User:LucaO/Methods

What, How & Why

LEGACY

The project LEGACY shows everyday garbage, old furniture, garbage bags filled to the brim and whatever you can think about thrown or dumped onto the sidewalk, streets, parks and in general just all over city, no matter how big or small. The remains of a bbq dumped into nature and hang from a tree, old furniture just thrown onto the sidewalk, old newspapers, still wrapped and bound together, just sitting on a street corner left to rot - just to name some examples of the portrayed scenes shown in the project.

Through traveling to different cities around Germany and walking the streets of those cities, photographing scenes more than places, scenes you could most likely find in any city, I tried to portray the ubiquity of trash in public places. The final selection of images, a mixture of digital and analog photography using a multitude of cameras and film stocks, is shown in form of a photo book and was originally shown with an installation of the book in an exhibition. The exhibition showed the book, in an unbound form, suspended from thin wires and arranged in a grid surrounding a center piece, containing a larger framed photograph.

The project tries to show how little we as a society care about what and how we leave things behind for upcoming generations especially when it comes to public places. Most people are focused on themselves and their way through the day or through life, the bigger the city the more its about oneself most of the time. When we move around our home, our own property, we are very delicate with thrash and how we leave our space, but when it comes to public spaces no one feels responsible and nobody cares about how a place is left behind or where trash is dumped. The ubiquity of littering and trash in public places shall be looked at, actively perceived and accepted as what it is, omnipresent. It is about showing the things we want to forgot and trying to portray them in a romanticized way that makes us think about how we perceive garbage and trash in public places, when most of the time we wouldn’t even think to look at it for more than a second.

EDITED VERSION:

The project LEGACY shows trash, old furniture, garbage bags filled to the brim and whatever you can think about thrown or dumped onto the sidewalk, streets, parks and in general just all over city, no matter how big or small. The remains of a bbq dumped into nature and hang from a tree, old furniture just thrown onto the sidewalk, old newspapers, still wrapped and bound together, just sitting on a street corner left to rot - just to name some examples of the portrayed scenes shown in the project.

Through traveling to different cities around Germany and walking the streets of those cities, photographing scenes more than places, scenes you could most likely find in any city, I tried to portray the ubiquity of trash in public places. The final selection of images, a mixture of digital and analog photography using a multitude of cameras and film stocks, is shown in form of a photo book and was originally shown with an installation of the book in an exhibition. The exhibition showed the book, in an unbound form, suspended from thin wires and arranged in a grid surrounding a center piece, containing a larger framed photograph.

The project tries to show how little we as a society care about what and how we leave things behind for upcoming generations especially when it comes to public places. Most people are focused on themselves and their way through the day or through life, the bigger the city the more its about oneself most of the time. When we move around our home, our own property, we are very delicate with thrash and how we leave our space, but when it comes to public spaces no one feels responsible and nobody cares about how a place is left behind or where trash is dumped. The ubiquity of littering and trash in public places shall be looked at, actively perceived and accepted as what it is, omnipresent. It is about showing the things we want to forgot and trying to portray them in a romanticized way that makes us think about how we perceive garbage and trash in public places, when most of the time we wouldn’t even think to look at it for more than a second.

P A R A D I E S

P A R A D I E S, which literally means paradise in German, is the name of my last photographic project, a photo series portraying the town of Mannheim, through my eyes and experiences. It consists of around 50 images, showing everyday scenes around the city, images that try to portray a sense of ZEITGEIST and freedom in a world of covid-lockdowns and regulations, and is supposed to end up as a book or magazine publication.

Some of the imagery originates from having my camera, slung around my neck or packed inside a bag, with me all the times I went out and just photographing what catches my eye and makes me actually stop and turn back. The other part of the images are more on the conceptual side of going out with a plan of taking a specific or multiple photographs, more often than not scenes I drove or walked by multiple times and that got stuck inside my head and linked to some kind of feeling or image.

Trying to cope with the impact of the covid related lockdowns and regulations in Germany I tried to form and build a world in which the definition of the word paradise is as crooked as the world it tries to describe. Being unable to meet up, socialize, go on events, parties, festivals combined with being forced inside for long periods and being stripped of basic human rights in some regards really made me feel powerless and locked up inside my own head which further amplified this weird dystopian feeling I got every time I walked around out side just trying to break free.

EDITED VERSION:

 P A R A D I E S, which literally means paradise in German, is the name of my last photographic project, a photo series portraying the town of Mannheim, through my eyes and experiences. It consists of around 50 images, showing everyday scenes around the city, people sitting in small groups on a sunset filled field next to the river, an asian restaurant with closed shutters early in the morning, a tram just driving by across the bridge, a swarm of birds gliding through the cloud filled sky, images that try to portray a sense of ZEITGEIST and freedom in a world of covid-lockdowns and regulations, and is supposed to end up as a book or magazine publication.

Some of the imagery originates from having my camera, slung around my neck or packed inside a bag, with me all the times I went out and just photographing what catches my eye and makes me actually stop and turn back. The other part of the images are more on the conceptual side of going out with a plan of taking a specific or multiple photographs, more often than not scenes I drove or walked by multiple times and that got stuck inside my head and linked to some kind of feeling or image. 

Trying to cope with the impact of the covid related lockdowns and regulations in Germany I tried to form and build a world in which the definition of the word paradise is as crooked as the world it tries to describe. Being unable to meet up, socialize, go on events, parties, festivals combined with being forced inside for long periods and being stripped of basic human rights in some regards really made me feel powerless and locked up inside my own head which further amplified this weird dystopian feeling I got every time I walked around out side just trying to break free. 

do_humans_dream_of_sheep

The title of this project “do_humans_dream_of_sheep” is a play on the name of the book “do androids dream of electric sheep” and the thoughts of being programmed and stuck in a life, commanded by others and robbed off our free will by the shackles of society. It is supposed to be a short film or video essay, of about 10 minutes, following no specific fictional or non fictional story rather than following an unknown character through his life and his perception of it.

The final video is meant to be a mix of looped video recordings of everyday scenes and people going on with their life, repeating over and over, trying to convey a feeling of being stuck in a loop and in a way also in life, and video footage that portrays a distinct start and ending point, also showing everyday life and scenes but from more of a first person perspective, trying to convey freedom and the power of free will, contrasting the looped video and quite literally showing both sides of the same coin. Using different views and imagery to convey being stuck and feeling free and of free will through using the same subject matter from a different point of view. The portrayed characters are to be used as mirror images of a modern society, so it is not about who they are as an individual it is about their part in society. They are shown as being stuck in this portrayed form of reality, unable to escape their loop of going on with their lives. The whole video is meant to play out as a sequence of a mix of these looped and normal scenes, layered with environmental sound recordings and on screen text, talking about being stuck, of free will and the characters on screen.

