Korea 

The leaves are almost fully grown in some parts of Seoul -- it's a beautiful sight. But it's also a clear indication of the real-world impact that climate change is having on the seasons here in Korea. It is worth remembering that the Korean Peninsula is a temperate zone, with four distinct seasons including cold winters. But those seasons are changing on a fundamental level.

Shot in Soreapeul, April 18/21.


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From my collection of ambient and authorial movies. My focus is on videopoetry; however, I work in other genres and art forms as well.


Facebook: 

https://www.facebook.com/finn.harvor


VideoStorage:

https://www.facebook.com/groups/250816849097045/

Sunday, April 04, 2021

SelfVideoSchool 1: Tripping with my Wife in Tokyo


 This is the first video I posted on YouTube. It dates to September 2012. At that time, I was extremely green to making videos, and, well, it shows.

C'est la première vidéo que j'ai publiée sur YouTube.  Cela date de septembre 2012. À ce moment-là, j'étais extrêmement vert pour faire des vidéos et, eh bien, ça se voit.

Saturday, April 03, 2021

The birth of a new art form: the authorial videostory, part one

 


There are several prestigious film festivals that screen videopoems — or, if you prefer, poetry films. Often, these are « author-created » works, meaning that the poet also directed the movie. There is a further specifying of form insofar as some poets create what I term authorial videopoems; that is, videopoems in which one person has created ALL elements of the movie (there is even a form that might fairly be termed the authorial 4MAP videopoem in which the filmmaker/poet works in at least four major art forms: for example, writing, drawing, singing, and directing — again, working by oneself).

Why, however, do we not have entirely author-made video short stories? They exist. I know that because I’ve been making them for years. The problem, in my opinion, lies more at the heart of institutional support. There are no film festivals for short stories that are literary works made (not adapted) as movies. This is particularly true with movies made by authors. Rather, the phrase « short story » is used by filmmakers to denote a dramatic short that, with its focus on character and story arc, has some resemblance to a traditional short story. But really, these are dramatic films based on acting; they are not short movies in which a story is told. They are not storytelling in a video form in which the storyteller is also the filmmaker.

I think it’s time to change that and consciously develop some new art forms that are simultaneously literary and filmic. Above is an early example of that. It’s entitled « Loveography: From Haemi Fortress. »


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Il existe plusieurs festivals de films prestigieux qui projettent des vidéopoèmes - ou, si vous préférez, des films de poésie.  Souvent, ce sont des œuvres «créées par l'auteur», c'est-à-dire que le poète a également réalisé le film.  Il y a une autre spécification de la forme dans la mesure où certains poètes créent ce que j'appelle des vidéopoèmes d'auteur;  c'est-à-dire des vidéopoèmes dans lesquels une personne a créé TOUS les éléments du film (il existe même une forme que l'on pourrait appeler le vidéopoème auteur 4MAP dans lequel le cinéaste / poète travaille sous au moins quatre formes d'art majeures: par exemple, l'écriture,  dessiner, chanter et diriger - encore une fois, travailler par soi-même).


 Pourquoi, cependant, n’avons-nous pas de nouvelles vidéos entièrement créées par des auteurs?  Ils existent.  Je le sais parce que je les fabrique depuis des années.  Le problème, à mon avis, se situe davantage au cœur du soutien institutionnel.  Il n'y a pas de festivals de films pour les nouvelles qui sont des œuvres littéraires réalisées (non adaptées) sous forme de films.  Cela est particulièrement vrai avec les films réalisés par des auteurs.  Au contraire, l'expression «histoire courte» est utilisée par les cinéastes pour désigner un court métrage dramatique qui, en mettant l'accent sur le personnage et l'arc de l'histoire, a une certaine ressemblance avec une histoire courte traditionnelle.  Mais en réalité, ce sont des films dramatiques basés sur le jeu d'acteur;  ce ne sont pas des courts métrages dans lesquels une histoire est racontée.  Ils ne racontent pas des histoires sous forme de vidéo dans laquelle le conteur est aussi le cinéaste.


