Thursday, February 28, 2013

Over the river and through the woods.

Phil Garrett graciously drove me to get 4x8 ft insulation boards at Lowe's. I plan to use these as my projection surfaces. We had to duck on the way back.

I've making a montage edit of driving shots with a voice-over of me telling a story about how I crashed a car and what driving symbolizes to me in addition to the car/projections installation. I'm currently writing the (nonfiction) dialogue. More shooting. Testing hardware. Keep rolling forward.

Friday, February 22, 2013

Projection's metaphor moves deeper into our skulls.

During a whirlwind trip to New York last week (that's me with a view of Brooklyn) I saw a mother load of art and shot a ton of video on the way there and back. I'm still experimenting with different cameras and shooting techniques. Hope to get a mount on the outside of the car next week.

Today I met with my mentor/adviser for this semester and we did some projection tests to see what type of surface I will want to install in the space. Shiny white won over fabric, paper, and matte white.

I read a fascinating article written by Donna K. in Filmmaker magazine. She writes about Neurocinematics; how the film projector mimics the mechanism of the human eye, and the digital projector goes farther by mimicking the electrical impulses of our brains. Fascinating stuff, as I proceed with this project full of projections in a "post-cinema" experience.

Monday, February 11, 2013

Strange highways of human experience.

I've been exploring a book of Mell Kilpatrick's work, Car Crashes and Other Sad Stories, thanks to the suggestion from Chase Bowman. Kilpatrick has been dubbed "the Weegee of the West." He had been a movie projectionist in the mid-1940's in California; when he began photographing highway fatalities his photos had a noirish chiaroscuro that lends a cinematic remove to ghastly images of dead bodies.

This accessing of the sublime inherent in automobiles - in the sense of recognizing the large destructive powers of our safe everyday machines - gets at the unknowable darkness I want in my work this semester.

This week I will drive from Columbus to New York City. I plan to shoot video footage along the way, amassing a collection of different moving landscapes. On the way back, I will stop in Centralia, Pennsylvania. A deserted town, Centralia was declared eminent domain by the government in 1992, the result of an underground mine fire burning since 1962. The roads have cracked open; the fire is expected to burn for over 200 years. I will record video of this shattering asphalt to use in my projections and short film.

Saturday, February 2, 2013

I am the passenger.

Thoughts on driving, riding, and running away.

From Michelangelo Antonioni's The Passenger.
What are you running away from? Turn your back to the front seat.

Iggy Pop and The Stooges "The Passenger."
I am the passenger. I stay under glass.

Progress/process report on the post-cinema installation "Always Nowhere."
I continue to amass the camera equipment I need and am consulting with Eric Homan from Cinematic Arts, who is also currently making work with the GoPro Hero2. I have met with my mentor for this semester, Phil Garrett, to show him the space I will use and discuss building materials and projector throw ratios, as well as concept. I am reading Bachelard's The Poetics of Space and continue with Baudrillard's The Illusion of the End. I will also explore Alan Lightman's Einstein's Dreams and Car Crashes and Other Sad Stories by Mell Kilpatrick
I never learned to drive. As a kid, I saw too many fatal accidents and I grew up hating the idea. Automobiles slaughter 40,000 people a year, maim a hundred thousand more, and bring out the worst in men. Any society where a natural man — the pedestrian — becomes the intruder, and an unnatural man encased in a steel shell becomes his molester, is a science fiction nightmare. -Ray Bradbury