Society, and more noticeable how it plays out in everyday life, concepts of free will and freedom as well as our part in society as an individual is where the idea for this project originated from. Wanting to play with ones self reflection on his own space and sense of freedom in our modern day society is how it came to be a video project containing looped imagery of everyday life. Contrasting it with scenes of a similar subject matter, whilst trying to convey an opposite from what the loops are meant to be conveying by trying to show the scenes from another point of view, and in this way trying to amplify that it is about what we define as freedom ourselves.

EDITED VERSION:

The title of this project “do_humans_dream_of_sheep” is a play on the name of the book “do androids dream of electric sheep” and  the thoughts of being programmed and stuck in a life, commanded by others and robbed of our free will by the shackles of society. It is supposed to be a short film or video essay, of about 10 minutes, following no specific fictional or non fictional story rather than following an unknown character through his life and his perception of it. 

The final video is meant to be a mix of looped video recordings of everyday scenes and people going on with their life, repeating over and over, trying to convey a feeling of being stuck in a loop and in a way also in life, and video footage that portrays a distinct start and ending point in itself, also showing everyday life and scenes but from more of a first person perspective, trying to convey freedom and the power of free will, contrasting the looped video and showing both sides of the same coin. An example for a looped part of the whole video would be - looking at an intersection in the early morning, lights turning green cars driving out of frame, lights turn red again, the same cars pull up to the intersection. A contrasting non looping part of the video could be - just walking down a city street at night, filled with people going on with their day, having a beer, having dinner. Using different views and imagery to convey being stuck and feeling free and of free will through using the same subject matter from a different point of view. The portrayed characters are to be used as mirror images of a modern society, so it is not about who they are as an individual it is about their part in society. They are shown as being stuck in this portrayed form of reality, unable to escape their loop of going on with their lives. The whole video is meant to play out as a sequence of a mix of these looped and normal scenes, layered with environmental sound recordings and on screen text, talking about being stuck, of free will and the characters on screen. 

Society, and more noticeable how it plays out in everyday life, concepts of free will and freedom as well as our part in society as an individual is where the idea for this project originated from. Wanting to play with ones self reflection on his own space and sense of freedom in our modern day society is how it came to be a video project containing looped imagery of everyday life. Contrasting it with scenes of a similar subject matter, whilst trying to convey an opposite from what the loops are meant to be conveying by trying to show the scenes from another point of view, and in this way trying to amplify that it is about what we define as freedom ourselves. 

INTERVIEW

Hello, would you please describe your practice in a couple of sentences?:

Most of my projects and ideas originate from me seeing something, like a little detail or how the light falls onto a scene, that keeps me attached and thinking about it. Then having a lot of these small ideas get stuck in my head and just keep developing and driving them. The ideas I can't forget and can’t keep working on are mostly the ideas I try to pursue in some way and try to get hands on with and see where it takes me. So it is often about getting started with doing stuff and figuring it out during the process of creating rather than getting hung up on perfectionism or planning and all the other small things. I often don’t know the exact outcome, form, medium or even question behind a project till I am at a certain point.

And what is it that are you making right now?:

Oh it is different from a lot of my previous work and at the same time kinda similar too. My practice in the past evolved around matters of either society or how I see and perceive society. For me it was about questions along the line of “why do we act in a certain way”, “how do the places we built effect and express us as a society?”: where with my current project it is more about the question “Where do I see myself in society?”. The outlines of the project are at the moment still very vague so take it with a grain of salt. I am asking myself questions about how we behave both as a society in general as well as a part of a society, whilst trying to incorporate personal mental issues and struggles about feeling stuck, out of control and not being able act out of free will - and making what ever comes out of all that into a short film.

OK thank you, another question would be WHY, why do you make it or why do you think it is important to be made?:

On the one hand it is inspired by my interest in psychology and philosophy, and the thoughts about the how and why we act in a certain way, especially focused around the concept of society, and on the other hand it originates from within me, from my own thoughts and fears, uncertainties, problems and struggles.

It was one of those ideas that just hit me different and from the first second on stuck with me in a way where I couldn’t even avoid thinking about it.

With it being a project that is, at least partly, really personal and close to me and on the other hand also one that tackles aspects and thematics that a lot of people in our modern day society can, in my opinion, relate to, I want to get the people to think about themselves and their own position and sights on the topics and positions stated in the project.

what are the most significant choices that you made to your current project recently:

You know, with getting the project of its feet right now and really starting to find some kind of form to pursue, it is a lot about changing things up constantly, trying out new ways and just taking side roads wherever they come up. I think I changed the whole thing twice in the last two weeks, from what I thought I wanted it to be before compared to what I wanted it to be then. Right now I am sticking with one direction, I might chase a slightly different one tomorrow but the outlines of my project start taking form, so the bigger changes are also gonna start being less frequent, even though I will always keep throwing stuff out and adding new things. I'm not in the state where, you know, there's a definitely finished product in front of my eyes, till then I'm just gonna keep changing stuff over and over 'cause that's how I work, it might be chaotic to some but I thrive when working with chaos and especially with this project being just full of chaos to figure out and find my way through. It is about finding a way to a point where I can tell myself what the final thing is gonna be like. That is mostly the point where I will try to not throw everything out again and again. Until then it is just about getting stuff done and creating for me.

Are you reading any literature or articles that are related to your current project:

I’m reading a lot of essays, sometimes philosophical sometimes psychological. Mostly articles that are at least semi related to my current project. Right now I am working with some books and essays surrounding mental health, society and the concept of free will and feeling free. Even though I might read a lot on the topic, there is a good possibility of it not ending up in the final film ,at all, it is more about input and getting an understanding of what I am trying to talk about. Right now that is primarily focused on the constructs of modern day society and the pressure and expectations every individual has to fulfil.

Thank you

Annotation 1

Please bring THREE items with you (1) A video OR film clip OR art work

(2) A text (book OR article)

3) A laptop (if possible)

Method: two people will make annotations (notes, links, handy references) of each presentation on this pad.

