Phantom Ride senses the boundaries of the landscape-image. With a simple rearranging algorithm, the image production-chain (camera-computer-screen) stops with representing and starts presenting a new reality. By applying a perspective change not with the camera but in the data-file itself a new sensibility to the awareness of space, shape and motion in the landscape-image develops itself. A still image becomes animated (picture, slide show, motion picture) and starts a game with the recognizable and the absolutely alien.
Representational realism, related to indirect realism, is a philosophical concept, broadly equivalent to the accepted view of perception in natural science. Unfortunately, the meaning of the theory is dependent on the user’s interpretation of words like ‘perceive’, ‘reality’ etc. such that in the longstanding debate between representational (indirect) and naive (direct) realists each side will always claim that the other has not understood their position. Thus, readers of this account must ask what the writer(s) believe(s) their words to mean.
Direct realism, also known as naïve realism or Common Sense Realism, is a theory of perception that claims that the senses provide us with direct awareness of the external world. In contrast to this direct awareness, indirect realism and representationalism claim that we are directly aware only of internal representations of the external world. And in contrast to realism in general, some forms of idealism assert that no world exists apart from mind-dependent ideas.
Martens subjects are the normal cast of characters in every war; heavily armed soldiers on border patrol, civilians lining up for food, civilians trying to get on with it, civilians suffering before their destroyed homes and lives, refugees, but also all manner of NGO employees with their food programmes and journalists with their stories. Within minutes we understand that this is not simply a film about war, but a film about the role of the camera in war, about ethics, the dehumanising effect of pointing the camera and about what is so humanising about turning the camera back around at one’s self.
Fall – Patrick Jolley. 16mm. 2008
Tedium breeds its own reverie. Here becomes like there becomes like could be anywhere. This forms a coincidence with the generic: Repetitions erode sense of place and make buildings seem less substantial. The logic of these displacements causes things to come adrift. Little houses sink and burn. Furniture smashes in an empty car park. Events of small destruction. pathetic yet momentarily cathartic.
Eleven minute film or single channel installation.
Sound Design and Music – Brian Crosby and Nick Seymour
Editor – Bobby Good
Cinematographer – Denise Woods
via Website Patrick Jolley – > Fall.