— Edmund Nesveda

Inspiration

Here’s  a look at several media and artworks that inspired the projects in one way or another according to the three main concerns: theoretical, aesthetic and technical.

Alex May Shadows of Light

Alex may’s Shadows of Light video installation, uses Kinect and Processing to create slow silhouette portraits of audience members thus: “explores the concept of ‘slow interaction’: rather than responding to quick movement, it requires viewers to slow down and stand still, when it will slowly take the viewers silhouette and uses it as a digital stencil” (May, 2009 online) I enjoyed the idea of slow interaction, as it denies the instant gratification that seems so pervasive in our culture.

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Kyle McDonald Exhausting a crowd

McDonald describes his work as it “speaks to the potential of a perfectly automated future of surveillance, enabled by a distributed combination of machine and human intelligence. A beautiful record of the energy present in shared space, as well as a disturbing look into the potential for control in a dystopian environment.”(McDonald 2015, online) It is a 12 hour long real time video of Piccadilly Circus in London. The user has the ability to zoom in  the footage at any point, and ad their own comments, as an exercise in guessing and interpreting the actions of the people in the footage.  Although shot in 4K it certainly has the look of CCTV footage, especially when zoomed in. It feel like the digital media version of John Smith’s film “Girl with chewing gum”.

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 A. Hitchcock Rear Window

Film critic Roger Ebert describes the main protagonist in the film as he is “is trapped in a wheelchair, and we’re trapped, too–trapped inside his point of view, inside his lack of freedom and his limited options. When he passes his long days and nights by shamelessly maintaining a secret watch on his neighbours, we share his obsession. “ (Ebert, 2000,online)

One thing that in common with the film’s protagonist is my background in photography. Generally in Hollywood films, the representation of photographers is negative, ranging from voyeurs to murderers. BlackLab’s video “Photographers” (Vimeo, online) is a collage of clips from various films and it doesn’t paint a flattering picture.  In Rear Window the photographer is a voyeur, and the whole film is presented from his point of view, and the audience shares it as he uses the camera’s telephoto lens to spy on his neighbours. Ebert goes on saying “It’s wrong, we know, to spy on others, but after all, aren’t we always voyeurs when we go to the movies? Here’s a film about a man who does on the screen what we do in the audience–look through a lens at the private lives of strangers.” (Ebert, 2000 online).

 

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