I was reading Murch’s writings last night. It seems to me that the theme of these three chapters are quite unified and clear — rhythm. By linking my reading experience with my own life experiences, I guess there are much more to say about the importance of rhythm in our lives.

That brings me back to one of the central responsibilities of the editor, which is to establish an interesting, coherent rhythm of emotion and thought — on the tiniest and the largest scales — that allows the audience to trust, to give themselves to the film.

This is quoted from the last paragraph of our reading, and it makes so much sense to me. The right rhythm should not only be critical in film making, but also in people’s daily life. I mean, the right rhythm of living. I can clearly feel that I have finally got the right rhythm of living now.  Last semester was not for me, because I’m not the person who can handle a lot of things at once, switching to this and switching to that smoothly. My living rhythm is much slower than most of the people around me. Even I have already known this for a long time, I refused to acknowledge. If others can do this, then why I can’t? But everybody has his/her own rhythm. Taking the rhythm of film and the rhythm of audiences watching the film as an analogy, each person has an inner rhythm and an outer rhythm. The inner one can only be sensed by yourself, and it can be presented in the forms of moods, emotions, or intuition. Sometimes we can just simple feel it or sense it from within. Outer rhythm can be measured by something outside, such as the quality of sleep, the amount of work you do everyday, and perhaps how many parties you join each week. It is easy to see that the outer rhythm usually depends on something else other than yourself. For example, homework deadlines. However, if the outer rhythm and the inner rhythm are not on the same frequency, then people might feel not right, and this is exactly how I felt in the past semester. I know I should slow down, but the reality just doesn’t allow me to do so. Just as the rhythm of the film and the rhythm of audiences. These two should match each other.

I think about the outer rhythm. I guess that’s where I can change, not the inner one, but the outer one. (It’s only for me. I totally agree that someone can change his/her inner rhythm, but I cannot.) Technology must have something to do with this, especially ubiquitous design. If we stay in an environment embedded with technology, then my outer rhythm is potential determined by the technology around me. Also, experience design. I must interact and experience the design in order to use it. Here the interaction between technology and me generates a dialogue, and of course, a dialogue has its rhythm, and this rhythm will affect my rhythm. It is really difficult to design “the right rhythm” for user, but shouldn’t we at least take a try? If user experience should really be considered as “an experience” followed by “another experience”, then what about the rhythm of these experience series? I don’t have answer for these questions, but I can see they start to matter more as technology has become an inseparable part of our lives.

Advertisements