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

Modeled after the Malaise Trap, this installation redesigned a theater to mimic a ubiquitous tent-shaped flying insect trap, which has a single wall protruding down its center. The piece includes black-out darkness with 10-channel spatialized audio, showcasing 16mm work shot along the Mid-Atlantic Ridge in locations at sea, throughout the Faroe Islands and Iceland; locations where Rene Malaise (inventor of the trap), believed to be the lost site of Atlantis.

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 a conference of umwelts, human and non-human 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.

A Room In Which The Only Wall Is In The Middle re-visions the food-chain as a closed loop, and proposes that the cinematic space of the theater, has always already been itself, a hungry being.

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)