Presenter: Steve

Art: Before I was born Tji Ling (2020) Book: Other Minds - Peter Godfrey Smith Annotators: Garvan & Melek

write your annotations here

Steve first came across to this artwork in an exhibition in Amsterdam, in the form of panorama and people were surrounded, looking at it. It had a sort of feeling of taking the viewer somewhere else. The drawing illustrates the story of the artist's family migrated to Netherlands, from China, noting the tragedies and events through the journey. The artwork is presented in the style of an old book that extends into a long drawing. On the back, there is a text relating to the drawing.

Surprisingly, painting and drawing is not like riding a bike. Steve prefers to use coloured pencils, but he got into writing, reached a plateau in painting where he was comfortable and confident with it. Paul Nobson is an artist who is known for his intricate, detailed and large scale drawings. Steve thinks it's a strange fascination and one could get lost in it or find it overwhelming. The problem with the artists is that everything they do is important.The reason I'm still drawing is that I still haven't reached the limit whereas I think Paul Nobson has.

This book is called Other Minds. I learned that the plural of Octopus is nit Octopi but Octopuses and I've been correcting everyone my whole life. What's really interesting about octopuses is that they have a very different and complex nervous system, so it can relate to pragmatism. I believe that there are things that exist that are independent from my mind. Not everybody believes this. In other words, pragmatism is the idea that we are all organisms but what defines it is our nervous system and the understanding of the outside world comes from that. The skin of an octopus can see, it doesn't have one brain like us, or not located in one place. they can shape-shift and morph. What defines our perception of life is limited to pair of eyes. They live a very short life of 4 years and I have difficulty grasping how they can be this intelligent. For evolutionary reasons, they have a very solitary life. They age rapidly and when they die, they fall into bits. Aging is series of inevitable genetics defect. However, for an octopus it happens rapidly. The vast contrast between humans and octopuses is talked in the book that intrigued me.

A 19th century like panorama , like a precursor to cinema. It describes the story of a Chinese family's migration from Asia to Europe, charting the hardships of such a migration. Chinese migrants stories remain untold, even by the children of migrants. The drawing is enclosed in well designed sleeve. The artwork is an accordion book of drawings on one side and text on the other. It could be strange or alienating to uncover cultural differences between yourself and your parents. She has shown work at Tent in Rotterdam, but unfortunately it was tucked away and easily missed.

Painting and drawing is not like riding a bike. Having ambitions to paint and to draw could lead to something more significant, despite the decaying muscle memory.

https://www.google.com/search?q=paul+noble+artist&sxsrf=AOaemvJi8ieWXiO5F43tSqHxS-6YmOWGEg:1637145547863&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjo7sy2mp_0AhWD8LsIHZbgDssQ_AUoAXoECAEQAw&biw=1275&bih=673&dpr=1#imgrc=c7j97_PW60-XzM This is just madness, it's not healthy. To create these gargantuan works is not healthy. There is humanity in the Ling work that is not found in Noble's work. Noble has reached a threshold that he maintains, it cannot really develop conceptuallly, it's tied to the logic of it's production.

Otherminds - P. Godfrey Smith a philosopher of ideas, this book lead steve to begin drawing octopusses and cuttle fish. They are very different to us, there are things that exist that are independant of my mind, they will exist when I don't and they have existed before I existed and will exist after I have existed. We receie a lot of information through are sensory abilities, though there is a lot of information that we cannot register. Pragmatically, our world is undertood through our nervous system and senses.An octopus is completely alien to us. It can see through its skin, it has no spine or any bones. We are facing frontwards, our nose and eyes and mouth are all facing the same direction. Gravity defines our evolution. Under water, gravity is subverted, not completely but enough to allow sharks to have evolved before trees. They have short lives, how does a creature with the life span of two-ish years become such a diverse and complex creature, is it because they live solitary lives, they don't get married or anything like that so they have lots of time to work on their hobbies. :-) Ageing is a series of genetic defects, but our evolution has pushed back the defects, but an Octopus ages rapidly at the end of its life, things fall apart. Radical Difference. historical novel - different characters in different locations

Tja Ling Hu (Gorinchem, Netherlands, 1987) is an illustrator and visual artist who lives and works in Rotterdam. Her detailed and personal drawings capture an intimate perspective of her Chinese roots and her family, who left China in the 1970s and immigrated to the Netherlands. The drawings and her genealogical research helped Tja Ling reconnect with her heritage. They also illustrate her family’s history over four generations and their journey to find a place in society.

In China, panoramic paintings are an important subset of handscroll paintings, with some famous examples being Along the River During the Qingming Festival and Ten Thousand Miles of the Yangtze River.

To create a panorama, artists travelled to the sites and sketched the scenes multiple times.[11] Typically a team of artists worked on one project with each team specializing in a certain aspect of the painting such as landscapes, people or skies

Learning how to drawer again - a disconnect between the hand and the mind. By not holding onto the practice it can dissipate. "It feels weird...it's not like riding a bicycle. The rhetorics of if really shock me."

Octopusses - plural of octopus.

Pragmatism is a philosophical tradition that considers words and thought as tools and instruments for prediction, problem solving, and action, and rejects the idea that the function of thought is to describe, represent, or mirror reality. Pragmatists contend that most philosophical topics—such as the nature of knowledge, language, concepts, meaning, belief, and science—are all best viewed in terms of their practical uses and successes.

Pragmatism began in the United States in the 1870s. Its origins are often attributed to the philosophers Charles Sanders Peirce, William James, and John Dewey. In 1878, Peirce described it in his pragmatic maxim: "Consider the practical effects of the objects of your conception. Then, your conception of those effects is the whole of your conception of the object."

structure of the brain (nervous system): https://mayfieldclinic.com/pe-anatbrain.htm >>> Cerebrum: is the largest part of the brain and is composed of right and left hemispheres. It performs higher functions like interpreting touch, vision and hearing, as well as speech, reasoning, emotions, learning, and fine control of movement. Cerebellum: is located under the cerebrum. Its function is to coordinate muscle movements, maintain posture, and balance. Brainstem: acts as a relay center connecting the cerebrum and cerebellum to the spinal cord. It performs many automatic functions such as breathing, heart rate, body temperature, wake and sleep cycles, digestion, sneezing, coughing, vomiting, and swallowing.

