“Was not their mistake once more bred of the life of slavery that they had been living?—a life which was always looking upon everything, except mankind, animate and inanimate—‘nature,’ as people used to call it—as one thing, and mankind as another, it was natural to people thinking in this way, that they should try to make ‘nature’ their slave, since they thought ‘nature’ was something outside them” — William Morris


Sunday, May 1, 2011

Interobjective Art


Kate Hollett, The Noise of Water


This isn't constructionism. It's not asking us to think about thinking about thinking about...It's a vivid presentation of interobejctivity, in which the flv YouTube video environment is also included. The sonic montage is incredible. I am going to have to watch this a few times before I can say all I need to say about it.

1 comment:

Anonymous said...

How does Hollett's work go beyond that of, say, Ralph Steiner's 1929 H2O? There's the matter of the soundtrack, of course, but couldn't Steiner's film be viewed as the production of vision among objects by an immersed or engaged visual apparatus? Or, take Stan Brakhage's 1997 Commingled Containers as an example of a cinematic form in which the lyric eye's authority is supplanted by changes in scale and qualities of visual immersion. Can't a general claim be made that cinema is always about the production of visuality in the interobjective field? I think a film such as The Hurt Locker takes that fundamental claim quite seriously.