Stating/Showing

Intimate/macro space and covered/trajectory space an exploratory installation that with projection will, through material bind the two.

An every day material such as electrical tape exists in its potential state as a sizeable object that can be experienced intimately, regardless of perspective. Furthermore when the tape is then unwound it begins to cover the space, which then transplants it into the domain of perspective, and it is at this point where the medium of presentation comes to the fore in negotiating the trajectory space.

Two different coloured tapes will be used to begin this exploration. One will unwind up to the other which begins unwound; the second then winds up after collision with the first. The frame in which the film is projected (or the composition in which the content is edited) acts as a boundary for where to tape can extend to. This boundary therefore prevents the second tape from overrunning the perceivable space and acts as a wall upon which the second tape bounces off and then begins to wind itself back into its original state, thus the cycle starts all over again as a reflection of itself.

The amount of space covered depends on the space in which the projection exists. However as the actual tape that is filmed will be present in the installation set up and it will be a prerequisite for the tape in the film to be proportionate to the tape that physically exists. The tape that physically exists is to be presented upon, (thus highlighting) the apparatus/equipment that makes the installation possible: namely the DVD player and the Digital Projector.

The film itself will be especially simple and will be played on loop as if the context is endless and the person viewing the work can enter at any point and exit at any point. The speed of the film however will be notably slow as this is needed to make reference to something that is almost still but then is moving with a willingness of momentum. This willingness of momentum I think is important as the covered space is then more strenuous. The film can be made at a good speed but then will have to be slowed down during editing.

The presentation reflects the studio?

The acquisition of a space to make the film [in mind of how this space is to be re-construction in presentation].

Does the arena in which the film is made have to reflect the very arena that the film is then to be displayed? Or does all of the changeability in perspective etc. happen within the digital editing of the film. In other words does the camera [that which films] be inversely proportional in angle to which the projector is pointed? Or, does the camera face the tape head on, and then does the digital editing account for the changing in perspective?

[within the filming process there needs to be a delicate handling of the tape in order for there to be a smooth unwinding of the tape – this smooth unwinding will also be slowed down within the actual edit of the film as a whole]

previous and simpler films have been made [see images]. Confronting different coloured backgrounds, a difference in background colour may be used in the film other than white… In the previously made films there is an intervention of the hand [that of the artist/the maker/the doer]; however in the new film that is to be made, no hand will be present. Another device will therefore have to be crafted in order to unwind the tape, to give the illusion that it is unwinding itself….

?deifitcejbo semoceb neth egaugnal
A new portion of the blogging system:

How to make language an object through typing certain things backwards?

To first of all define the word ‘Stating’ and then to show the word itself as a possible object in space by typing the definition backwards; this will then help explain the reasoning behind the work that is being made. Defining the word stating is to perhaps distinguish its meaning, linguistically, from the word showing. Then there is a certain process that deals with how the act of defining can also be an act of representing. Therefore to represent something is to define it against something else; thus the duality of the pieces that are made. The objects that are made are that of archival references to certain understandings of something, and this something is usually an in depth look at an everyday occurrence, illusion, or object.

In this situation the everyday object is the electrical tape, the occurrence is it’s unwinding and application, and the illusion is its maintaining of size. The illusion of size of course depends on an application of measurement, which necessitates a concept of proportion and perspective.

Then there comes the complexities of recording occurrence. As an occurrence is ephemeral there will be a need to film its happening. Then there comes the problem of filming, as in the very actualities of making the film. In this there are inherent problems to do with perspective and a maintaining of proportion and such inherences are then reflected of course in the very way in which the film is presented.

The way in which the film is to be presented is where the appearance of the work then becomes scrutinised: it is this scrutiny that I am interested in and how certain illusionistic capabilities can render the very simple contents of the film as non-changing in its presented environment.