Octopuses have an extensive nervous system, with over 500 million neurons, similar in number to that of a dog. But unlike dogs and other vertebrates, where the majority of neurons are in the brain, over two thirds of the octopuses' neurons are located within their arms and body. With such a strangely-built nervous system, scientists have long suspected that octopuses' arms may have a mind of their own and act autonomously from the central brain. Research has shown that octopuses' arms use reflex loops to create coordinated movements, and some octopuses can even distract predators by discarding limbs that continue to move for long periods of time. "Some scientists think about octopuses as nine-brained creatures, with one central brain and eight smaller brains in each arm," said Dr. Gutnick. But her new research, published in Current Biology, suggests that the arms and the brain are more connected than previously thought. Dr. Gutnick and her colleagues have shown that octopuses are capable of learning to associate inserting a single arm into a specific side of a two-choice maze with receiving a food reward, even when neither the reward nor the arm in the maze are visible to the octopus. But crucially, while the learning process takes place in the central part of the brain, the information needed for the brain to choose the correct path is detected only by the arm in the maze.

Octopuses have no bones!!! Humans are like horses - very frontal.

CEPHALAPODS A cephalopod /ˈsɛfələpɒd/ is any member of the molluscan class Cephalopoda /sɛfəˈlɒpədə/ (Greek plural κεφαλόποδες, kephalópodes; "head-feet")[3] such as a squid, octopus, cuttlefish, or nautilus. These exclusively marine animals are characterized by bilateral body symmetry, a prominent head, and a set of arms or tentacles (muscular hydrostats) modified from the рrimitive molluscan foot. Fishers sometimes call cephalopods "inkfish", referring to their common ability to squirt ink. The study of cephalopods is a branch of malacology known as teuthology. As if octopuses, squids and other cephalopods were not already strange enough, they may have found a way to evolve that is foreign to practically all other multicellular organisms on the planet. For most animals, changes that might prove beneficial to the organism primarily occur at the beginning of their molecular production process. Mutations occur in DNA that are then transcribed into RNA; the RNA is then translated into an altered protein. Not so for cephalopods—at least not entirely. A new study published in Cell reports these aquarium oddities can modify the proteins found in their bodies without having to change the basic sequence of their DNA blueprint. As a result, it looks as if cephalopods have changed very slowly over the eons of their existence. The findings also suggest that octopuses and their tentacled cousins may be a lot older than previously thought.

RNA EDITING IN CEPHALAPODS The new paper reports on a process called “RNA editing,” which involves enzymes swapping out one RNA base (or nitrogen-based “letter” in the RNA/DNA alphabet) for another, presumably in the interest of an organism adapting to its environment. RNA editing is rarely employed in most animals. Among the 20,000 or so genes found in humans, for example, only a few dozen sites are thought to change their RNA so that it no longer matches the original DNA template. Yet previous work, in part by the same authors, suggested the process is employed rather frequently by octopuses and squid to respond to changes in ocean water temperature. The new study looked at DNA sequences, RNA sequences and proteomes—meaning all of the proteins encoded in a particularly cell or tissue—of multiple cephalopod species to determine how common RNA editing really is. Very, it turns out. Squid also have around 20,000 genes, a whopping 11,000 of which code for RNA that in some cases undergoes editing. A similar degree of editing was found in two species of octopus and the common cuttlefish. Far lower levels of RNA-editing were seen in the nautilus—a more primitive cephalopod—and in a non-cephalopod control, a mollusk called a sea hare. RNA editing was especially high in the cephalopod nervous system, including in genes coding for ion channels that facilitate electrical communication between neurons. What’s more, such extensive RNA editing seems to have helped to minimize changes in the cephalopod DNA over the eons that they have been around. Unlike most animal species, whose genomes are riddled with millions of years of mutations that have helped them adapt to a volatile world, cephalopod adaption appears to have been more a result of RNA editing. Heavy reliance on RNA editing, however it first evolved, practically would have guaranteed the need for cephalopod DNA to remain fairly stable over millennia. The proteins used for editing RNA would, after all, need to recognize various complexes of RNA, says paper co-author Joshua Rosenthal, a cephalopod neurobiologist at the Marine Biological Laboratory. Hence, the DNA coding for the RNA that generates those particular proteins would have to stay consistent. In other words, in an animal reliant on RNA-editing for survival, any mutations that interfered with that process would probably not have survived into the next generation. “If a squid and octopus want to edit a base, they must preserve the underlying RNA structure,” Rosenthal says, “This means that the RNA structure can’t evolve. If it collects mutations as a result of DNA mutations, it would no longer be recognized by the editing enzymes. We normally think of mutations as the currency of evolution. But in this case their accumulation is suppressed.”

JOINT AGEING With ageing, joint movements becomes stiffer and less flexible because the amount of synovial fluid inside the synovial joints decreases and the cartilage becomes thinner. Ligaments also tend to shorten and lose some flexibility, making joints feel stiff.[3] Age in the cartilage is likely due to ageing changes in cells and tissues that make the joint more susceptible to damage and less able to maintain homeostasis ie an imbalance exists between catabolic and anabolic activity driven by local production of inflammatory mediators in the cartilage and surrounding joint tissues. There is a close relationship between chondrocyte activity and local articular environment changes due to cell senescence, followed by secretion of inflammatory mediators.[4] The senescent secretory phenotype likely contributes to this imbalance through the increased production of cytokines and MMPs (matrix metalloproteinases) and a reduced response to growth factors. Oxidative stress appears also to play an important role in the degradation of cartilage seen in ageing with excessive ROS (reactive oxygen species ) affecting cell function.

ANTHROPOCENTRISM
Anthropocentrism refers to a human-centered, or “anthropocentric,” point of view. In philosophy, anthropocentrism can refer to the point of view that humans are the only, or primary, holders of moral standing. Anthropocentric value systems thus see nature in terms of its value to humans; while such a view might be seen most clearly in advocacy for the sustainable use of natural resources, even arguments that advocate for the preservation of nature on the grounds that pure nature enhances the human spirit must also be seen as anthropocentric. Alternative, non-anthropocentric or anti-anthropocentric views include ecocentrism, biocentrism, and similar framings. The articles assembled here look at the question of anthropocentrism from a variety of points of view, proceeding from an investigation of the roots of modern anthropocentrism in Western philosophy and religion, and looking at the implications for anthropocentric thinking of the Darwinian revolution and the emergence of environmentalism. Questions of anthropocentrism and its alternatives emerge in part from the nature/culture divide, a fault line of Western philosophy and environmental thought. These categories differ significantly in other cultural settings, and discussions of anthropocentrism and its alternatives would take on a much-different character outside the confines of “Western” thought.

