Artbound

S3 E1 | FULL EPISODE

AgH20: Silver and Water

Artbound's one-hour special looks at Lauren Bon and the Metabolic Studio's "AgH2O" project, which connects the elements mined from the Owens Valley, silver and water, to the emergence of the film industry. Silver mined from the Owens Valley was shipped to Rochester, New York, where it was used to make film.

AIRED: October 10, 2013 | 0:53:32
ABOUT THE PROGRAM
TRANSCRIPT

WHAT IS IN AN AND.

THERE IS A QUALITY THAT IS

UNIQUE TO THE OTHER ENVIRONMENT.

YOU ARE ABLE TO HEAR THE CRACKLE

OF THE DRY LAKE BED BREAK UNDER

EACH STEP YOU TAKE.

YOU ARE AWARE OF HOW MUCH OF

YOUR BODY IS NOT DESIGNED FOR

THE DESERT.

THE DIFFERENCE BETWEEN THE

NATURAL ENVIRONMENT AND WHAT IS

A SCAR OF A PROCESS BECAUSE THE

DRY LIQUID IS MISUNDERSTOOD AT

FIRST GLANCE OF THE GEOLOGICAL

FORMATION RATHER THAN WHAT IT

IS, WHICH IS A SCAR THAT RESULTS

FROM THE ACTION OF REMOVING

WATER AND WHAT HAPPENS WHEN THE

SUN AND WIND CREATE A NEW

LANDSCAPE AS A RESULT OF THE

ABSENCE OF WATER.

IT IS THE AREA THAT THIS PROJECT

FOCUSES ON IS THE TERRITORY

GEOGRAPHICALLY BETWEEN THE

ROCKIES AND THE SIERRAS.

THE WEST OF THE UNITED STATES

RUNS A SERIES OF MAGNIFICENT

CASCADING LAKES THAT STRETCHED

ALL THE WAY FROM THE SIERRAS TO

THE OCEAN AND ONE FLOWED RIGHT

INTO ANOTHER.

IT WAS A PARADISE.

WESTWARD EXPANSION WAS LARGELY A

QUEST FOR THE MINERAL WEALTH OF

THE WEST.

SILVER MINING WAS A HUGE PULL TO

BRING PEOPLE OUT WEST AND THE

RAILWAYS ALLOW THAT TO HAPPEN

ANY IMMENSE AMOUNT OF WATER

COMING FROM THE SIERRAS GREW A

RANCHING POPULATION THAT

SUPPORTED SILVER MINING.

GEORGE EASTMAN HAVE THE ABILITY

TO THINK THROUGH THE FIRST MASS-

PRODUCED ART PRACTICE THE WORLD

WOULD EVER KNOW.

BECAUSE THE AVAILABILITY OF

SILVER THAT WAS COMING EAST TO

PHILADELPHIA WHERE MONEY WAS

MINTED AND HE DEVELOPED A POCKET

INSTA MEDIC CAMERA.

-- AND STIGMATIC -- INSTAMATIC

CAMERA.

ONCE HE WAS ABLE TO MAKE HIS

BUSINESS MODEL WORK, HE WENT ON

TO HELP MAKE FILM AVAILABLE FOR

FILMMAKERS.

THAT WAS SHIPPED BACK TO

EMERGING HOLLYWOOD AND TAKING

BACK TO WHERE THE SILVER WAS

MIND TO BEGIN WITH, WHICH WERE

THEN EXPLOITED ALL AROUND THE

WORLD.

ANOTHER MINING PHENOMENON THAT

HAPPENED IN THE SAME LOCATION,

WHICH IS THAT WATER STARTED TO

BE MINED OUT OF THE MOUNTAINS

TO FEED THE EMERGING CITY THAT

WAS GROWING AROUND.

THE MAYOR OF THE CITY OF LOS

ANGELES WITH HIS WATER

COMMISSIONER TOOK A TRIP IN

1905.

