4'52'', hd video, found footage, stereo, 2013
awarded at arte creative recycling 360° géo contest.
'"shariputra, form does not differ from emptiness, emptiness does not differ from form. form itself is emptiness, emptiness itself is form. so too are feelings, cognitions, formations and consciousness."
first time i’ve heard this teaching beloved among zen buddhists, it seemed to exactly represent what i think about video and arts that are about the representation of reality. we often hear, when we talk about videography or photography, that these medias give a scientific image, often considerate as the truth, the perfect reality. if today, digital cinema and 3d technics begin plant seeds of doubt in the mind of spectators, cinema itself need the witness to be a part of the mockery to work. it needs the witness to believe in the reality of what it screened to go along with the story. every situation is then a excuse to play with witness’ feelings via the phenomenon of identification or scopophilia (desire and pleasure to watch, to see, the same that takes the voyeur in front of his victim and the spectator in front of a film); of course, this is how work all fictional and documentary movies in cinematographic industry, industry of illusion and dreams. as the world is illusions and dream for the bodhisattva avalokitesvara, speaker of the heart sutra. even if the video get the reality, the result is nonetheless a picture, a picture i’d like the witness considers as it is to seize. seizing a picture, it’s giving it the power ton mean something. and the meaning, we know, that, is always moving.
filming the reflection of pictures in the water, it’s showing the picture for what it is. as hayao yamaneko said in chris marker’s movie sunless :
‘‘pictures that are less deceptive than those you see on television. at least they proclaim themselves to be what they are : images. not the portable and compact form of an already inaccessible reality.’’
showing picture for what it is : ending the process of mockery of the reality. ending the sacred pact that link the witness to the film. there’s no need to agree to the illusion anymore, no need to make belive in the reality of the picture and then, no need to tell stories. assuming the fact there are only images, we can discover new feelings and the witness is then in a whole new position : trying to figure out à new message (and do we really have to always try to understand ? couldn’t we find a complete satisfaction and a brand new wisdom letting the light swiping the screen without being disturbed by any color we want to give it ?) now pictures isn’t only an illustration, it makes sense by itself, for itself. it’s no longer the vehicle of the message, it’s the message. it gives itself in its first and ra form. signal of communication. showing a movie, an idea, a picture : always a gesture entirely turn to the outside. screening, showing, is only a purpose. as in love, it’s our duty to decide to participate or not to the meaning, to bring or not what we have inside, to make our heart ring with another light.
this short movie was made form cutaway shots of five documentary arte 360° géo.