#瀏園印記 #movingimages #movement #movingcamera #visualexperience
Days of Scrolling in the Garden
Single channel video | Sound | 8’23
Days of Scrolling in the Garden is a collection of moving images obtained with mechanical camera movement. The work explores the relationship between object, motion and camera as an extension of human perception.
The camera captures what is in front of it without the transformation or translation by our brains, that results in ‘an image of the world is formed automatically, without the creative intervention of man’ (Bazin, 1967, p.13), close to Nichols’ idea of ‘bracketed perception’ which provides ‘information’ before comprehension by human (Nichols, 1981, p.13).Canadian filmmaker Michael Snow’s three-hours longLa Région Centrale (1971) demonstrated this ‘dehumanized’ way of capturing (Leitner, 2013, p.267), the entire film was shot with the camera mounted on a robotic arm built for the project. The machine enabled the camera to turn indirections and move in ways that cannot be performed by human, resulted in images that were not perceivable by the naked human eyes.
The collection of moving images in Days of Scrolling in the Garden is captured with an intention to explore the recording power of the camera and how it expand human capabilities. The camera was mounted on a Zhiyun Crane 2 gimbal, where the joystick on the handle controlled the motors for pans and tilts. Different shots were captured with different pan and tilt settings, including 180-degree pan, 360-degree pan, 180-degree tilt, 270-degree tilt, and mixing rapid pan/ tilt within one take.
To capture with this set-up resembled the use of scanners, when a document being scanned to become a digital file, the file becomes a record of the scanning process. The recording event was a process of signification to encode what is in front of the camera indexically into the moving image, the resulting footage is a reproduction of the time and space when the camera was working. As Bazin explained, ‘The photographic image is the object itself, the object freed from the conditions of time and space that govern it. No matter how fuzzy, distorted, or discoloured, no matter how lacking in documentary value the image may be, it shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction, it is the model.’ (Bazin, 1967, p.14)
The moving image re-presents different situations when the camera was moving. 0:01-39 reveals the conditions at the crossing presented to the moving camera when it was tilting upwards, while 5:15-41 displays the conditions at another crossing presented to the panning camera. The exercise resulted in not only descriptive images, but images that extend human perception, forming of a model of a sensible world without limitations by our bodies. The rapid pan and tilt shots in 2:31-3:07 scanned the static residential high-rise with continuous movement, visualised the blurred, rotating buildings in motion that are too microscopic for our eyes to see. The 360-degree pan shot in 5:42-6:51 created a seamless rotational vision that is beyond human capacity. Days of Scrolling in the Garden demonstrates how technology attain the unprocessed reality for us and widens our range of sense perception.