THEY CONCEIVED IT WAS POSSIBLE

TO MOVE WATER FROM THE MOUNTAIN

TOPS TO LOS ANGELES SIMPLY BY

GRAVITY.

THEY WERE ABLE TO USE THE MULE

PACKING INDUSTRY, WHICH SERVICED

ALL THE MINES FROM ALL THE

RANCHERS TO CONSTRUCT AN

ELABORATE SERIES OF PUDDLES AND

PIPES THAT STRETCHED ALL THE WAY

FROM THE TALLEST PEAK IN THE

AMERICAS TO THE CASCADES HERE IN

LOS ANGELES.

ON NOVEMBER 5, 1913, WILLIAM

MULHOLLAND AND THE MAYOR OPENS

THE WATER AT THE CASCADES WITH A

FAMOUS SLEW -- FAMOUS SHORT

SPEECH.

IT WAS MIND-BOGGLING, THE SINGLE

FEET OF MOVING WATER 240 MILES

AWAY THROUGH A GRAVITY FEED HAS

REDEFINED GLACIAL TIME.

THE PORTRAIT I GAVE YOU THAT

STRETCHED BETWEEN THE ROCKIES

AND THE SIERRAS WAS ABSOLUTELY

CHANGED INTO THE CONTEMPORARY

PICTURE OF THE WEST WE NOW KNOW

BY THE EMERGENCE OF THE L.A.

AQUEDUCT.

IT HAS BEEN ACKNOWLEDGED BY THE

EPA AS BEING A CARCINOGENIC

CATASTROPHE.

THE PEOPLE WHO PLANNED THE L.A.

AQUEDUCT HAD NO WAY TO KNOW

THAT.

THEY CANNOT BE BLAMED FOR THE

FACTS THAT ARSENIC IS FLOATING

AROUND THE UNIVERSE, BUT IT IS A

PROBLEM THAT WE NEED TO RESOLVE.

THE WORK I AM DOING WITH THE

STUDIO CAN BE SEEN AS AN ACT OF

RECONCILIATION.

IT IS ABOUT BEING PRESENT AND

ACCOUNTABLE AS WITNESSES AND

STORYTELLERS.

THE WORLD OF MULHOLLAND AND THE

PEOPLE WHO BROKERED THE L.A.

AQUEDUCT.

THE WORLD THAT WILL EMERGE HAS

YET TO BE BORN.

SINCE 2005, WHAT HAS GUIDED MY

ACTIONS IS THE NOTION THAT

ARTISTS MUST CREATE ON THE SAME

SCALE THAT SOCIETY HAS THE

CAPACITY TO DESTROY.

HERE IS THIS 100 MILES SCAR.

HOW DO WE TRANSFORM THIS?

WHAT CAN WE DO?

IT HAS TO BE SOUND.

WHAT IS THE SOUND OF

TRANSFORMATION?

I LOOKED AT THOSE GIANT SILOS AT

THE EDGE OF THE DRY LAKE BED AND

I IMAGINED THAT THEY MADE A

SOUND SO PURE THAT IT WAS

CAPABLE OF ACTUALLY MOVING THE

STAGNANCY OF 80 YEARS OF

SUNBAKED DECAY.

THE AMPLE FLOWS TO CREATE SOUND

AND COMMUNICATE IT.

THE SECOND IMPULSE WAS THE

VALLEY WAS THE GRETA GARBO --

THERE IS NO BAD SHOT AVAILABLE.

THE IDEA OF A TRANSFORMATIVE

SOUND.

I HAD IDEA THAT FILM COULD BE

THE VEHICLE TO DELIVER THAT

TRANSFORMATIVE SOUND.

I HAD THE IDEA THAT FILMMAKING

AS A PROCESS COULD CATALYZE THE

COMMUNITY INTO A NEW SITUATION.

>> LAUREN HAS CONSTRUCTED A

NARRATIVE FOR THE VALLEY THAT

SHE USES FOR DESCRIBING WHAT SHE

IS DOING.

