Project Proposal Outline

Introduction

1) I will film with a videocamera nightshots and observe how the low light zones in the image can be perceived. The presentation takes form of a multiscreen installation in a darkened room, where each screen is big enough to allow the impression of being surrounded by the videographic images. The reduced visibility in the dark scenes demands a look of concentration by the audience. The seeking gaze encounters the core of the image itself and finds through the temporal moving noise in the underexposure the revealed object lying behind. One by one filmed in a fixed frame, there are urban constructions followed by views of the harbour up to a vast scene of the dark sea.

2) In addition to these scenes there will be projections of filmed portraits. For this second part I of the graduation project I create a sequence of photographic portraits of women recorded with an additional counter zoom. Concretely the photo camera moves backwards while zooming in or the other way around. Afterwards the looped time sequence presents one image after the other with an interpolation between each one to ensure the illusion of a continuous movement. I use this effect with a black background to focus only on the alteration on the faces. The modification of the perspective provokes an illusive movement, barely recognizable. The two works can either be seen separately from each other or mixed together, at this stage of the proposal I would like to keep it as an open question.

The research I started in the second trimester is what I want to deepen for the graduation project. In that trimester my field of interest lay in a comparison of photography and video, from stillness towards the moving image, shifting from analog to digital. The construction of the image itself was looked at in a rather metaphorical way and expresses some philosophical and poetic aspects of its media specificity. In this final year I will investigate technical aspects of the digital moving image during the shooting, the postproduction and the installation of the final projection. Besides that I will reflect about the form of the video installation, the role of the observer and read some theory of cinema.

Testshooting, 2013

Oscillating Shadows

In the final presentation the spectator finds itself in a delimited space surrounded by large projection screens. The perception lies in the center of my investigation and is challenged by an initially slight disorientation, comparable to a situation at night in a forest where the eye has to adapt to the low light. Then filmed night shots appear on the screens, one with a view of large buildings, another one with a scene of the harbour and one with a view of the seaside. Though instead of having the blinding lights of the city and the industry in the center, the dominant part will be the dark zones in the picture. Because of the slight underexposure of the video there will be temporal moving noise, flickering of pixels, which provokes a vibration in the shadows. The aim is a composition of different low light areas, a result of more or less abstract images with an urban, industrial and natural background. The scale of each screen monumentalize the picture and evokes the idea of standing in front of a full size landscape painting.
Next to these landscapes there will be vertical projections of filmed portraits evoking the theme of the gaze, another line of research that I have started in the second trimester mentioned above. My interest in perception leads subsequently to the role of the observer. His implication while looking at an artwork become important, especially when considering Henri Bergson's idea that the image is an artificial product of mind. The portraits will all be recorded with an additional counter zoom (vertigo effect). The thereby induced changing of perspective provokes a subtle movement. The look back to the audience and the slight deformation of the faces leave the spectator with an uncertainty about who is the one that is shifting. The current proposal title Oscillating Shadows suits to the video nightshots of landscapes as well as to the filmed portraits, while referring both times to the threshold of stillness and barely recognizable movement.

Depending on the available space and the possible technical dispositiv, the films are shown either at the same time on different screens or in a sequence on only one. I would like to install translucent screen(s) hanged in the middle of the room, in order to varie between transparent window to the exhibition space and opaque surface with view on the filmed exterior scene. The semitransparency resumes the treshold that is inherent to the videographic nightshots themselves, where the underexposure can be seen as barrier between medium and revealed object. Hence the observer finds itself at a transitory passage, by his glance simultaneously here and there, he shifts between outside and inner world.
I would like to work towards a viewer's impact that is situated between fascination and repulsion. On one hand the blackness and vibration in the dark zones should attract like a light. On the other hand the observer might have an anticipation linked to the idea of disappearance and loss. The feeling of an undefined menace could come up, like in Kafka's univers an obscure fear of getting lost. My attention is to evoke with the installation an affect that is situated between an nervous anxious feeling and pure contemplation.

Henri Fox Talbot, Rouen, 1843

Relation to previous practice

Nicole Hametner, Aster, 2008

Nicole Hametner, Le Sapin, 2010

Nicole Hametner, Schwarzes Licht, 2010

Nicole Hametner, Montchoisi, 2011

Methodologies: Several interests and points of research over the years have built a background that serves as constant reference and flows into the concrete creation of a specific work. It can be seen as a complex structure, where each part influences mutually the others. For example the project of the construction of the image and the analysis of the behaviour of the medium is based on older photographic works (titles and add images, links) and was then once more animated by curiosity in the digital moving image, what seemed for me to be the counterpart of the stillness in analogue photography. Furthermore the project with the gaze treats with its subtle movement again the idea of presence and absence what constitutes the whole construction of the time-based image and links to my previous work Black Light, 2010. The theme of the night always allowed me to talk about the process, the latent image and to reveal the unseen. To sum up the initial period of research, the theme of disappearance in photography led together with the theme of the „nocturne“ from the romanticism to the subject of the limit of perception.

Retrospective view and how I arrived at the current project...

