In the film studio the apparatus has penetrated so deeply into reality that a pure view of that reality, free of the foreign body of the apparatus, is the result of a technological procedure peculiar to it — namely, the shooting by the specially adjusted camera and the assembly of that shot with others of the same kind. The apparatus-free aspect of reality has become artifice, and the vision of unmediated reality the Blue Flower in the land of technology.— Walter Benjamin, Art in the Age of Mechanical Reproduction, 1936
Most of these moving images show us an intensely artificial, constructed, manipulated reality, and though we pride ourselves on our sophistication in knowing what goes on ‘behind the scenes’, much of that very knowledge is provided in the same, controlled manner.
I am one of a number of experimental filmmakers around the world working with old photographic processes and primitive tools. This particular film, ‘Big Agnes Ascent’, was made with a hand-made, hand-cranking 16mm pinhole camera in the mountains of Colorado, developed in photo chemistry warmed by a fire, high on the mountain on a moonless night. Electricity didn’t come into the process until I had a digital scan of the footage made, so I could share it more broadly — it’s not that I’m anti-internet or anti-technology by any means.
My interest in these primitive techniques is not about kitsch or nostalgia — it’s a way to explore the nature of the moving image itself, how the eye constructs movement from distinct frames. How our brains fill in the gaps, smudges and scratches to make meaning out of indistinct, faint, flickering shapes and textures. This film is part of an ongoing effort to rediscover the fundamental illusion of motion and the basic alchemy of the captured image, as a way to reflect upon the very seamlessness of the media product we consume as part of our daily interaction with the modern world.