WE HAVE BEEN USING IT FOR A

VARIETY OF DIFFERENT THINGS.

THE CRYSTAL AND WATER ORCHESTRA.

IT HAS FUNCTIONED AS A MEETING

PLACE.

>> INSIDE OF THAT SILO IS WHERE

WE WERE DEVELOPING FILM FOR THE

ROBERT WORKSHOP.

IT WAS INSIDE OF THAT SILO THAT

WE HAD THE FIRST CONVERSATIONS

ABOUT THE INDEX IMAGE.

IT IS FITTING BECAUSE THE SILO

USED TO HOLD LAKEBED.

>> WE RECOGNIZED THAT THIS COULD

ALSO BE A CAMERA.

IT COULD BE THE OBSERVER OF THE

LAKE.

IT HAS BEEN THERE OBSERVING.

WE HAVE TALKED ABOUT HOW THIS

CYLINDER HAS POSSIBLY COLLECTED

YEARS AND YEARS OF IMAGERY.

>> IT IS PRESENT, BUT WITHOUT

AND I -- AN EYE.

>> THEY DID IT COMPLETELY ON

THEIR OWN.

THEY DRILLED A HOLE THROUGH THAT

STEEL.

WE HAVE TO SHOW YOU SOMETHING.

IT WAS JUST AN UNBELIEVABLE

EXPERIENCE TO REALIZE THEY HAD

ACTUALLY CREATED THIS MONUMENTAL

IMAGE OF THE LANDSCAPE.

INSCRIBED INSIDE OF THE SILO FOR

AS LONG AS THAT SILO EXISTS.

>> WHAT WAS OUTSIDE BECAME

INSIDE.

WHEN YOU WALK INTO THE SILO, YOU

ARE WALKING INTO THE LAKE.

YOU ARE WALKING INTO A 180

DEGREE VIEW THAT GETS

TRANSFORMED INTO A 360 DEGREE

VIEW.

THE FUNCTION OF THE EYE FOR THIS

LONG-TERM PROJECT IS REALLY

IMPORTANT.

>> OUR HUMAN ANCESTORS PROBABLY

SACKED IN CAVES AND WAITED OUT

RAINSTORMS AND WHEN THERE WAS

LIGHTNING BOLTS, THEY WOULD HAVE

SEEN THEIR WORLD REFLECTED IN

THE STONE SCAPES.

HOW DID WE KNOW THAT THEY DID

NOT DRAW THEM IN CAVE PAINTINGS?

THE SILO IS A CONTEMPORARY

VERSION.

I HAD THIS LIGHTNING BOLT WHERE

I REALIZED ALL I WOULD REALLY

LIKE TO GET FROM THIS WHOLE

PROCESS IS ONE TINY PIECE OF

FILM THAT IS MADE OF THE VALLEY,

BY THE VALLEY, ABOUT ITSELF.

THE ENTIRE THING WOULD BE MADE

HERE AND WE WOULD KNOW ABOUT THE

ECONOMY OF THIS GESTURE.

IT WOULD TALK IN SOME ANALOGOUS

WAY TO THE CONSTRUCTION OF THE

AQUEDUCT.

IT TOOK AN EXTRAORDINARY ACT OF

DETERMINED FOCUS TO TAKE SEVEN

YEARS AND MOVE WATER FROM OUR

WHITNEY TO L.A. -- FROM MOUNT

WHITNEY TO L.A..

MY QUEST HAS BEEN TO MAKE A

SINGLE FRAME OF FILM WHOSE

SUBJECT IS THE VALLEY.

>> IN 2010, LAUREN DESCRIBED HIS

VISION OF MAKING A PHOTOGRAPH OF

THE LANDSCAPE OUT OF THE

LANDSCAPE.

THIS IDEA OF DIRECT

REPRESENTATION.

IT BECAME CLEAR IN ORDER TO DO

THIS, THE PHOTOGRAPHERS HAD TO

ENTER THE CAMERA.