Aster, 2008

topic of the night in the center/ allows to talk about the process, reveal the unseen, latent image/ limit of perception, the invisible is the main referent/ theme of absence/ introspection, exp. portrait Maithu/ psychoanalysis/ exteriors becoming screens for inner images/ contemplation/ romanticism/ juxtaposition of pictural and photographic/ duration and instant

Le Sapin, 2010

media specificity, woodcut-photography/ duration of production of a wooden matrice and long time exposures on a sheet film/ blackness, deep black of the matrices/ again the night as central element/ at the border of the visibility/ oscillate between negativ and positiv, day and night/ black and white images closer to our nightvision/ the process of photography, to freeze and solidify in silver/ between the pictural and the photographic/ materiality of the polaroid portrait, the photographic emulsion/ theme of the forest linked with the sublime/ portal to an imaginary world

Schwarzes Licht, 2010

light installation/ role of the audience/ oscillation of present and absent image, latent image/ greek mythology, three casket theory

Montchoisi, 2011

from forest to water/ element of water, towards the immaterial flow (now in the digital video image)

First Trimester Piet Zwart

try to link with previous investigations/ theme of perception/ techniques of the observer, 19th to 21st century/ pulsing thaumathrope, theme of the after image/ dematerialisation/ from stillness to moving image/ discovered interest in the temporal moving noise in the underexposure digital image

Relation to larger context

I am approaching with a background in photography the electronic moving image towards the aspired aim to present the work in a videoinstallation.

References:
Steve McQueen/ Mark Rothko/ Hiroshi Sugimoto/ Raphael Hefti/ Roni Horn/ James Turell/ experimental and silent film/ video art/ Harun Farocki/ Bill Viola/ Michael Snow/ Marie Jo Lafontaine/ Mark Lewis/ Fiona Tan/ David Claerbout/ Gillian Carnegie/ Douglas Gordon/ Bruce Naumann/

Steve McQueen, Running Thunder, 2007

installation with hanged screen in space
reflections of the presentational mode
photograph of a dead tree enclosing a stone

Gillian Carnegie, Black Square, 2008

the contradiction between matter and image
black painting of trunks with textured paint
about the viewers position, his movement to reveal the image
challenge of depicting a night scene
do I have to simulate my vision at night?
made me think of my previous work in the forest
Carnegie also mixes genres, still life, landscapes, portrait - including the gaze?

Small projects

Small drafts to reflect about the graduation project

Thesis proposal

The shift from stillness to the moving image is based on my interest of the treshold to something that is in constant movement and thereby articulates the theme of presence and disappearance. In addition to that the juxtaposition of the analog photographic image and the digital moving image consequently evokes the question of indexicality and its materiality. My essay Black Box written in the second trimester approaches what is being transformed or "lost" in the analog digital conversion. For the thesis I would like to tie in with this point and ask the question about the construction of the image itself. Is the image dissolved during the process of conversion? And when it is argued that the digital moving image is under constant construction and never there as a whole, what does that mean for the origin of the perceived image in our own vision?
keywords: limit of perception, blackness, the viewers experience, treshold of the sensor, role of the codec, the given illusion, transformation or disappearance

I want to focus on their media specificity, by which I mean their mechanism, their materiality, how time behaves and where the question about the origin of the image leads. These reflections allow me to articulate thoughts about absence/ presence and disappearance, night/ perception and psychoanalysis and generally the border of the visible.

The crucial unique instant while triggering the photograph turned into duration while using long time exposure, what I used a lot in my previous works. Now through thinking about the construction of the electronic moving image the factor of time again plays an important role and emerges the idea that the image as such is never present as a whole. This intriguing insight links to the role of the observer, its perception and the question where the actual image is created and what does it mean if it never exists all at once? These reflections about the conception of the moving image increase my interest for the origin of the image, which can be understood as foundation that drives me in my research, with the ambition to achieve a good balance between theory and practice to strengthen the completion between concept and production > thesis.

(The self-referential language allowed me to ask questions about absence/presence and disappearance through the process of analog digital conversion and to think about the notion of indexicality in the electronic image.)

As references therefore serve literature about the gaze in theory of cinema, such as Laura Mulvey's Death 24 times a second and Kaja Silverman's The threshold of the visible world. Both are linked to concepts of psychoanalysis and the uncanny.

Bibliography

- Maurizio Lazzarato, Videophilosophy: Construction of the digital image within the notion of time and space. The image is never present as a whole and under constant construction.
- Gilles Deleuze, Time Image: Chapter about Ozu, empty spaces and charged stillife, pure contemplation, between mental and physical, the real and imagination, the world and the I.
- Tanizaki Junichiro, Praise of Shadows: About japanese esthetic compared with western enlightenment, where things raises out of the darkness.
- Paul Virilio, L'art à pert de vue: Overexposure of the real. It comes to a negation of speed in form of complete stillness and from the overall visibility to blindness. Incapacity to see.
- Laura Mulvey, Death 24 times a second: Film theorist, topic of the gaze
- Kaja Silverman, The threshold of the visible world: Psychoanalysis and about the time-based image
- E.T.A Hoffmann, Interpretations: The serapiontic principle to transfer the inner reality. His essay about the mine of Falun depicts the idea to discover in the darkness a brighter light.
-
-
-

User:Nicole Hametner/Graduate Research Seminar 2013-TM4.01

Contents