thirty-one-point-ten (videos)

Here are the videos which formed the installation. The installation works in a fourteen-minute loop of the text, while the videos are on a four minute forty-two seconds loop altering the perspective of both.

The image composition was drawn from autobiographical content, as it is a representation/metaphor of the various fragmentations suggested within the text. To create the coequal relationship between text and visual, I opted to mostly portray body stillness, thus leaving space for the images and the text to perform. One will notice that often throughout the videos, the images are repetitive however; it always shows a slight different perception of the body. The body is depicted, almost nude, as it was necessary to not give any clothing characterization to the performer as I aimed to represent the body as an object of perception. De novo, this concept of objectification and perception was inspired by Merleau-Ponty who wrote that:

It is true that external objects too never turn one of their sides to me without hiding the rest, but I can freely choose the side which they are present to me. […]From my window only the tower of the church is visible, but this limitation simultaneously holds out the promise that from elsewhere the whole church could be seen. […] I observe external objects with my body, I handle them, examine them walk around them […]. (Merleau-Ponty 1962, 104)

Accordingly, I purposely placed the body within the vertical and horizontal framing to enhance the body as the reader’s object of perception and for the viewer. The viewer knows that, while looking at the body/object, there is more than what is offered within the framing. The camera will offer in time the various angles of the body/object as if observing the body/object from different perspectives. The fragmented horizontal and vertical screens offered me the possibility to strengthen the concept of fragmentation moreover, to sustain the idea of perception of the body/object and to challenge the concept of gazing, as I could decide which part of the body to place within the frame.


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