dream, vision, goal, plan

September 12th, 20105:39 pm @ awolf

0


dream, vision, goal, plan

I wonder how people remember things who don’t film,
don’t photograph,
don’t tape.
Sans Soleil, Chris Marker

My dream is to articulate a space that can be inhabit by memory. A space understood as inventory and as invention. A dynamic archive where memories are shared, interchanged, and rewritten. This space, as well as memory, begins with words, with narratives that attempt to describe it, delimit it, trace it. The trace, the inscription, the need to inscribe, are the essence and material of this system. My dream is to create an experience that moves from the virtual to the actual object, exploring the ghostly transference of the real, through which objects loose their corporality and are transformed into images.

My vision is to render visible the tension between remembering and forgetting by developing a body of work that elaborates on the indexical nature of analog image: photography and film*. In particular, I want to revisit the old cinematic devices and work in different iterations of film projectors that expose the physical phenomena of image making as the register of an emanation of light and its direct relationship with the object itself, as its trace.

Because I want to approach this work as an ongoing research, there are different projects I would like to develop, but for this class my goal is to build an installation where a film projector would occupies the room, having different paths of film going around it and several lenses and light sets that would create multiple projections in the space. These multiple projections will have a dialogue between each other, and the story will have various layers that could be read in the single dimension of each screen or in the time and spatial relationship generated through the multiple images around the room.

sketch1

Preliminary plan:

There are 2 fields of work that I will develop in parallel:

  • building the projector:
    • sketching and designing
    • mock up of different film paths
    • getting the materials and taking apart old projectors.
    • building the core of the projector: setting the lenses and light bulbs.
    • building the mechanism for the film stripes. (using stepper motors, arduino, belts and pulleys for motion system)
    • testing it in space to set up each projection (this is dialogue with the editing of the film, because this stands a second nature of the cutting process made in postproduction. the film is constantly being edited by the way it is projected)
  • content/ making the film:
    • viewing of existing material; mostly found footage, home movies.
    • developing plot and storyline
    • shooting extra material
    • editing (for this part is important to take into account the display of the lenses of the projector)
    • transfer to film. because of budget and costs, I will work mostly in digital in the first part and transfer the final product to 35mm.
sketch2 sketch3
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“[The feeling that] images are indeed able to usurp reality because first of all a photograph is not only an image (as a painting is an image), an interpretation of the real; it is also a trace, something directly stenciled off the real like a footprint or a death mask. While a painting, even one that meets photographic standards of resemblance, is never more than the stating of an interpretation, a photograph is never less than the registering of an emanation (light waves reflected by objects) – a material vestige of its subject in a way that no painting can be”.

Susan Sontag, The Image World, in Visual Culture: The Reader, edited by Jessica Evans and Stuart Hall, SAGE Publications, London, 1999, p.80

*** also check the afterimage, or a very slow indexical movement of time


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