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Frozen Branches
Taken during the 2004 ice storm in Columbus, OH. Scanned print from 35mm film.
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3 comments:
In the beginning Bryce digitized the heavens and the earth. Now the earth was exploding and imploding, photos were over the surface of the clip, and the specter of Gore was hovering over the pictures.
Bird’s eye view
Allegory to An Inconvenient Truth
the video as an inversion
participation in the oceanic rejects the inconvenient truth
The same way portions of OutFoxxed uses technical elements in Rupert Murdoch's reporting with an opposite intent
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- Chromophobia
- If we interpret the video as a loss of color, and color may represent nature,
The implication of calling color a "something"
- drawing attention to illusory ways in which we may marginalize the "collateral damage" caused by emissions, machinery, actions
- the pixellation compels a
I’ve only seen a brief portion of Inconvenient Truth (at the Student Union), and the movie seemed unconvincing, an alarmist polemic. It left me thinking more about how Al Gore’s involvement with Hollywood represents a performative commentary/criticism on politics. What was your reaction to the
cyan magenta yellow explosion
Questions to what extent digital forums supplant printmaking, a former paradigm for disseminating information.
[I need another word for paradigm because its frequent misuse makes me project your exploding world onto the lower hemisphere of the Earth not contained on the matte, semirelief printed cover of Kuhn's "Structure of the Scientific Revolutions" as it explodes indignantly, stuffed like a goose fattened for the foie gras smeared on socialite conversations with all its indiscriminate assocations, paradigm this, paradigmatic that ... Disclaimer: This is self-critical toward how my comment itself may be seen as my attempt to stuff greasy associations down your video's elegantly silent throat.]
I could also say that the profusion of connections speaks to the flashing images that may imply simultaneity. The interspersed imagery evokes the split-second flashes in subliminal messaging made visible. I'm imagining the piece as a dissonant symphonic composition, maybe Thus Spoke Zarathustra played backwards overlaid with percussive visual intervals implying sensory spheres (literally and figuratively).
[the last image evokes both the cover of "On Human Nature" and Mondrian's early tree sketches, I was seeing the mo
the sensory moments are brawling in a rejected queue outside the worn black doorway spray, a solid color out of five hundred stenciled words, and there is a plush white VIP carpet where aloof, affected words parade flaunting their academic brand names with apocalipstick-silkscreened smiles
Ends with
What type of flower is it?
The flower, drained of its color, is rendered
simultaneity
hope in the fact that
"....he has given colour the power to overwhelm and annihilate...This turn, this description of colour as falling into a state of grace...In the Doors of Perception, Aldous Huxley describes in detail the experience of taking mescaline. The first adn most emphatic change he registers is in his experience of colour: '...there were sumptuous red surfaces swelling and expanding from bright nodes of energy that vibrated with a continuously changing, patterned life...'
The
A video frame refers to movies, societal spectacle culture
primacy - aleph - Huxley's return to
the pill of banality - freud - Spot Paintings - the desire for drugged sublimation to be less painfully aware of a potentially imminent environmental reality (reword)
“What have they done to the earth?
What have they done to our fair sister?
Ravaged and plundered
And ripped her
And bit her
Stuck her with knives
In the side of the dawn
And tied her with fences
And dragged her down
I hear a very gentle sound
With your ear down to the ground—
We want the world and we want it,
We want the world and we want it...”
- The Doors
(From Aldous Huxley's Doors of Perception, which
where are the images from?
There is one instance of a person in the video - what is he doing? I may ascribe an interpretation of the figure's form
(other word for vacillation? oscillation?)
End section: Tie in relationship to Blogging as a communicative "environment", returns to Doors (of Perception)
"...The transformation of everyday objects leads him at one point to note that 'today the percept had swallowed the concept.' Today, that is, was seeing rather than seeing-as, seeing as-if-for-the-first-time, the recovery of a lost innocence: 'I was seeing what Adam had seen on the morning of his creation - the miracle, moment by moment of naked existence.' Today, 'Visual impressions are greatly intensified and the eye recovers some of the perceptual innocence of childhood, whent he sensum was not immediately and automatically subordinated to the concept...' Huxley's Adam is innocent of concepts, innocent of self, and thus is open to the unmediated flow of perception: he is immersed in color which is Eden."
The environmental yearning towards this unsullied Eden state
The relationship between your imaginary apocalypse and the interspersed images may visually represent Huxley's description of concepts and percepts. The video presents us with concepts whose recorded disintegration encompasses the clip's projected interval. This forms a narrative line punctuated with static reminiscent moments made memorable by their contrasting perspective. For instance, we see a landscape for a split second but following its appearance, our impression of the image extends its conceptual time. Memory forms the bridge between each photographic interruption.
I'm going to go out on a limb here and draw a parallel between Wittgenstein's linguistic philosophy and your percept-moments. We observe a phenomena and our
-- constancy effect in seeing and how our color-nomenclature will normalize a fluctuating visual reality (Note: The Case of the Colorblind Painter in Anthropologist From Mars, by Olivier Sacks)
The relationship between microcosmic and macrocosmic elements in your video may allude to _____________
Doors lead singer and the drug culture in music; music as an form of perceptual 'innocence'
The deliriously inebriated path taken by some writers and musicians express the extreme poles of consciousness, returning with accounts of the experience that, as "Huxley notes, ' raises all colours to a higher power and makes the percipient aware of the inumerable fine shades of difference, to which, at ordinary times, he is completely blind.'"
(Self-reference: This comment is a worded reflection of the video and how perceptual moments flicker within the litany of concepts framed by the Doors of Perception. This comment begins with a religious spoof and proceeds to see through a lens that inflates every detail through a dogmatic view standing inside a spiritual dumpster picking up the Jesus-in-the-toast phenomenon except it is not the unburnt sections in toast but spaces between words on the page, which has to do with my toast and coil series, because I was NOT reading into Robert Smithson, and was NOT thinking about reductive spirals and was NOT measuring out the time intervals corresponding directions and the final movement of Stravinsky’s Firebird Suite is playing ten feet from me and here I cease writing. For now.)
Mmm. Spoof. The joy in silly sounding words. Fwoop. Woooos.h.h.h.f.o.ow.p.
digitally dissolved oceanic image
A good drink for the opening to the movie Inconvenient Truth: Cocktail filled in miniature plastic cylinders with the silk-screened silver-screen image of the globe filled with a mixture of Hypnotiq/Hennessey’s/Blue Curacao (Hypnotic+Hennessey creates an absinthe green and Blue Curacao is cyanide blue and the flavor is something like being stranded in a Tahitian jungle of Gaugin’s paintings wondering ‘ou venons nous’ and I cannot recall the relative weights of liquor so if Bailey’s floats, there’s a cloud lining in the silver layer) so it would be amusingly uncomfortably entropic to have to sip a packaged version of the earth’s atmosphere.
Easily done by Kodak's new waterproof picture technology. Videotaped, would be an interesting art project.
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