 Je pense qu’il est temps de changer cela et de développer consciemment de nouvelles formes d’art à la fois littéraires et filmiques.  Ci-dessus est un exemple précoce de cela.  Il s’intitule «Loveography: From Haemi Fortress.  »


Noteworthy

 Urban Biology by Ian Gibbins

Weather patterns in South Korea, summer 2020


 

Weather patterns in Australia 2021 - from March 2021


 

Weather patterns 2021 - from January 2021


 

Thursday, April 01, 2021

반포 고속터미날/ Banpo Express Bus Terminal, 1970s

 


(Photographer unidentified)

This photograph shows construction of the 반포 고속터미날/ Banpo Express Bus Terminal in the 1970s. (The Shinsegae Express Terminal, now next to it, followed much later.) Note the undeveloped fields around it. Not only are these fields now filled with apartment buildings, but many of them are now on their second (or even third) generation. The pace of development in Gangnam, Seoul has not just been  staggering, it also raises environmental questions. Some initial thoughts here: https://youtu.be/TQUKN9BsnjAl

이 사진은 1970 년대 반포 고속 터미날 / 반포 고속 버스 터미널의 공사 모습입니다.  (지금 바로 옆에있는 신세계 고속 터미널이 훨씬 늦게 뒤따 랐습니다.) 주변의 미개발 분야에 주목하십시오.  이 들판은 이제 아파트 건물로 가득 차있을뿐만 아니라 많은 사람들이 이제 2 세대 (또는 심지어 3 세대)에 있습니다.  서울 강남의 발전 속도는 놀라 울뿐만 아니라 환경 문제도 제기하고 있습니다.  여기에 몇 가지 초기 생각 : https://youtu.be/TQUKN9BsnjA

Cette photographie montre la construction de la gare routière 반포 고속 터미날 / Banpo Express dans les années 1970.  (Le terminal Shinsegae Express, maintenant à côté, a suivi beaucoup plus tard.) Notez les champs non développés autour de lui.  Non seulement ces domaines sont maintenant remplis d'immeubles d'appartements, mais beaucoup d'entre eux en sont maintenant à leur deuxième (voire troisième) génération.  Le rythme de développement à Gangnam, à Séoul, n'a pas seulement été stupéfiant, il soulève également des questions environnementales.  Quelques premières réflexions ici: https://youtu.be/TQUKN9BsnjA

Tuesday, March 23, 2021

The Wargasm: On Violence Culture


 

Atlanta Shooting


 

Boulder Shooting


 

Noteworthy

 Alex Good on Peter Vronsky’s American Serial Killers:


This is a thesis Vronsky previously put forward in another serial-killer book, Sons of Cain, but while the specific connections he makes (parental traumas passed down to the next generation plus “rape culture” magazines) aren’t imaginary or wholly speculative, they still strike me as incidental. Most Boomers were spoiled rather than abused, and the mix of sex and violence in the media today are more advanced than anything in the primitive “sweats.” A counter-argument though might be made (indeed has been made) that today we’ve become inured to porn, or that Internet porn in particular has become a kind of mellowing drug for people with violent dispositions. Meaning that the serial killer epidemic might have been a kind of social trauma that we collectively had to go through in order to arrive at our current narcotized, surveillance state.

In any event, while I appreciate the boldness of the argument I think it’s also hard to generalize. Serial killers are a mixed bag. Much is made here of Ted Bundy’s iconic status as the epidemic’s poster boy, the one who would “define for us the new postmodern serial killer.” But Bundy himself strikes me as being highly atypical in most ways.

We are left to wonder whether the serial killer epidemic of 1970 – 2000 will be repeated. Are such phenomena cyclical, or was this a one-off? It’s a pressing question, as Vronsky is concerned at the potential fallout from such crises as the 2008 subprime meltdown, the war on terror, and the COVID-19 pandemic. “We are looking into the abyss of a new American Noir like the one in the 1940s but worse.” I’d agree that the potential is there, as we’ve already seen political and economic institutions straining and beginning to crack. I see the same dark moon rising that Vronsky does, but whether it will produce more of the sorts of lunatics described in these pages is harder to say. 

