A NYT article about a North Carolina professor achieving animal behavior capture through motion sensor got my attention. Scientists have been filming and recording animals in the wild for decades with remote control apparatus, however the motion sensor is a recent development.
As I embark on the new project, I considered the end result, a large projected image, and it's taking shape as an outdoor presentation. Is a motion sensor even needed?
Probably not. Motion sensors get their significance indoors for obvious reasons. Being outdoors necessarily nears something is moving.
Here I bring up the classic structural avant-guarde film, Wavelength. The 45-minute film has little motion, save for a few characters entering and exiting the film briefly in four different instances. Otherwise, it's a slow zoom toward the windows of a Bowery loft in 1967, when that side of town was decidedly raw. Years after the film was made, I was in art school up the block from there. That was the kind of place we students coveted but couldn't afford since its price had blown up a dandelion wisp of the slumming trend so loved in NYC.
The film was made by a Canadian filmmaker Michael Snow. I saw it in graduate school and loved it since, as a still photographer, it gave me the opportunity to observe the details of the film without getting wrapped up in a plot, characters or acting (movies are a difficult medium for me).
As the one beholds the room closing in, the germinating details etch themselves building the stage for the four intrusions of the characters, one of which at a point collapses dead and is discovered by others who had visited the room earlier. The film culminates with the framing of a picture of the wall of a wave in the ocean. Totally great. It's a classic.
Moving while not moving was important in SIS, and is turning into a central issue in FTS. Do memories move or are the memories precisely because they are not moving, frozen in the time space?
As I embark on the new project, I considered the end result, a large projected image, and it's taking shape as an outdoor presentation. Is a motion sensor even needed?
Probably not. Motion sensors get their significance indoors for obvious reasons. Being outdoors necessarily nears something is moving.
Here I bring up the classic structural avant-guarde film, Wavelength. The 45-minute film has little motion, save for a few characters entering and exiting the film briefly in four different instances. Otherwise, it's a slow zoom toward the windows of a Bowery loft in 1967, when that side of town was decidedly raw. Years after the film was made, I was in art school up the block from there. That was the kind of place we students coveted but couldn't afford since its price had blown up a dandelion wisp of the slumming trend so loved in NYC.The film was made by a Canadian filmmaker Michael Snow. I saw it in graduate school and loved it since, as a still photographer, it gave me the opportunity to observe the details of the film without getting wrapped up in a plot, characters or acting (movies are a difficult medium for me).
As the one beholds the room closing in, the germinating details etch themselves building the stage for the four intrusions of the characters, one of which at a point collapses dead and is discovered by others who had visited the room earlier. The film culminates with the framing of a picture of the wall of a wave in the ocean. Totally great. It's a classic.
Moving while not moving was important in SIS, and is turning into a central issue in FTS. Do memories move or are the memories precisely because they are not moving, frozen in the time space?