A mycorrhiza (from Greek μύκης mýkēs, "fungus", and ῥίζα rhiza, "root"; pl. mycorrhizae, mycorrhiza or mycorrhizas[1]) is a mutual symbiotic association between a fungus and a plant.[2] The term mycorrhiza refers to the role of the fungus in the plant's rhizosphere, its root system. Mycorrhizae play important roles in plant nutrition, soil biology, and soil chemistry. In a mycorrhizal association, the fungus colonizes the host plant's root tissues, either intracellularly as in arbuscular mycorrhizal fungi (AMF or AM), or extracellularly as in ectomycorrhizal fungi. The association is sometimes mutualistic. In particular species or in particular circumstances, mycorrhizae may have a parasitic association with host plants.[3]

Presenter: Melek Annotators: Aitan & Pelle

Artwork / Meshes of Afternoon, Maya Deren 1943 Melek plays film: Flower falls to the road - shadow play high contrast - trying to get through the door - fumbles the key - inds the kay - opens the lock - a living room with a newspaper - a loaf of bread with knife and bowl of soup - an old telephone on the stairs - dark dark stairs spiralling winding - a curating blowing by the windwon - a record playing - back down the windy stairs - a floral couch - footsteps in sanles wih a flower - yawning dreaming on the sofa, falling asleep - zoom out of the dtreet in a whole - a woman in a veil with a mirror face - a shadow runs owards the eiled woman - the veiled woman walks down the garden path - protagonist runs after her - we see protagonists face for he first time, a curious, languid stare - the knife is on the stairs, slow motion run up the spiral staircase - telephone on the bed - refelection on the knife - back through the window - falling through space and time down the stairs - shes still asleep in the living room with record playing - she sees herself asleep - its inception - the veiled woman still walks down the path, protagonist sees herself walking - veiled woman walks up the stairs - she leaves flower on the bed with a mirror face, and then abruptly disappears - the key is in her mouh and changes ti a knieffe - multipled versoions of her sit in the kitchen - one takes the key - one had black hand and takes the key with lightbub eyes - he camera looms over the sleeper, almost stabbed by the lightbulb version of herself - a handsome stranger rescues her with a flower - the house is as she saw in the dream - can she trust the perfect straner? - hes taken the place of the veiled mirror woman in the dream - we see his face in the mirror - could i have been him all along - she destroys his images, mirror shattering into another world - to the sea he wa;sl away out the house, opens the door with the key, the mirror is shatterd all around our original dreamer and blood trickles from her mouth, shes covered in sea weed. A constant loopi ng between dream and reality.

Best known film by Maya Deren - avant garde cinema, choreography, dance, photoraphy. She experimented with film techniques - slow motion, split screen. Melek is very critical of experimental filmmaking, but this is her limit. This seems to have a nice balanace between real and fiction. References o freudiean psychoanalysis. Its so universal and personal and accessible.

It tastefully suggests a complex story in surrealist fashion.

The images were filled with references to noise but actually its a silent flm. Theres an indication of presence and the dream sequence stars to loop. A dialogue between the dreamer and the subjects of her dreams.

Dali v David Lynch v Deren - object/subject interchangeable, also hints at parallel universe

Silent film. 1943.  I'm noticing many shadows. They use a lot of nature elements like: the white rose, the wind blowing against a curtain, the sea nearby and the use of sunlight. It's a very theatrical film. Is the woman 

Time Crimes =

The Emergence of Cinematic Time - the irrational cut - integrity of time and space = time jumps - so its in the lifeblood of cinema, the mechanisms technology -

Text / The Second Sex, Simone de Beauvoir, the Second Sex, 1943

Started second wave feminism - very inventive thinkng - the challenges of translating - since this book weve had second wave feminism, - Living a Feminist Life, Sara Ahmed, more contemporary extension of The Second Sex, at the other end of this argument, pot second wave -

Whos afraid of Simone de Beauvioir - why we should read this writer -

A Room of ones Own, Virgina Wolf - argues that to live an honest intellectual life as woman you need a space to develop a new discourse that is anti-patriarchal.

Maria Magdalena - how the church made her different - treated as a prostitute - exhibition in Utrecht

How is this related to your work?

Whats the most simple experimental film you can make? Even experimental films can have a grammar and a syntax. Its what they're not doing that is significant. An environment with the implications of whats happening, an indexical logic. Something thats open to interpretation.

Jodorowsky - keeps the painterly quality 14:05 Presenter: Luis

Annotators: Kotryna & Luca I saw a brief glimpse of beauty

Ive never understood real life, Ive never understood real people - a personal autobiographical speech

Jonas Mekas (Lithuanian: [ˈjonɐs ˈmækɐs]; December 24,[1] 1922 – January 23, 2019)[2] was a Lithuanian-American filmmaker, poet, and artist who has been called "the godfather of American avant-garde cinema" on many occasions. His work has been exhibited in museums and at festivals worldwide

Chapter one; incoherent, experimental visuals, different times, scenes, thematics, talking about the images and their relations to each other, brief memories, order of its own in disorder, without understanding for oder in it self, not understanding 'the real life", "the real people", doesn't want to understand them; summers of central park, scenes of people sitting in a park, sharing a meal, two adults and a baby, having a picnic; cuts to a group of women walking down the street; cuts to a close up of feed in female shoes walking by; rain; storm and splashing water; a calming melody starts, someone walks down a street, talking inaudibly to the camera; cuts to home movie scenes; different short clips of trips, moments, nostalgia,

not knowing the artist or his work Luis found a connection it the work itself and in its thoughts and perspectives; reflecting on memories, unchronological; how does it affect the work Luis makes: learned that he has to try to find a narrative in his work; maybe it has its upsides to not understand the others;

A nostalgic collage of footage, I'm not sure if it's personal footage or found. piano music plays over weirdly coloured 8mm/16mm motion picture. More feeling than fact.

Theres love and intimacy in this play. A tension between his personal memories and the naivety of the audience. negation of cinema.

R.wilbur- the writer. nautical imagery and language, suggesting a sense of travel or a journey , 'gunwale... cargo... a lucky passage'

Jonas Mekas, diaristic video, 
father of the avant garde filmmaking
first thoughts of him really connected to Luis, 
looking from his own perspective, coming from scientce background
how it affects Luis: 
    he's documenting moments in the shelter.
    he unintentionally is looking for a narrative, 
    but 

relating to what the V.O. says: i dont understand life no need to understand the work, its more experiencing reflecting on his life, pieces pieces together of archival footage Question: can we get away with this nowadays?