STEP THROUGH THAT BARRIER.

WE COULD NO LONGER STAND IN THE

PRIVILEGED POSITION.

WE HAD TO ENTER INTO THE IMAGE

SPACE.

WE HAD TO TAKE THAT STEP.

THE MAP ON THE TERRITORY.

THE MAP BECOMING SO LARGE THAT

IT REPLACES THE TERRITORY.

THAT IS WHAT THE PURSUIT IS ALL

ABOUT.

>> THE CONCEPT THAT WE HAVE GONE

THROUGH OVARY ACTIVATING -- THAT

WE HAVE GONE THROUGH

REACTIVATING, THE DEVICE OF

WONDER OF FILM BEGAN.

>> IN HIS VISION, THIS PURSUIT

OF AN INDEX -- IMAGE MADE FROM

THE LANDSCAPE, THE FIRST

INGREDIENT THAT WAS MADE WAS A

DEVELOPER.

LAUREN HAD SEEN THIS WORKSHOP

WITH ROBERT WHERE SHE SAW HIM

DEVELOP 16MM FILM OUT OF COFFEE.

DO YOU THINK YOU COULD MAKE A

DEVELOPER OUT OF THE LANDSCAPE

OFF THE DUST OF THE VALLEY?

WE MADE A DEVELOPER OUT OF A

SODA ASH THAT NATURALLY OCCURS

HERE IN THE LAKEBED ALONG WITH

COFFEE AND VITAMIN C FROM ORANGE

JUICE.

WE STARTED THIS INQUIRY TO START

MINING AND SOURCING ALL OF THE

MATERIAL TO REINVENT PHOTOGRAPHY

OUT OF THIS VALLEY.

WE HAVE CONTINUED THAT RESEARCH

IN ONE OF THE THINGS WE ARE

LOOKING FOR HIS PHOTOGRAPHIC

FIXERS.

THIS IS THE MATERIAL THAT MAKES

THE IMAGE STAY ON THE PAPER

AFTER YOU HAVE DEVELOPED IT.

>> IT IS SULFUR RICH OUT HERE.

THERE ARE THESE HOT SPRINGS

BUBBLING UP, SULFITE RICH WATER.

THIS IS A CHEMICAL SOUP OUT

HERE.

IT HAS PUT SO MUCH CHEMISTRY

COMING OUT OF THE MOUNTAINS ON

BOTH SIDES.

IT FILLS THIS LAKEBED UP WITH

EVERYTHING.

>> IT IS LIKE A PERIODIC TABLE.

>> WE SAT HERE ON THE EDGE OF

THE LAKE AND SURMISE THAT MOST

OF THE STUFF THAT WE NEED US TO

BE OUT HERE.

-- MUST BE OUT HERE.

THESE CONTAIN A SOLUTION THAT

REACTS WITH THE SODIUM

THIOSULFATE THAT WE ARE LOOKING

FOR.

PUT A SAMPLE OF THIS WATER INTO

A BEAKER AND IT WILL SUCK SOME

OF THAT SAMPLE INTO THE VIAL.

THE RATE IT CHANGES COLOR WILL

TELL US HOW MUCH IS OCCURRING.

>> IT WAS PURPLE FOR A SECOND

AND NOW IT IS CLEAR.

HOW MUCH LIQUID DID YOU PULL IN?

>> FIXER --

>> YES, IT IS FIXER.

>> THE RESULTS WERE ABSOLUTELY

NOT WHAT WE WERE EXPECT HIM.

>> WE FOUND A VERY CONCENTRATED

POOL.

WHEN LOOKING OUT THE SATELLITE

MAP, WE REALIZED THE POOL WAS

RED IN COLOR.

THAT TRIGGERED SOMETHING IN MY

MEMORY FROM WHEN I WAS DOING ALL

OF THE RESEARCH ON THE

GEOCHEMISTRY OF THIS LAKE.

I WAS READING ABOUT METABOLIZING

BACTERIA.

