Lo Iacono
DigitalSnapshot: Momentmanipulationen von Raum, Ort und Zeit
Each time I watch this piece, even just to check that it uploaded to the site, I'm quickly transfixed and watch it through to the end - again. Lo has apparently employs some technique for 2D/3D manipulation of moving images (there's a technical document on his website, but my German's not that good). But he uses it in such an understated way that after getting a sense of what's going on technically (the first 20 or 30 seconds) I become completely engrossed with the characters and the narrative flow.
He takes a few minutes in a city park in the middle of the afternoon (is that all staged or is this just a fantastic slice of life?) and delves into it from multiple, shifting perspectives. We start to see things that exist all around us all the time, put slip past our perception because of our limited point of view. This is what Michael is talking about when he refers to aesthetics: the study of perception and the potential effectiveness of communication.
Of course we have to wonder what will come next: further deployment of a presumably laborious technique, or further delving into the exploration of reality - or both. Many artists who develop solutions for particular artistic problems go on to refine the solution without necessarily deepening our understanding of the underlying problem. (I'll only mention the multiple camera technique in the Matrix, so as not to hurt anyone else's feelings.)
Each time I watch this piece, even just to check that it uploaded to the site, I'm quickly transfixed and watch it through to the end - again. Lo has apparently employs some technique for 2D/3D manipulation of moving images (there's a technical document on his website, but my German's not that good). But he uses it in such an understated way that after getting a sense of what's going on technically (the first 20 or 30 seconds) I become completely engrossed with the characters and the narrative flow.
He takes a few minutes in a city park in the middle of the afternoon (is that all staged or is this just a fantastic slice of life?) and delves into it from multiple, shifting perspectives. We start to see things that exist all around us all the time, put slip past our perception because of our limited point of view. This is what Michael is talking about when he refers to aesthetics: the study of perception and the potential effectiveness of communication.
Of course we have to wonder what will come next: further deployment of a presumably laborious technique, or further delving into the exploration of reality - or both. Many artists who develop solutions for particular artistic problems go on to refine the solution without necessarily deepening our understanding of the underlying problem. (I'll only mention the multiple camera technique in the Matrix, so as not to hurt anyone else's feelings.)
Geoffrey Shea
posted by geoffrey
3 Comments:
interesting... camera/subject/replay interactions... surprised at quantity of camera-people!
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Now this is the kind of experience that new technology (not to mention artistic vision) can afford a viewer. This time-based experience allows the viewer to leap beyond the confines of time and space, and to browse (or be guided) into a realm of ordinary human behaviour exhibited by people pinned actively and candidly between fleeting seconds. In a sense, the viewer has the feeling of a kind of astral freedom, of being liberated from both the limitations of the physical casing and the predictability of linear cinema, and becomes an active explorer of the rich mundane.
This was a vastly enjoyable experience for me.
You seem to have captured something very pure. I watched it and kept looking for the rhythm- as if listening to music. Very nice experience. No sound. Visual music.
Thanks.
Laurie
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