Page 41 - Studio International - May 1972

From Sunset to Sunrise 1969 reflects light back to the film in the camera. The Film is made following the same schema as the still
160 colour photographs in an 8o foot horizontal row reflected surface defines 'space' in (as) 36o° while the photographs but as a continuous slow pan. The
placed at eye-level to the spectator. spectator sights the photographs as two-dimensional, camera is hand-held and reflects the filmmaker's body
Beginning with the sun on the horizon line at the linear progressions. axis of 36o° orientation relative to 36o° 'space' the
moment of sunset, each photograph left is taken Collection : Ilka and Kasper Konig. camera reflects (is filming the edges of). Here, unlike
6 seconds and i8° shift in orientation with gradual the still version, the spectator's eyes fixate on a single
upward inclination toward the top of the sky in a frame (screen); time is kinesthetic.
helix movement. This spiral maps the surface area of
the sky from the most measurable (horizon edge) to
the most incommensurate distant surface. 8o shots
take 2 minutes, 20 seconds. The next morning at
sunrise from the same geographical site, the reverse
helix down in opposite right/ left rotation is shot,
ending on the sun rising at the horizon.
The spectator reads by sighting and walking along a
linear axis. Photographic perspective in the sequence—
a framed moment—is unique, differentiated by the
relative placement (and subsequent, sequential
re-placement) of (atmospheric) content (clouds /
`space' described by the reflection of the sun's light)
with respect to the framing edges ending a former
moment or perspective relative to former
arrangements. The sun's light is simultaneously the
point source of illumination for the 'spatial' presence
and for the appearance of the film (document). 'Space'
is the closest surface (before the camera's lens) which

TV Camera / Monitor Performance 1970 reference frame, shows to the performer the
SCHEMA: On a stage whose top is eye-level to the information about his body necessary for him to
seated audience a performer defines its surface by continuously align his 'aim' while also being available
rolling (on a continuously shifting axis) parallel to the to the spectator turned to view its projection on the
right and left edges. He holds a TV cameral to monitor.
(extend) his eye as the camera and performer
continuously achieve the aim of the camera (and FEEDBACK: The performer's behaviour in-forms
performer's eye sight line) constantly centred on a a (machine to body to machine) feedback loop.
monitor to the rear eye-level to the audience, camera Simultaneously, the camera aimed successfully at the
and performer. The monitor simultaneously projects monitor electronically (or mechanically) produces an
the camera's 'inside' view so the spectators can see image of machine self-referring feedback (visually
subject, inside, or (as) object outside, depending upon seen as image within an image within an image, ad
their front or rear-facing orientation. The camera / infinitum, pattern). His gaze at eye-level is seen in the
monitor's view, subjectively inside the body's same monitor image but he cannot see himself
looking. The audience (member) is surface physically monitor to see the back of his head and / or other
The camera mechanically reverberates in its between and (phenomenologically) outside the camera persons' present frontal view(ing). This time delay,
`handling' ; visual torsion being caused by the body's line of sight-connection to the monitor feedback loop. also, disjunctures the audience's attention time status
irregular motion across the flat surface covered by the There is a mirror reversal or time delay of position; (and view) from that of the performer's (simultaneous,
performer's movements. the spectator must take time to rotate to the reverse feedback) attention.

Body Press 1970 body's contour, spiralling slightly upward with the on the body contour at a given moment. (The camera
2 Super-8mm. colour films projected simultaneously next turn. With successive rotations, the body surface might be pressed against the chest but such a
on loops. areas are completely covered as a template by the downward angle shows head and eyes.)
FILMING PROCESS : Two filmmakers stand back of the camera(s) until the cameraman's eye-level
(within a surrounding and completely mirrorised is reached; then a reverse mapping downward begins PROJECTION OF FILM: The films are
cylinder), body trunk stationary, hands holding and until the original starting point is reached. The projected at the same time on two loop projectors,
pressing a camera's back end flush to, while slowly rotations are at corresponding speeds; when each very large size, on two opposite, but very close, room
rotating it about, the surface cylinder of their camera is rotated to each body's rear, it is facing and walls. A member of the audience (man or woman)
individual bodies. One rotation circumscribes the filming the other as they are exchanged so the might identify with one image or the other from the
camera's `identity' changes hands' and each same camera or can identify with one body or the
performer is handling a new camera. The cameras are other, shifting their view each time to face the other
of different size and mass. In the process, the screen when cameras are exchanged.
performers are to concentrate on the co-existent, To the spectator the camera's optical vantage is
simultaneous identity of camera describing them and the skin—there is no other space. (An exception is
their body. To the spectator, the camera may or may when performer's eyes are also seen reflected or the
not read as extension of body('s identity). cameras are seen filming the other.) The performer's
Optically, the two cameras film the image reflected musculature is also 'seen' pressing in to the surface
on the mirror, which is the image of the surface(s) of of the body (pulling inside out). At the same time,
lens, camera's visible sides, the body of the performer, kinesthetically, the handling of the camera can be
and (possibly) his eyes on the mirror. The camera's `felt' by the spectator as surface tension (for) the
angle of orientation / view of area of mirror's reflective hidden side of the camera presses and slides against
image is determined by the placement of the camera the skin it covers at a particular moment.
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