A shopping centre carpark after hours. Twilight in a forest. An example: a cold sunny afternoon in the bush, strong wind making the gumtrees roar, whisper, thrash & knock their branches together. This - not so much a distillation of this but a stepping back from it. I wanted to place the lense of the equipment & the computer in between the experience of this & shooting the video & the finished projection.
(added later) Clearer or maybe not: I'm thinking about a distruption of the connection of sound & image. Diagesis - one of those very useful definitions from film/narrative theory (well, a common usage of the term anyway - I must admit I can't remember the originator & should hit the books...).
If the image is disrupted & not 'recognisable' as standing for itself - ie. video of the trees moving in the strong wind (which is what we irrefutably hear) - the situation becomes one of sound versus image. The normally seamless support these provide for each other doesn't work anymore.
What I mean by disruption is to take the video stream & apply some mechanical change to it - say by sorting the pixels in each frame by colour. I am working at a fundamental level of the encoding (the capture & replay technology)...& exploiting this capability to open up a breach in the visual/audio perception of the audience.
This situation is limited to the presentation of this work but it falls into the Dada/Surreal tradition of dissociation. I'd argue that it also works in the tradition of exposing the means of recording & playback.
& this is what we all want: art that exposes a breach in perception & a breach in the media - not the necessity of these but the possibility.
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