ONE OF THE FERRIES -- ONE OF THE

THEORIES, IT MAY BE THE POOL'S

RICHEST IN SODIUM BECAUSE THE

BACTERIA ARE BASICALLY LOOKING

FOR THE SAME TRACE ELEMENT WE

ARE LOOKING FOR.

>> IT IS ALL-NATURAL.

THIS IS AN ECOSYSTEM IN ITSELF

EVEN THOUGH IT IS HUMAN MODIFIED

.

SOMETHING LIKE PHOTOGRAPHY, IT

IS ALL-NATURAL MATERIALS.

>> NEXT STOP WILL BE TO GO TO

THE EXPERIMENT.

THE TEST SITE.

>> WE HAVE A FEW EXPERIENCE --

EXPERIMENTS GOING.

WE HAVE SOME FILM BURIED UNDER

THEIR AND WE LAID THAT IN THE

SALT TO SEE HOW THE FILM WILL

REACT WITH THE CHEMISTRY.

IT IS AN UNDEVELOPED PIECE OF

FILM.

>> WE PLACED SOME OTHER ONES IN

THESE POOLS OVER HERE TO SEE IF

IT WAS ANY DIFFERENT.

>> THIS IS A PHOTO.

>> THIS EXPERIMENT WAS ABOUT

MAKING A PURE CHEMICAL IMAGE.

SEE WITH THE NATURAL CHEMISTRY,

AND NOT EVEN THINKING ABOUT

DEVELOPER AND FIXER, THIS IS

JUST SEEING WHAT THE LAKE ITSELF

WILL DO TO FILM.

YOU CAN SEE THE IRIDESCENCE.

>> WOW.

WE HAVE A LOT OF COLORS

HAPPENING.

>> THAT WENT CLEAR.

THAT ONE WAS STRIPPED.

>> THAT IS AWESOME.

I LOVE THAT.

>> THAT IS TOTALLY CLEAR.

>> WE HAD OUR HYDRATION TEST

KIT.

WE WERE COLLECTING WATER

SAMPLES.

AS OUR EXPERIMENTATION

CONTINUED, THE LABORATORY FELL

AWAY AND NOW WE ARE BECOMING

MORE INTERESTED IN LETTING THE

LAKEBED BE THE LABORATORY.

USING THE DIFFERENT POOLS TO BE

OUR DEVELOPING PLACE AND THINK

THE NATURAL NATIVE CHEMISTRY.

-- AND SEEING THE NATIVE NATURAL

CHEMISTRY.

THE ASPECT OF THE RHYTHM OF

NIGHT AND DAY.

THE NIGHT BECOMES OUR DARKROOM

AND THE DAYTIME AS OUR EXPOSURE.

>> LAUREN HAD BEEN WORKING AND

ABANDONED SILVER MINE OR A GHOST

TOWN.

IT WAS ON THE OTHER SIDE.

WHEN SHE THOUGHT SILVER WAS A

COMPONENT, WE HAVE TO GO BACK.

THAT IS THE THIRD ELEMENT IN THE

PRODUCTION OF THE PHOTOGRAPHY.

>> I AM ROBERT.

WE ARE IN THE CENTER OF TOWN.

IT WAS FOUNDED BY THREE MEXICANS

IN 1862.

BY 1865, THEY GOT SERIOUS ABOUT

MINING, BUT THERE WAS A GUY WHO

HAD A STORE.

HE THOUGHT, I SHOULD TAKE A

LOOK.

THERE WERE 700 REGISTERED

CLAIMS.

EVERYTHING FROM SILVER,

LIMESTONE, MARBLE.

SUPPOSEDLY $17 MILLION WORTH OF

SILVER, WHICH TRANSLATES TO HALF

A BILLION TODAY.

IT ENCOMPASSED 2.5 SQUARE MILES.

OVER 200 BUILDINGS.

37 MILES OF UNDERGROUND

WORKINGS.

