Fuzzy Logic's Crowdfunding Project

Crowdfunding can present a somewhat intimidating exercise - you have an idea, you ask people to invest in your vision, and you may or may not make it happen.  It’s a gamble, and while it’s not so different from any standard investment model where a vision is brokered to present to a public, there is a difference - the people who are presenting the idea might not be traditional entrepreneurs, and they have to make it up as they go along.
And so they do, and often, with success.  Crowdfunding videos in the emerging “indie” music space here in India isn’t new - Bombay based Sandunes and Delhi based The Vinyl Records have done so in the past - but what is a little different about the recent campaign launched by Fuzzy Logic for Pretty Child, the first release for his upcoming EP Foe On the Floor, is the sheer scale of the execution. 
Stop-motion is an animation technique that physically manipulates an object so that it appears to move on its own. To do this seamlessly, the animator behind the video, American artist Joey Foster Ellis needs to adhere to a 24 frame per second regimen, and therefore, a song like Pretty Child - being 4 minutes and 30 seconds - will need to be constructed with around 6,192 images. In reality though, because each frame is layered, there are upwards of 10 images in each frame.  So it’s more like 60000 images that have to be composed, framed, and shot.  That’s just the execution.  Weaving that into a narrative - which is where Joey’s skill, Arfaaz’ music, and their collaborative vision meet - is another navigation entirely.
Recently married, Arfaaz left his adopted hometown of Bombay for France about three months ago.  In speaking to him, there is a certain suggestion that the move underpins the music - or perhaps vice versa.  “[The narrative] is definitely is a commentary on the expectations of society through a simple dialogue between a parent and child.  It's a commentary on the human condition and how we have failed ourselves and the planet with our destructive ways and oppressive societies. Childhood is really the only time in our lives when we are truly our best selves, but we lose these qualities slowly and surely as we grow up in an increasingly intolerant world.  We lose our original identity and fall into pre-constructed moulds that have been devised to keep us enslaved forever by a system of greed.”  A fairly dystopic assessment to be sure, though one interestingly juxtaposed with the positive, singular nature of Joey’s animation work - check this out for an example. 
When asked whether or not video - at a point in time where the internet has shortened the timespans of our attention to 7 second Vine loops and Snapchat ephemera - is the best means to showcase the underlying narrative of the video, Arfaaz suggests that “it's a bit sad that people have to have all their senses bombarded to be able to appreciate something, but, hey, this is just how we've become.  It's definitely not easy to find collaborators when you're a starving artist with no money to pay them, but once things click with the right person, the whole process can be very challenging yet totally satisfying creatively. This crowdfunding campaign has been just that.”
Joey’s work does convey a certain delicacy when it comes to touching on memory and identity, and while, ironically, Arfaaz and Joey have yet to meet face to face, they have managed to find a common language in a certain shared transience they share.  You can support their campaign - now half way in and over half funded, on Wishberry here.
- reproduceartists

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