Poem by Richard Wilbur The Writer american writer.Affirmations with writing. Importance if the father figure , importance of making a living by making art. Artists talking (or not) about the struggle of making . Steve: peom captures Inhabiting eachothers life, domestic everyday moments, intimacy.

In her room at the prow of the house Where light breaks, and the windows are tossed with linden, My daughter is writing a story. I pause in the stairwell, hearing From her shut door a commotion of typewriter-keys Like a chain hauled over a gunwale. Young as she is, the stuff Of her life is a great cargo, and some of it heavy: I wish her a lucky passage. But now it is she who pauses, As if to reject my thought and its easy figure. A stillness greatens, in which The whole house seems to be thinking, And then she is at it again with a bunched clamor Of strokes, and again is silent. I remember the dazed starling Which was trapped in that very room, two years ago; How we stole in, lifted a sash And retreated, not to affright it; And how for a helpless hour, through the crack of the door, We watched the sleek, wild, dark And iridescent creature Batter against the brilliance, drop like a glove To the hard floor, or the desk-top, And wait then, humped and bloody, For the wits to try it again; and how our spirits Rose when, suddenly sure, It lifted off from a chair-back, Beating a smooth course for the right window And clearing the sill of the world. It is always a matter, my darling, Of life or death, as I had forgotten. I wish What I wished you before, but harder.

14:35:

Presenter: Garvan Annotators: Pelle, YuQing

weekend with the Gonz by Mark Gonzales, 2011

Gonzales was born and raised in South Gate, California, United States,[3] and is of Mexican descent.[4] Gonzales entered the skateboarding scene at the age of thirteen in South Gate, California, U.S. At the age of fifteen, as Tommy Guerrero and Natas Kaupas were developing their own styles of progressive street skating around the same time, Gonzales adopted a more modern, innovative approach to skateboarding in a street context (subsequently dubbed "street skateboarding").[5][6] He was featured on the cover of Thrasher magazine's November 1984 issue riding a board from the Alva company, his board sponsor at the time, while performing a trick known as a "beanplant".[7] approach the city and life , performance art aesthetic of the everyday, relatable to J.Mekas skate board film aesthetic, as amedia practise The character is making fun out of his environment, the architecture. Natural clownish figure, silly stuff he says it still is kinda clever, Clown Karkocha beep clown, disruptive, tho ppl love it. Narcisistic as a compliment. Playful minding the gap - really good documentary Yan Boland writes in a situanistionists way, analises skateboarding

14:55

Presenter: Aitan Annotators: Kotryna, Luis

Berberien Sound Studio - "a 2012 British psychological horror film. It is the second feature film by British director and screenwriter Peter Strickland." Soundy sound as an instrument of violence... Foley artist=protagonist.

Steve experience: I went to see a play with a foley table with artist and actors.

Bugs Bunny - How to simulate the sound of eating a carrot? Eating a carrot (Garvan).

Aitan: Language of cinema relies on sound and its use, it can turn a sex scene into something else.

Life of others (film). Monitoring of East Berlin residents by agents of the Stasi, East Germany's secret police. Hearing from people, he tries to save them.

Code to extract Oh God" from porn movies (turns them into a prayer) http://ninebillionnamesofgod.com/#soundfiles

Dir. Peter Strickland - Berberian Sound Studio Trailer (https://www.youtube.com/watch?v=SKOPh5ZEciQ) deals with the notion of using sound for violence. Plot: sound designer working on his piece trying to replicate the the violence on screen at a folie studio but things turn into..a scary mess?

for breaking moments they break - celery. Aitan: Sometimes sound gives so much more than the visual. THere are actors dubbing porn, which is a funy thing to imagne.

Tacita Dean 'Selected Writing' text about foley artists.

""It must be a strange relationsip to cinema, to never let yourself be taken in by the fiction of it al: to go to the movies and listen to the foley, where the cineam kiss is always only a measure of our trade's expertise and each footstep a matter of professional competence." On meeting Beryl and Stan, foley artists from Shepperton Studios in London, Dean has the following conversation: - "How did you do the sound of the ape with the bone, Stan?" - "Oh we brought in a dead pig and hit it with sticks, Tacita.""

Work in progress. Getting into the "is-ness". Frustration on how video fails to represent the materiality

THe is-nes of it performance. a still. great beachground noize. asmr. sound has tention.

RAPID PROTOTYPING- or HACK-PACT (a small work) which is a gesture towards what you're intersted in suggestion towards your research. It is important to make small works which keep your practice alive and playful.

Its teh matter that matters. a gesture to your project, what you are interested in.

15:15 - BREAK- 5 mins

15:25 Presenter: Kotryna Annotators: Steve + Aitan Mierle Laderman Ukeles

a performance artists working with "maintenance"- a house wife with 3 kids- not recognised by feminists groups (as labour) or within the male discourse. Affirms everyday life as the work and deeds of art, particularly the acts of maintenance.

Feminist artist. Manifesto (1969). Typewritten. Script. She associates with words, like a web of words. She plays with contradictions.

Kotryna recently has trouble with Mierles work. Moral questions come uup.l

Recently made work about street workers- she met with the issue of how to check her own privilege, felt it could be exploitation. [Performance: shook hands with 7000 sanitation workers.]

Reclaiming the everyday as an artistic project

Sometimes a vacuum cleaner is a household appliance, sometimes an artistic expression that wants to break with prevailing views. In the first case, the device has to fulfill a secular function, in the second case it becomes a work of art when it appears in a display case at the right time. Rather than in an aesthetic sense, the work of art therefore distinguishes itself as an object in time, which does not mean that a work of art has to be contemporary. On the contrary: a good work of art always manages to be 'of the time', in other words: to be aware of the time. The 'time' of a work of art is of course not that of a clockwork; a work of art marks what is new and ahead of its own time. It includes the promise of (a new) time and thereby writes history. On a clock the hours tick away, every day, while an alarm clock that goes off ushers in a new day full of everyday worries and worries.

Exploring theme of non-disclosed occupations - as filmmaker educated documentarian, the discomfort of documenting others.