EVERY FLAT SPOT HAD A BUILDING.

SEVEN SALOONS, THREE BROTHELS.

SUPPOSEDLY THEY MOVED ABOVE TO

THE FELLOWSHIP HALL.

THEY FOUND FIVE GLASS PERFUME

BOTTLES UP THERE.

A LOT OF STUFF WENT ON UP HERE.

THE GROUP DID AN UNBELIEVABLE

RESTORATION.

THAT BUILDING WAS GOING TO FALL

APART AND I WAS SHOCKED.

I WAS CASTING SILVER BUTTONS.

NEXT, HERE COMES THREE TRACTORS.

I WAS SITTING THERE TOTALLY

DUMBFOUNDED.

THIS IS GOING TO HAPPEN.

>> ONE OF THE PROJECTS LAUREN

TALKED ABOUT WAS TO MAKE AN

IMAGE OF THE VALLEY FROM THE

VALLEY.

SILVER IS THE KEY COMPONENT IN

PHOTOGRAPHY AND WE RECOGNIZED IN

ORDER FOR US TO MAKE A

PHOTOGRAPH FROM THE VALLEY, WE

NEEDED THE SILVER.

>> THAT IS GORGEOUS.

>> YOU HAVE SOME GOOD SILVER

PRODUCT.

>> IN OUR PHOTOGRAPHY, WE ARE

USING PHOTOGRAPHIC FIXER.

THE BLACK IS PIECES OF SILVER.

WHEN YOU FIX AN IMAGE, SILVER

GETS DISSOLVED INTO THAT

CHEMISTRY.

THAT IS BASIC PHOTOGRAPHY.

>> THAT BRINGS US TO WORKING

WITH YOU APPEAR.

PRODUCING THOSE SILVER BUTTONS

FROM -- WHAT YOU HAVE COMING OUT

OF THIS MINE.

WE HAVE GONE THROUGH EACH STEP

AND WE WANT TO PUT THE PIECES

TOGETHER.

THIS IMAGE THAT IS A PHOTOGRAPH

OF THE LANDSCAPE MADE OUT OF THE

LANDSCAPE.

WHAT WE WANT YOUR HELP WITH IS

TO TAKE THIS ORE AND GET A

PURIFIED PIECE OF SILVER AND

THAT WILL BECOME THE SILVER IN

OUR IMAGE.

>> IT IS ABOUT THE LANDSCAPE.

IT IS ALSO ABOUT THE STUDIO.

IT IS NOT JUST ANY SILVER.

>> WHAT YOU'RE LOOKING FOR IS

THE GRAIN.

FINE, SALT GRAIN.

THIS IS A BEAUTIFUL SPECIMEN.

WHAT YOU NEED TO DO IS CRUSH IT

AS SMALL AS YOU CAN IN THE FIRST

PLACE.

GRIND IT UP TO A POWDER.

MIX IT UP.

YOU NEED TO PUT A FLUX IN IT.

IT WILL GET UP TO 2500 DEGREES.

I EASILY RUN THIS BETWEEN 22 AND

24.

YOU CAN TELL BY THE COLLAR.

WHEN IT STARTS TO SMOKE, YOU

KNOW IT IS GETTING READY TO GO.

>> LOOK AT THE BELOW LOOK --

LOOK AT THE GLOW.

IT IS GORGEOUS.

>> WE HAVE BEEN WATCHING

SHIPPING CONTAINERS PILEUP IN

THE PORT OF LONG BEACH.

HOW LONG WILL GLOBAL TRADE BE

THE DOMINANT WAY THAT WE EXIST

ECONOMICALLY IN THE WORLD?

WHY ARE WE IMPORTING THINGS THAT

WE CAN MAKE AT HOME?

IT WAS THE PERFECT POETIC

CONSTRUCT TO MARRY THE CONCEPT

OF THE DRY LAKE BED WITH

PHOTOGRAPHY.

NOTHING BUT THE LIKENESS OF THE

WORLD YOU ARE PASSING BY.

