Time and Scale are formatted within the 16:9 world of our screens making them an apparatus for exploding moments and managing their perception.
I began arranging screenshots and images to develop a story board and open a discussion focused on the techniques deployed: from the physical model as a simulation, a rendered model, drawings/mappings and the methods of recording different scales. The technique is something I plan to illustrate in the next video test I conduct. Also through the technique I start identifying agents and scales (whether from a soldier, ground texture, satellite views or drones etc) who all contribute to the explosion of the moment and the management of its subsequent perception.
Sharpening the argument:
What is also important to clarify is my position in terms of the overall direction. Although still at an infant stage, the project I find rests more on how proliferated information explodes a moment in time and scale. The way the information is later “managed” or “perceived” according to how “agents” weave into a narrative becomes an added area of interest.
What the overarching question should avoid is a discussion on the fake versus the real or simulations etc. Deception is to me different to something fake or indeed a simulation.
Hence the focus is on this idea of “managing perception” as an apparatus for building up anticipation that will then begin to be subverted shattering the linear relationships that the different pieces of footage might establish between each other and the viewer. It is also important to note that I decided to eliminate the frame between the footage to allow for “spillage” and moments of confusion to develop as the narrative breaks down.
The content, for now, remains within the Gulf War.
Identifying the Agents:
An Agent – the “actor” within the narrative and the one responsible for exploding the moment (be it from recording footage, managing its construction, or viewing it)
1. Informants/Footage Collectors
2. Footage Processors – Perception Managers
3. Receptors – Display
The next step is to continue refining the story board and start bringing in physical and digital versions of the event and incorporate them as footage within the narrative.
Above, Fargo Season 2, used the split-screen as a technique to relate events and build up to moments. Sometimes it becomes interesting where there is an overlap or bleed between the screens.
The emmy winning music video by Slayer titled “Eyes of the Insane” relates to the second Gulf War as a topic. What I find interesting is the shooting choice of using a soldiers pupil to reflect imagery he perceives but more importantly how some of those events escalate and we experience a gradual effect on the surroundings of the eye (some more expected than others like when an explosion occurs).