Santiago Serra problematic? tattoo the line - artwork is a photo - intentionally playing with exploitation - poverty as a resource to be exploited - every person has a price - is this better/worse than sex work Renzo Martens Enjoy Poverty + White Cube - similar thesis, poverty as a resource, highly confrontational

Kotryna shows film Kristof Brandl (https://vimeo.com/139907251) The day you are born and the day you figure out why you were born. Feb 26 2015 [lots of 'affective images' Garvan: Like an add for a phone company.]

Why not just make trailers or teasers.

reminded Garvan of the tribe... https://www.youtube.com/watch?v=xboxgEm-ucU&ab_channel=MovieclipsIndie

Luca finds it too polished (looks too good)

15:45 Presenter: Luca Annotators: Garvan + Pelle Edward hopper - Nighthawks Anonymity of figures within Hopper's paintings. The figures do not interact. Cinematic ratio to the window. Film noir aesthetic. 1942, dark streets to hide buildings to make bombing of buildings more difficult. old bar staff suggest the lack of youth. Possibly fictionalised architecture, it captures loneliness within populated spaces . HE negates the painting of glass within his structures, perhaps to enhance the lighting dynamics within his paintings.

Edgar Allen Poe - Dream-Land Bottomless vales and boundless floods, And chasms, and caves, and Titan woods, With forms that no man can discover For the tears that drip all over; Mountains toppling evermore Into seas without a shore; Seas that restlessly aspire, Surging, unto skies of fire; Lakes that endlessly outspread Their lone waters—lone and dead,— Their still waters—still and chilly With the snows of the lolling lily.

Visual words, melancholy. Not everything about him is clear, his notes are muddled from a combination of mental illness and opium addiction,

"Nothingness". Diary Hopper: New York. He made up the architecture? Steve thought this painting was made from a photograph. Luca: It's often about light. Pelle: reminds me of the work of Erwin Olaf. Garvan: the image is often re-used. He rarely makes windows visible. There is a fiction film about Allen Poe. He wrote a lot for newspapers, he was an editor. He used to make puzzles and little cryptic texts. The fall of the house of Usher.

referenced a lot in pop culture: used in episode of the Simpsons 16:05- BREAK- 5 MINS

16:25 Presenter: Yuqing

Annotators: LUIS + Kotryna

"Duty Free Art"

EPUB file: https://monoskop.org/File:Steyerl_Hito_Duty_Free_Art_Art_in_the_Age_of_Planetary_Civil_War_2017.epub

"How can one think of art institutions in an age defined by planetary civil war, growing inequality, and proprietary digital technology? The boundaries of such institutions have grown fuzzy. They extend from a region where the audience is pumped for tweets to a future of “neurocurating.”

Exploring subjects as diverse as video games, WikiLeaks files, the proliferation of freeports, and political actions, she exposes the paradoxes within globalization, political economies, visual culture, and the status of art production"

Hito Steyerl Art in the age of planetary Civil War
Algorythms filter information, organize visual information 
Algoryth. can create a new image based on other pics, or pics we share
Robots, mexico russia turkey use proxy armies to send ppl home ;
theyuse proxy armies to get public attention for elections. 

Cream by David Firth 
Cream as a magical substance that can fix anything like skin blemish or revive someone from death.

Once people start using it for literally everything they face various problems.

David Firth made animation series ,,Salad fingers;; 2004 (pre Youtube; made only for on-line consumption).

Shortfilm: https://www.youtube.com/watch?v=0UgiJPnwtQU

16:40

Presenter: Pelle Annotators:Yuqing+Garvan

Bar by Pascal Floerks- A slideshow of colour photographs with narration in German. The narrator speaks about his grandfather but illustrates his granfather as a bear. There is connotations of violence at the start that crescendos into actual violence as the narrator describes how his grandfather shot a cat in the garden. We then learn that the grandfather was a soldier in wwII. The narrator takes us through his grandfathers war stories. using images of the bear parachuting or sitting in trenches. Does the use of the bear make the te.ling of this sad story easier? like life of Pi perhaps. It feels lighter because of the bear. it also elevates the impact of the gruesome photographs of the war.

Animal farm and Tao of Pooh.

B'A'R https://vimeo.com/174254407

Does it make us sympathetic to the old person? - what does the substitution of animals do?

Pelle's own work?

See also: https://www.youtube.com/watch?v=6anMLFwHFqs

and

https://www.youtube.com/watch?v=hw6exAfUWMI&t=194s

and

https://www.youtube.com/watch?v=57hJn-nkKSA and

The toe of Poo Animal Farm.

Synopsis

[text and author]

Cinema's destined role is a chapter from Andrey Tarkovsky's Sculpting in time - Reflections on Cinema.