>> THERE IS ALMOST A VACUUM AND

IN THE STUDIO, THERE HAD BEEN A

NEED FOR SOME KIND OF IMAGE

CAPTURE THAT WAS ON SCALE WITH

THE SCALE OF LAUREN'S WORK.

IT IS A 20 FOOT LONG SHIPPING

CONTAINER.

THESE ARE THE BIG CONTAINERS YOU

SEE GETTING LOADED AT THE PORT

OF LOS ANGELES.

IT IS THE ARCHETYPAL BLACK BOX,

THE CAMERA OBSCURA.

>> WHEN YOU ARE IN THE CAMERA,

YOU ARE HERE, BUT YOU ARE

SEPARATED.

YOU ARE NOT EVEN OBSERVING IT IN

THE RIGHT WAY.

IT IS UPSIDE DOWN AND.

-- IT IS UPSIDE DOWN.

YOU HAVE EIGHT SOLAR PANELS ON

THE ROOF OF THE CAMERA AND THEY

ARE CONNECTED TO A BATTERY BANK.

IT EVEN POWERS THIS OUT LET'S

RIGHT HERE.

-- THIS OUTLET RIGHT HERE.

I ALSO HAVE A LINK SO YOU CAN

WATCH THIS ON THE INTERNET.

YOU CAN WATCH US WORK WHILE YOU

ARE SITTING IN YOUR LIVING ROOM.

>> THIS IS SOMETHING FOR $20,

YOU CAN BUY A LENS LIKE THIS.

ANYBODY CAN DO THIS.

THAT IS WHAT WE HAVE BUILT HERE.

IT IS THE MOST SIMPLE CAMERA.

PEOPLE GET IN THE CAMERA.

IT TAKES A MOMENT FOR THEM TO

REALIZE, THIS IS THE PHYSICAL

LIGHT FROM THE OUTSIDE.

THERE IS NO ELECTRICITY

INVOLVED.

IT IS BEING PROJECTED THROUGH

THIS.

THIS IS A PHYSICAL PROPERTY OF

LIGHT.

>> OK.

VERY NICE.

THAT IS PRETTY GOOD RIGHT THERE.

HOLD IT.

>> THAT IS GOING TO BE OUR SHOT.

>> WE ARE READY TO TAKE THE

SHOT.

WE HAVE TO STABILIZE THE CAMERA.

WE HAVE FOR HIGH LIFT JACKS --

FOUR HIGH LIFT JACKS TO MAKE

SURE IT IS STABILIZED.

>> USUALLY, A CAMERA HAS A LENS

THAT MOVES IN AND OUT.

WE WANTED THIS TO BE AS

INCONSPICUOUS AS POSSIBLE.

>> WE COME IN AND OUT OF FOCUS.

>> TO BE INSIDE OF THIS CAMERA,

IT IS A GIANT SCREEN AND YOU SEE

EXACTLY WHAT IS HAPPENING THE ON

THE WALL.

YOU ARE OBSERVING THE WORLD FROM

THAT STATE.

>> HOW MANY STOPS DO YOU WANT TO

GO DOWN?

THAT'S PRETTY FAR.

>> IT WILL BE A VERY LONG

EXPOSURE.

>> WE HAVE NO POWER HERE.

>> THE CAMERA IS NOT ONLY THE

CAMERA TAKING THE PHOTOS.

IT IS THE LAB DEVELOPING THE

PHOTOS.

IT IS A SELF-CONTAINED FILM

INDUSTRY UNIT.

IT IS ABOUT INGENUITY AND ALL OF

THESE THEMES WE ARE TRYING TO

CELEBRATE ONLY TALK ABOUT THE

MANDATE TO BE FORWARD-LOOKING

WHICH IS THE UNIQUE CONCEPT OF

THE AMERICAN WEST THAT WE CAN

RE-CREATE OUR UNIVERSE THROUGH A

DETERMINED DESIRE TO MOVE

FORWARD.

