----------empyre- soft-skinned space----------------------
Yes I agree I think I'd categorise all that as a quality of all three works
in a sense being expanded (as in expanded cinema).  Jerusalem, We Are Here
and Null Island expand what would otherwise be film/video through
interaction, perhaps the most obvious and current form of expansion within
new media contexts, and while the spaces navigated are quite distinct
(photographic/3D, 'real'/'virtual', geographic/imaginary) and each very
immersive are actually navigated in ways that aren't that dissimilar.

The Toby Tatum Guide to Grottoes and Groves and Best of Luck with the Wall
(variant) expand through time I guess.  Grottoes and Groves has exactly as
you said Dale a sense of ability to access out of sequence, it almost feels
as if it could be a film constructed out of clips from a database in any
order (such as Manovich's Database Cinema) while Best of Luck forces the
viewer to use the film's control bar to jump around (not least of which is
because there are about 5 minutes of fade in due to the 6 minute film/video
being expanded to 34 hours - if I'm calculating that right the fade in was
originally less than a second).  It will be interesting to see what happens
at EMAF (viewer patience etc.) when the viewer can't use the control bar,
whether they will be patient enough to watch the film in longer sections.
I think we'd (Frédérique and myself) go further with Best of Luck though
than you've said Dale and say that all the viewer really needs of ours is
to know the film is 34 hours long and to see any clip of any duration - the
concept and message of size, length (format mimicking construction in a
sense) is all important.

On Thu, Apr 12, 2018 at 9:38 PM, Dale Hudson <dmh2...@nyu.edu> wrote:

> ----------empyre- soft-skinned space----------------------
> Thanks, Garrett, Fédérique, Toby, and Dorit, for these insights into the
> conception of your projects for FLEFF.
> One aspect of all three projects, and also Luke’s, that intrigues me is
> that they allow audiences to experience them in multiple ways rather than
> one single way.
> What I mean is that *Jerusalem, We Are Here* invites users to follow one
> of three guides through the city, selecting to read text, view videos, or
> look at images along them way. Exploring the project becomes a kind or
> archeology. It demands users to make comparisons and develop arguments
> about what they find. They can’t just wait for information to be
> interpreted for them.
> *Null Island* requires users to move through a virtual space, orienting
> and reorienting their experience of hearing and seeing within a somewhat
> fluid space. The experience is particularly disorienting at times since the
> virtual space is rendered as a map with longitudinal and latitudinal
> coordinates that typically suggest stability.
> With* Best of Luck with the Wall (variant)*, users do not necessarily
> need to watch for 34 hours without interruption, so that can watch segments
> over days or weeks — or they can dip into the video at various points,
> moving backward and forward. This very act calls attention to the ways that
> surveillance footage can be monitored by humans.
> When screened online, *The Toby Tatum Guide to Grottoes and Groves* also
> allows the option of access images out of sequence without undermining the
> integrity of the immersion within the environment, thus allowing users to
> spend more time in particular grottoes or groves, that is, produce their
> own mental spaces in the curation of their interaction with the film.
> For me, all of them moves around conventional assumptions for documentary,
> documenting, and documentation.
> Curious to know your thoughts — and please correct anything that I may
> have misunderstood.
> Best,
> Dale


Current events and soon:

Real Virtuality The Networked Art of Garrett Lynch:

A network of people who attended an exhibition and contributed to the
creation of this work

Pick up a postcard and participate at any of the following galleries:
Aksioma Institute for Contemporary Art (Ljubljana, Slovenia), Bannister
Gallery (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de
Cultura Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech
Republic), Gedok (Stuttgart, Germany), Guest Room (North Carolina, USA),
Human Ecosystems (Rome, Italy), Kunst Museum (Stuttgart, Germany),
Laboratorio Arte Alameda (Mexico City, Mexico), Le Wonder (Bagnolet,
France), MUTE (Lisbon, Portugal), NYU Art Gallery (Abu Dhabi, United Arab
Emirates), Open Signal (Portland, USA), Plymouth Arts Centre (Plymouth,
England), The Gallery at Plymouth College of Art (Plymouth, England),
Transfer Gallery (New York, USA), Upfor Gallery (Portland, USA), Watermans
(London, England), Wilhelmspalais (Stuttgart, Germany), WOWA (Riccione,
Italy), ZKM | Center for Art and Media (Karlsruhe, Germany)

Garrett Lynch: A network of people @ Galerie XY (Olomouc, Czech Republic) 9
- 13/04/2018

Best of Luck with the Wall (variant) @ European Media Art Festival, Report
- notes from reality (Osnabrueck, Germany) 18/04 - 21/05/2018
empyre forum

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