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Detour I

(2010)

 

A performance experiment consisting of nearly 3 hours of home video footage arranged in an edit timeline and manually scrubbed at high speed in an attempt to generate random sensory impressions similar to memory fragments within the viewer's mind from which a personal subliminal narrative can be derived, similar to that of a recovering amnesia patient.

Viewers are encouraged to share their interpretations of the footage with one another and to discuss the moral/ethical implications of high-impact editing techniques as a possible form of conditioning for future direct neural data transfer technologies. Now that there is increasing speculation amongst analysts that things are moving in that direction, one has to wonder if such a development will usher in a new era of interactivity with users engaging in free-association with raw data with only limited mediation or will it merely increase the entertainment industry's stranglehold on passive viewers?

 

 

 

 

 

 

 

 

 

 

Detour II

(2010)

 

This second installment of the Detour series invites the viewer to revisit the perceptual experiment conducted in Detour 1 only instead of presenting the images in a rapid succession, here they are slowly fragmented almost like a puzzle occasionally coming together to form complete images. The video consists of footage acquired with a computer screen recording program which captured the visual distortion generated when a tape containing alternate takes of the Detour 1 performance was fast forwarded through a tape deck while the signal was still being fed back into the computer. The new recording which resulted was then slowed down considerably, broken into clips and slowly dissolved between one another using a variety of transitions and blending modes available within Final Cut Pro.

 

Like Detour 1, the resulting video was then “performed” by scrubbing the playback marker back and forth across the edit timeline in order to ‘shuffle the puzzle pieces’ only this time it is also allowed to roll naturally for extended periods. The soundtrack consists of an acoustic guitar improvisation recorded in my backyard with nature and city noises in the background.

 

 

 

 

 

 

 

Detour III

A Requiem for the Cathode Ray Tube

(2010)

 

A remix of the first two installments of the Detour series, in this version all previous visual and conceptual associations are broken down as the mashed-up video fades and shifts between three different perspectives:  1.) the reedited source images as seen directly from the computer timeline  2.) the screen surface of an old CRT television monitor filmed with a macro lens as it plays back the aforementioned images  3.) the same television as seen from the vantage point of an ordinary viewer sitting in a common living room.  The resulting perceptual muddle is an attempt to disorient the viewer in a way that causes them to question their own role as an observer as well as the ways in which media inherently distorts those observations, whether it be through the manipulative voyeurism of reality television, clinical surveillance via closed-circuit monitor or the simple distraction of enjoying the pretty flickering lights emitted by the machine.

The subtitle “A Requiem for the Cathode Ray Tube” is a homage to the type of monitor used in the creation of this video which was common in most homes from the inception of consumer television technology right up until the early 2000s when flat-panel TVs rendered them obsolete (though they are still used to a limited extent by broadcast professionals and others).  The unique pixel patterns and scan line distortions literally hypnotized me as a kid whenever I ignored my parent’s advice not to sit too close to the television and are something that I wanted to celebrate on a purely aesthetic level in addition to everything else I have been trying to convey with this series of videos