>> WE CAN INVERT THE DISPLAY ON

THE IPHONE AND IT TRANSFORMS THE

NEGATIVE INTO A POSITIVE.

IT IS KIND OF NEAT.

IT BECOMES LIKE A MAGIC WINDOW.

>> NOW WE WILL GO BACK IN.

>> IT REMINDS US THAT THE

PHOTOGRAPHIC IMAGES IS THE REAL

THING.

IT IS NOT A LIKENESS OF

SOMETHING ELSE.

THAT IS WHAT WE LOSE IN THE

DIGITAL ERA, THERE IS A PHYSICAL

ABSENCE WHEN YOU HAVE A DIGITAL

FILE.

THE PHYSICAL REALITY OF IT AND

WHAT IT PHOTOGRAPHS IS ITS OWN

WORLD.

IT IS NOT DOCUMENTING IN A

TRADITIONAL SENSE.

IT IS CREATING SOMETHING UNIQUE

AND REAL THAT IS SIMILAR TO WHAT

IT IS PHOTOGRAPHING, BUT NOT THE

SAME.

IT IS THE BEGINNING OF REMINDING

OURSELVES THAT IT IS NOT THE

SAME THING.

IN THAT REGARD, IT IS A GREAT

TOOL TO COMMUNICATE WHAT IS

GOING ON BECAUSE THE IMAGES WE

ARE MAKING WITH THE LIMINAL

CAMERA HAVE SO MUCH PRESENCE

THAT THEY DEMAND THAT YOU AS A

VIEWER ENTER, COME TO THEM, NOT

JUST SEE THEM.

I AM DOING A SCHEMATIC DIAGRAM

FOR OUR SHOT.

HERE IS THE SILO.

HERE IS THE LENS OF THE SILO.

WE WILL MAKE A SILO CAMERA

PORTRAIT OF THE LIMINAL CAMERA.

THE CAMERA IS RIGHT DOWN HERE.

WE ARE LOOKING AT A MOMENT WHERE

THEY ARE REFLECTING ONE ANOTHER

AT THE SAME MOMENT IN TIME.

WE ARE TALKING ABOUT THIS IDEA

OF HOW OUR PARTICIPATION IS

MAKING OF THE WESTERN.

IT WAS THE IDEA OF A REINVENTED

LANDSCAPE TO COMMUNICATE TO THE

REST OF THE WORLD WHAT THE WEST

IS ALL ABOUT.

WE ARE REEVALUATING WHAT

FILMMAKING IS TO THE WEST.

IT IS NO LONGER SIMPLY ABOUT THE

ENTERTAINMENT INDUSTRY.

THE LANDSCAPE MATERIAL IS BEING

USED TO CREATE A PHOTOGRAPHIC

IMAGE TO MAKE A STORY ABOUT IT.

YOU RARELY GET AS A DIRECTOR

SUCH A GREAT MOMENTS WHERE YOU

ARE ABLE TO LOOK AT THE HISTORY

OF PHOTOGRAPHY IN ONE SHOT

MAKING THE LANDSCAPE BOTH THE

SUBJECT AND THE OBJECT OF THE

INQUIRY AND TO REALLY UNDERSTAND

THE INQUIRY INVOLVES

PARTICIPATION.

THE LIMINAL CAMERA ON THE SILO

CAMERA HAVE VERY DIFFERENT

PROCESSES OF WORKING.

IT IS AN EXTREMELY COMPLEX

SERIES OF SHOTS THAT WE TOOK,

WHICH I FOUND REALLY EXCITING.

YOU TAKE YOUR POSITIONS, THERE

IS THE GENTLEMAN'S AGREEMENT

THAT WE WAIT UNTIL WE DRAW.

INSTEAD OF DRAWING ARGONNE, --

ARAGON, THE LENS OPENS AND WE

ALL SHOOT.

IT LASTS FOR A MOMENT AND IT IS

ALL OVER.

END OF STORY.

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