Captured

Through film, we have captured a part of the real world. Simultaneously, we have connected with contained reality with other realities that relate and are able to co-inhabit with this reality in the same universe. We believe, that despite we do not see, we ae not cut off from the world.

In a floorplan, we are omniscient, even if this is impossible to do in reality. A cross-section is a more physical rendering. We are given the luxury of witnessing the simultaneous isolation and social interactions between those divided by walls. On the web, our experience of the cyberspace is heavily myopic, we can only interact with the now - the current page - but, our datebase (physical or intangible) organizes these jolts of information - interpretations of the outside world, in a systematic grid, in parallel with each other. This is how we like to access information now. The reassurance that all aspects of reality are there within our reach, that we are emotionally in touch with the world despite not seeing, is comforting. The more we adapt to the level of faith and comfort, however, the more detached we become in touch with.

Film is simultaneously an ostracizing and social medium. So is television. So are miniatures of architectural structures, digital and analogue displays of maps, etc - which all require a certain level of stepping away from the subject.

With the advant of webstraming videos and webcams, the ease of personal videography and documentation of self, I am becoming increasingly alarmed by the polarization between filmic authorship and and social interactions. This is perhaps why I am tackling these topics of society and isolation, spatial reality and spatial reconstruction, etc - at this particular moment.