A Room In Which The Only Wall Is In The Middle, 2014
island | cinema | trap


Cinematic environment modeled after the Malaise Trap, a ubiquitous tent-shaped flying insect trap which has a single wall protruding down its center. 
Just as a spider’s web is a kind of relief pattern of both the fly’s and spider’s umwelt, A Room In Which The Only Wall Is In The Middle aims to weave the haecceities of different worlds into a net of sound and light. The cinema entangles us because of its capacity to appear as the relief space of human psychology, but a psychological experience which populates unlikely subjects with a human "I". It is thus a meeting ground, or assembly point for a conference of umwelts, human and non-human alike. When different animals and their umwelts come together they can form into a gateway for the ex-personation of animality; the act of miming yourself but from a different scale of ecologic, or metabolic processes. A Room In Which The Only Wall Is In The Middle recontextualizes the food-chain as a closed loop, and encourages its catch to experience the cinematic space of the dark theater as a hungry being.

manifesto for the creation of a cinematic trap, 2014

 

Jakob von Uexküll (b. 8 September 1864, Estonia), pioneer in the field of bio-semiotics, proposed a theory of ‘Umwelt’: We no longer regard animals as mere objects, but as subjects whose essential activity consists of perceiving and acting. We thus unlock the gates that lead to other realms, for all that a subject perceives becomes his perceptual world and all that he does, his active world. Perceptual and active worlds together form a closed unit, the Umwelt (Thomas S. Kuhn).    

...An example: Do not imitate a dog, but make your organism enter into composition with something else in such a way that the particles emitted from the aggregate thus composed will be canine as a function of the relationship of movement and rest, or of molecular proximity, into which they enter (Deleuze & Guattari) 

...To set such a trap requires a deep sensitivity to the materials at hand - a responsiveness, that is, to the opportunities available in the environment: an unnerving ability to coax effects from it, rather than imposing effects on it by the application of force alone; an activation of hidden possibilities, rather than, as it were, barking instructions at the world (Benedict Singleton)   

... affect is not a denial of action, but contemplation of the most life-enhancing action in preparation for further motion (Anna Powell) 

... The Installation presumes that human beings can get caught up and entangled by the cinema, much like the way other species of animal are captured through traps.  A Room In Which The Only Wall Is In The Middle suggests that the practice of trap-setting is a useful paradigmatic model for understanding the way humans choose to engage with works of art.