Korean hanok 4


 

Korean hanok 3


 

한옥/ Traditional Korean Hanok 2


 

YouTube link: https://youtu.be/1NeD-Bkf7YU

한옥/ Traditional Korean Hanok


 

Thursday, March 18, 2021

Three Tragedies, Four Seasons

 Happy that my feature-length authorial videopoem Three Tragedies, Four Seasons will get another screening. It was just selected by the Tagore International Film Festival.


Heureux que mon long métrage vidéo poétique Trois Tragédies, Four Seasons obtienne une autre projection.  Il vient d'être sélectionné par le Festival international du film de Tagore.

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Three Tragedies, Four Seasons
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Screenings:

Straight Jacket Guerrilla Film Festival 2019

Virgin Spring Film Festival 2020

Tagore Film Festival 2021

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Statement: Three Tragedies, Four Seasons is the result of three projects that came together and merged. One was from a series called World Bardo, which were short ambient pieces or videopoems, and some were about the death of my mother-in-law in the summer of 2018.

She passed away in July. It’s a sultry time of year in South Korea, and the sound of insects, the heat, and the humidity suffused everything. 

The second death was that of my brother — in January, 2013. The weather then was the opposite: frigid and spartan. My brother was fascinated by both summer and winter, especially the bleak, spectral beauty of winter. The final story is a work of fiction — also set in winter. Throughout all these pieces, wanted to capture a feeling of seasonality, and also the sense of the nature/life/death cycles that exist in the world. It’s easy to talk about cycles in an abstract way; after the death of someone you care deeply about, these sensations becomes very profound. The world, the environment, feels like it’s entering you. Intense sadness dissolves us.
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Art, text, music, direction: Finn Harvor
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Trois tragédies, quatre saisons (Three Tragedies, Four Seasons)
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À venir au Festival du film Straight Jacket Guerrilla
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Déclaration: Three Tragedies, Four Seasons est le résultat de trois projets réunis et fusionnés. L'une d'elles était tirée d'une série intitulée World Bardo, qui consistait en de courts morceaux d'ambiance ou de vidéopoèmes, et certains concernaient la mort de ma belle-mère à l'été 2018.

Elle est décédée en juillet. La Corée du Sud est une saison étouffante et le bruit des insectes, la chaleur et l’humidité ont tout envahi.

Le deuxième décès est celui de mon frère - en janvier 2013. Le temps était alors opposé: froid et spartiate. Mon frère était fasciné par l'été et l'hiver, en particulier par la beauté sombre et spectrale de l'hiver. La dernière histoire est une fiction - elle se déroule également en hiver. A travers toutes ces pièces, je voulais capturer un sentiment de saisonnalité, ainsi que le sens des cycles nature / vie / mort qui existent dans le monde. Il est facile de parler de cycles de manière abstraite; après la mort de quelqu'un qui vous tient à cœur, ces sensations deviennent très profondes. Le monde, l’environnement, a l’impression de vous pénétrer. Une intense tristesse nous dissout.
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Art, texte, musique, direction: Finn Harvor
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Early Spring in Korea/ 한국에서 봄 시작돼 일직 왔었다


 

The Troposphere is Warming


 

Sunday, March 14, 2021

Fine dust in South Korea, and its impact on the Korean-Chinese relationship


 

Fine dust pollution in Asia 3


 

Fine dust pollution in Asia 2


 

Fine dust pollution in Asia 1


 

Noteworthy

 Alex Good on David Wallace-Wells

Jean Coulombe, “Entre chien et loup.”

Project poster


 

The Business Army - a novel about a coup d'etat in the United States

 
 
Artwork from my novel about an attempt to organize a coup d'etat in Great Depression America.

