User:Aitantv/maca2023

10.08.23

MACA, Overcast over-exposed

• a filmmaker makes spectators of the audience. an artist makes participants.
• do you want to look at an image or be inside an image? there's is not a discussion between flat and VR cinema. This is a levelling up of IRL over virtual.
• lets prioritise being over representation, get over the festish of objectification
• many people are comfortably atomised in non-participatory consumptive entertainment habits, i.e. VOD, social media, TV, entertainment cinema, holiday resorts, casinos, leisure centers, spas, eateries, etc. The challenge is to engage, illicit participation, turn spectators into participants. In the global north many of us have becoe too lazy and complicit in our own zombified half-baked waking life.
• the camera is an interceptor of relationships. It cuts between people. Some Kabbalists believe that the camera can see into the soul. Every frame you take extracts a piece of the soul. The camera is a soul snatcher. Do you want to steal someone's soul? Is your film worth that much?
• experiences instead of films. design experiences which may or may not be filmed. The camera (if used) must be acknowledged as an interceptor (a parasite) not an instigator of connection - not a facilitator of meaning - but an extractive technology for containing reality and interpersonal relationships.
• the cinematic frame - however wide and scoped and desqueezed or anamorphic - is always a crop/fragment/chip/flick/flake of an infinitely larger and chaotic whole. Sound as a recording system is far better equipped to deal with the temporal-spatial qualities of reality. The omnidirectional stereo recording setup is a superior method for recording a field. The cropped cinematic frame is a granular crumb of this detailed hi-fidelity sonic and spatial stereo omni-directional recording. Sound can dwell in the unknown, the 'out-of-field' and the 'visual not-seen' (Deleuze 'Time Image') and must always be acknowledged as a component of the visual image which substantiates the 'isness' of the cinematic frame with the feeling of beyondness.

R - need to research anthropology of camera (specifically anthropologists who have introduced the camera to remote peoples with unstoppable conseqeunces to culture).

W - Stranger with a Camera dir. Elizabth Baret

P - the manifestoe could take the form of Robert Bresson's 'Cinematograph' - an assemblage of divorced pointers to enrich the cinematic journey

P - does the manifestoe need to be written? Can it be sound?

I - raw materials Bruce Numan homage + Ed Atkins worm = live sound performance vocals + monotonous vocals based on hours of improvised alone time in a black box. in a time where the global north is turning in on itself and seeing guidance from the south, a new generous narcissim takes hold - ever the interior inhibited self-reflexive artist looking inwards to share with a hungry public. A false modesty/humility where the artist shyly suspends their thirst for attention behind a veiled humble posture.

• drawing as a good technique to train, untrain, retrain, the eye. To understand graphic cohesion and light/shadow.