A Room In Which The Only Wall Is In The Middle
cinematic trap
Experimental Digital Arts, UCLA, 2014

A Room In Which The Only Wall Is In The Middle is a cinematic environment modeled after the Malaise Trap, a ubiquitous tent-shaped flying insect trap which has a single wall protruding down its center. The environment utilizes black-out darkness and 10-channels of audio to showcase a 16mm film work shot along the Mid-Atlantic Ridge, in locations where Rene Malaise (the inventor of the trap), believed to be the lost site of Atlantis.

A Room In Which The Only Wall Is In The Middle re-visions the food-chain as a closed loop, and urges the audience to experience the cinematic space of the dark theater, as a hungry being.

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. Constructed from the perspective that the cinema entangles us because of its capacity to appear to our bodies as the relief space of human psychology, ARIWTOWIITM aims to render out unlikely subjects with a human "I", or eye. The environment is thus a model of subjectivities, meeting and assembling into conferences of umwelts, human and inhuman alike. When different animals and their umwelts come together they form into a gateway for the ex-personation of animality; the act of miming yourself but from a different scale of ecologic, or metabolic process.

manifesto for the creation of a cinematic trap, 2014

 

notes/quotes, 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)