Background: in 1933, a large group of World War One veterans marched on Washington to demand President Herbert Hoover release funds promised to them (their "Bonus") earlier than planned. Instead of being listened to sympathetically by the Hoover administration, they were crushed.

Excerpt: 

PART ONE
CHAPTER ONE
July 28, 1932. Washington

The sky is a high, mid-summer blue. It has a quality of vast, apparently infinite, peacefulness. Cumulus clouds—as grand as towers—float through the sky, while at ground level the white dome of the Capitol also resembles an immense, majestic cloud.

But also at ground level a demonstration is taking place. A group of World War One veterans moves down a boulevard in one direction while a small group of cavalry backed by a battalion of foot soldiers approaches from the other.

The veterans are mainly dressed in mufti: the neat but inappropriately warm wool trousers of people with only one good pair of pants to wear, white shirts with the sleeves rolled up, or worn-out, shiny jackets. Some are also dressed in doughboy uniforms. But all of them look both impoverished and determined, like a peasant army marching with ragtag determination toward the walls of a royal castle.

Then one of the cavalry's horsemen rushes forward and wades into the crowd. The crowd tries to to stand its territory but almost as quickly pulls back with instinctive fear. The horse rears up, its sweating brown flanks rippling with quivering muscle as the animal's hooves spin dangerously in the air; living clubs. Two or three in the crowd shriek. Behind them, some others call out the demonstration's rallying cry: "Bonus! Bonus!" Then the horse stomps to all fours, its rider yanks the animal's reins, and the demonstrators inch a little farther forward with cautious determination.

To one side of this scene, watching attentively, stands the figure of General Douglas MacArthur. He is impeccable attired in a cavalry uniform, freshly pressed, plumped jodhpurs, and brown riding boots glossed to a fastidious sheen. Next to MacArthur is Major Dwight Eisenhower. He is dressed in civilian clothes: light trousers, a dark jacket and incongruous straw hat. He also looks on the scene taking place attentively, but with some embarrassment. MacArthur, however, is unaware of his aide-de-camp's discomfort; his nostrils, petitely equine, flare with impatience. He calls out to the captain leading the infantry battalion: "You there. Why aren't those troops moving faster?"

The captain calls back, "Sir, they're going as fast as they safely can."

"Don't make them go 'safely.' Make them go."

The infantry advance, their long rifles down, their bayonets forward. In the crowd of demonstrators, individuals—with the bravado of the doomed brave—call out.

"Bonus! A fair bonus for the veteran now!"

"Where's Hoover's heart?"

"We fought for this country! All we're asking for is help at a time of need!"

But the infantry keeps methodically approaching, and when they encounter the first demonstrators, they implacably keep their bayonets at chest level.

A demonstrator, his voice suddenly urgent, cries at the troops, "You brutes! Can't you see there are women and children here?"

The captain leading the infantry battalion says loudly, his tone commanding and bland, "Move on, you people. Move on. Remember, you were in uniform once. Do what you're told. It's for the best."

A man in the background steps to the front of the crowd. He has the hungry, alert look of one who would be either categorized as a troublemaker or hero, depending on one's allegiances.

"The hell we'll take orders from the likes of you! You're just a pawn! Don't you feel any shame? There are veterans here who can barely feed their families! Why don't you think of justice first before you start lecturing others on their duty?"

But the troops are unmoved. And as they continue their advance, the demonstrators are forced to choose between retreat and the feeble defiance of the un-armed which, soon enough, turns to defeat.

A different officer blows a whistle sharply, and second, more aggressive battalion of cavalry move forward. Some of the soldiers, upon reaching the crowd, reverse their rifles and use their butts like truncheons.

Behind the foot soldier, also advancing, is a column of tanks. In the midst of them is the figure of George S. Patton. He surveys the crowd for a few moments. Then he says to his crews, "Charge!
 
Link to novel at Eclectica: https://www.eclectica.org/v23n2/harvor.html