Session 6 (06-12)

1.

How to translate the cinematic context back to the spatial context? Is the cinematic context important? What defines the cinematic context? Do we need chairs? How about a lot of chairs in a space? Is it important that the viewpoint of the viewer is fixed? Is it important that the surface on which the moving image is projected onto, is fixed? What does it mean for the viewer to be able to carry the moving image as they move, walk, skip, crawl? What happens if the viewer walks into an unknown space, unaware of their body and their only feeling of stability comes from their own feet? Is the viewer important? Does the content change as the spatial context changes? Are these two aspects isolated? What does it mean to be isolated? Have I ever felt isolated? Have you ever felt isolated? Has the viewer ever felt isolated? Is my isolation part of my work? Is my isolation essential to the kind of work I am making? Why does the paper need to fall? Can it fly, float? Can the spectator float? These chairs, can they float? Do they fall too? Does everything need to fall at some point? Is the falling essential? Habitual? Are you used to it? Addicted to it? Must the fall be documented? Must the fall be animated? Did you think too much while falling? Did you analyze it too much? Did you want to understand it? Is there a suggestion of the thing that started the fall? Were you pushed? Were you hit? Was it an accident? Do you want to control the fall? Why? Why do you want to control the inevitable?

2.

You started out with form. You ended up asking questions about content. These two can co-exist, of course, and maybe are even interdependent. — Were you pushed, hit, was it an accident? Did you trip over an object that lay on top of the staircase, did someone leave it there, while they were leaving the house in a rush for whatever reason? Really whatever reason - the reason is irrelevant.

You’re asking questions, but are you expecting answers?

If questions can be asked indefinitely, why ask them?

The researcher you met yesterday. They ask a lot of questions, for a living.

They find answers and move on.

Will you open the door for the Answer? Will you let them have a seat at the table? The long table. A lot of chairs like in the cinematic context, the way we started. Only this time the chairs are facing each other, instead of a screen. Only this time the chairs are not fixed. They can be moved and re-moved. If you don’t like to sit somewhere, you can switch places. Not only your body but the entire chair with your body on it. A lot of chairs like in the cinematic context, but these chairs are set up for a different purpose. Not to look at a moving image piece, but to look at another human’s face - a friend, an acquaintance. You’ll see their lips moving, their noses, eyebrows, the blinking of the eyes and maybe the twitching of some nerves. You’ll see them zone in and out of the conversation. You do the same. You see them sleep, eat, breathe and wonder about their thoughts. A riddle.

You wish the chairs would be like in the cinema.

To see some thoughts projected.

A riddle. A riddle told by the person sitting across from you.

by the projectionist.