Excerpt from Chapter IV

CHAPTERIV

Cinema's destined role

Each of the arts has its own poetic meaning, and cinema is no exception. It has a particular role, its own destiny—it came into being in order to express a specific area of life, the meaning of which up till then had not found expression in any existing art form. Everything new in art emerged in answer to a spiritual need and its function is to ask those questions which are supremely relevant to our epoch. In this connection I am reminded of a curious observation of Father Pavel Florensky's13 in his book, The konostasis. He says that the inverted perspective in the works of that period was not the result of Russian icon-painters being unaware of the optical laws which had been assimilated by the Italian Renaissance, after being developed in Italy by Leon Battista Alberti.14 Florensky argues, convincingly, that it was not possible to observe nature without discovering perspective, it was bound to be noticed. For the time being, however, it might not be needed—it could be ignored. So the inverted perspective in ancient Russian painting, the denial of Renaissance perspective, expresses the need to throw light on certain spiritual problems which Russian painters, unlike their Italian counterparts of the Quattrocento, had taken upon themselves. (One account has it, incidentally, that Andrey Rublyov had actually visited Venice, in which case he must have been aware of what Italian painters had been doing with perspective.) If we round off its date of birth, cinema can be said to be contemporary with the twentieth century. That is no accident. It means that about a hundred years ago the point was reached when a new muse had to emerge. Cinema was the first art form to come into being as a result of a technological invention, in answer to a vital need. It was the instrument which humanity had to have in order to increase its mastery over the real world. For the domain of any art form is limited to one aspect of our spiritual and emotional discovery of surrounding reality. As he buys his ticket, it's as if the cinema-goer were seeking to make up for the gaps in his own experience, throwing himself into a 82 search for 'lost time'. In other words he seeks to fill that spiritual vacuum which has formed as a result of the specific conditions of his modern existence: constant activity, curtailment of human contact, and the materialist bent of modern education. Of course one can say that the inadequacy of a person's spiritual experience may also be made good through the other arts and through literature. (As soon as one thinks of looking for 'lost time', of course one is reminded of the title of Proust's volumes.) But not one of the old and 'respectable' arts has such a mass audience as cinema. Perhaps the rhythm, the way in which cinema conveys to its audience that condensed experience which the author wants to share, corresponds most closely with the rhythms of modern life and their time deficiency. Perhaps it would even be true to say that the public have been caught up in the cinema's own dynamic, not merely swept away by the excitement it generates? (One thing, however, is certain: the mass audience can only be a mixed blessing, for it is always the inert sections of the public that are most easily impressed by excitement and novelty.) Modern audience reactions to any film are different in principle from the impressions produced by the works of the 'twenties and 'thirties. When thousands of people in Russia went to see Chapayev,iS for instance, the impression, or rather, the inspiration, produced by the picture was exactly appropriate, as it seemed then, to its quality: audiences were being offered a work of art, but it attracted them principally because it was an example of a new and unfamiliar genre. We now have a situation where audiences very often prefer commercial trash to Bergman's Persona or Bresson's L'Argent. Professionals find themselves shrugging, and predicting that serious, significant works will have no success with the general public . . . What is the explanation? Decline of taste or impoverishment of repertoire? Neither and both. It is simply that cinema now exists, and is evolving, under new conditions. That total, enthralling impression which once overwhelmed the audiences of the 'thirties was explained by the universal delight of those who were witnessing and rejoicing over the birth of a new art form, which furthermore had recently acquired sound. By the very fact of its existence this new art, which displayed a new kind of wholeness, a new kind of image, and 83 revealed hitherto unexplored areas of reality, could not but astound its audiences and turn them into passionate enthusiasts. Less than twenty years now separate us from the twenty-first century. In the course of its existence, through its peaks and troughs, cinema has travelled a long and tortuous path. The relationship that has grown up between artistic films and the commercial cinema is not an easy one, and the gulf between the two becomes wider every day. Nonetheless, films arc being made all the time that are undoubtedly landmarks in the history of cinema. Audiences have become more discerning in their attitude to films. Cinema as such long ago ceased to amaze them as a new and original phenomenon; and at the same time it is expected to answer a far wider range of individual needs. Audiences have developed their likes and dislikes. That means that the film-maker in turn has an audience that is constant, his own circle. Divergence of taste on the part of audiences can be extreme, and this is in no way regrettable or alarming; the fact that people have their own aesthetic criteria indicates a growth of self-awareness. Directors are going deeper into the areas which concern them. There are faithful audiences and favourite directors, so that there is no question of thinking in terms of unqualified success with the public—that is, if one is talking about cinema not as commercial entertainment but as art. Indeed, mass popularity suggests what is known as mass culture, and not art. The pundits of Soviet cinema maintain that mass culture lives and flourishes in the West, while Soviet artists are called to hold sway over 'true art for the people'; in fact they are interested in making films of mass appeal, and while they speak grandiloquently of the development of 'the true realistic traditions' of Soviet cinema, they are in fact quietly giving the go-ahead to films far removed from the real world and from those problems with which the people actually live. Pointing at the success of the Soviet cinema in the 'thirties, they dream of mass audiences here and now, doing their damnedest to pretend that nothing has changed in the meantime in the relationship between film and public. However, the past—mercifully—cannot be brought back; individual self-awareness and the status of personal views on life are becoming more important. Cinema is therefore evolving, its form becoming more complex, its arguments deeper; it is exploring questions which bring together widely divergent people with 84 different histories, contrasting characters and dissimilar temperaments. One can no longer imagine a unanimous reaction to even the least controversial artistic work, however profound, vivid or talented. The collective consciousness propagated by the new socialist ideology has been forced by the pressures of real life to give way to personal self-awareness. The opportunity is now there for filmmaker and audience to engage in constructive and purposeful dialogue of the kind that both sides desire and need. The two are united by common interests and inclinations, closeness of attitude, even spiritual kinship. Without these things even the most interesting individuals are in danger of boring each other, of arousing antipathy or mutual irritation. That is normal; it is obvious that even the classics do not occupy an identical place in each person's subjective experience. Anybody capable of appreciating art will naturally limit the range of his favourite works according to his own deepest inclinations. Nobody who is capable of making his own judgement and selection is omnivorous. Nor, for the person with a developed aesthetic sense, can there be any stereotype, objective evaluation. (Who are these judges who have placed themselves above general opinion for the purpose of making objective judgements?) However, the present relationship between artist and audience is proof of the subjective interest in art of an enormously wide range of people. In cinema, works of art seek to form a kind of concentration of experience, materialised by the artist in his film: as it were an illusion of the truth, its image. The director's personality defines the pattern of his relationship with the world and limits his connections with it; and his choice of those connections only makes the world he reflects the more subjective.

[thesis]

Tarkovskij is talking about the time and place in which cinema was, back in the 70s and 80s, not only in soviet Russia but in general, as well as where, in his opinion, it is headed in the future. He talks about the impact of the technological inventions and the needs they answered and answer in connection to cinema, the influence audiences have on artists and their work, not mentioning cinema as a whole, and the relationships that emerge, between filmmaker and viewer, art and commercial worlds. In his opinion cinema had to fill a void, tailor to a need, offer inspiration, guidance and escapism to "increase our mastery over the real world", to experience experiences we otherwise could never take a part in. On that note he gets into talking about the part the audience or viewer plays regarding the making of movies. How the likes and dislikes of people can challenge filmmakers to be forced, in some way, to tailor to peoples self developed aesthetic criteria. How the developement of peoples perception of cinema helped in that sense to amplify its form, help evolve and explore the depth of the medium; and therefore cinema, as Tarkowskij perceived it, is this ever evolving form of exploration and inspiration that is only becoming more and more complex with time passing and peoples interests and capabilities of perceiving stories and visuals evolving simultaniously.

[context]

In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films.

[relation to my own practice]

The thought of how other peoples perception of my own work and how that influences my creating the work always interested me. When reading another book about Tarkowskijs I first got interested in his work and views on the medium in general. When it comes to my own work I am always out to show off/ give insight into my own mindset or the idea I am trying to bring to the viewer. How the viewers sight on a piece or body of work and Tarkovskys thoughts regarding the topic interested me in general.