- TED Talk: Playing with Light and Space<\/a><\/li>
- Ice Watch<\/a><\/li>
- Olafur Eliasson\u2019s art is driven by his interests in perception, movement, embodied experience, and feelings of self. He strives to make the concerns of art relevant to society at large. Art, for him, is a crucial means for turning thinking into doing in the world. Eliasson\u2019s works span sculpture, painting, photography, film, and installation. Not limited to the confines of the museum and gallery, his practice engages the broader public sphere through architectural projects, interventions in civic space, arts education, policy-making, and issues of sustainability and climate change. from BIO<\/a><\/li><\/ul>\n\n\n\n
Laura Kraning<\/a>:<\/p>\n\n\n\n
- WATCH Irradiant Field<\/a> (10 mins) temporary class password: dms2021<\/li>
- “Laura Kraning is an experimental non-fiction filmmaker… In her video work, Laura creates atmospheric visual and sonic portraits of hidden places at the intersection of nature and machine. Navigating landscape as a repository for memory, cultural mythology, and the technological sublime, her work has been described as a form of \u201cesoteric archeology,\u201d delving into an experience of the subconscious of a landscape.” from BIO<\/a> at UB<\/li><\/ul>\n\n\n
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![\"Time](\"http:\/\/3.bp.blogspot.com\/_oPjxy9iJ1nI\/TI2-FDk3ZPI\/AAAAAAAACMs\/FIARQzxjkO8\/s1600\/CM+Capture+6.jpg\")
Time and Tide, Peter Hutton<\/p><\/div>\n
The Eco-Cinema Experience (see chapter references below)<\/strong><\/p>\n
Scott McDonald: Introduces a film tradition that immerses us in nature, “a cinematic experience that models patience and mindfulness.”<\/p>\n
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- Focuses on Directors: Peter Hutton, James Benning, Andrej Zdravic, Sharon Lockhart, J.P. Sniadeck.<\/li>\n
- Contrasts their films to commercial media (especially advertising).<\/li>\n
- Makes an analogy between the maximum number of images per second and material consumption\/ industrial exploitationof the environment. <\/span><\/li>\n
- For him eco-cinema cannot be “pro-environmental narratives” shot in a conventional Hollywood or documentary manner. <\/span>But films that act to change the norms and expectations of spectator via:\n
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- aesthetic choice: slow pace, long takes (i.e. environmental in their form)<\/li>\n
- mechanisms that retrain perception = necessary condition for greater ecological awareness<\/li>\n
- impacting the spectator at the level of affect<\/strong> – aiming to change our way of perceiving.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
Time and Tide by Peter Hutton, 2000 (34:23) watch from ~2<\/strong><\/p>\n
- For him eco-cinema cannot be “pro-environmental narratives” shot in a conventional Hollywood or documentary manner. <\/span>But films that act to change the norms and expectations of spectator via:\n
- “Laura Kraning is an experimental non-fiction filmmaker… In her video work, Laura creates atmospheric visual and sonic portraits of hidden places at the intersection of nature and machine. Navigating landscape as a repository for memory, cultural mythology, and the technological sublime, her work has been described as a form of \u201cesoteric archeology,\u201d delving into an experience of the subconscious of a landscape.” from BIO<\/a> at UB<\/li><\/ul>\n\n\n
- Ice Watch<\/a><\/li>