Paisaje para una ninfa que se mira al espejo
Experimental cinematic installation for the International congress: Landscape and sustainability. Listening to multiplicity. Iván Pérez Vidal Intermedia Creation Laboratory UPV. Margarita Salas UCLM postdoctoral grants.
Key words: Cinema, installation, sound experience, noise, ecology, landscape.
Cinematic call for a nymph looking in the mirror, is an experimental artistic action between cinema, installation and live arts that combines the use of modified hunting calls with an audiovisual analogical experience in 16mm film. Visual and sound elements intervene in the improvisation. The sound experience is based on the sounds produced by the film itself in its interaction with an electric guitar, combined with the sounds of the hunting calls and the motors of the Bolex s321 projector. The film includes archival images of birds in the Albufera de Valencia in the 80's that interfere with the shadows cast by the lures. The total duration of the action varies between 10 and 15 minutes. The piece belongs to the project "Reclamos para alimañas" as part of my research at the Laboratorio de creaciones Intermedia of the Universidad Politécnica de València, within the Margarita Salas postdoctoral program. As a synopsis, the event takes place during the barely fifteen minutes of duration of a film about the fauna of the lagoon filmed in the 80's. The film extends precariously from the projector to the strings of an amplified guitar. Along the way it crosses a cage that encloses a cell phone on whose screen we recognize a nymph interacting with a mirror. During the projection time, various modified bird hunting calls are played. The nymph recognizes the otherness in her reflection in front of the instantaneous image of herself (Lacan, Écrits, Seuil, Paris, 1966) and in a desperate attempt to receive the acceptance of that reflected other, she repeatedly demands his attention and even regurgitates food as an offering to her imaginary companion. The nymph's desperation before the polished surface of the mirror image shows the most radical reality of the representation of the moving image. An image without frames or pixels or flicker, on the surface of a unique and unrepeatable time. The document that shows a living being with no capacity for self-recognition, actor and unique spectator of its own incomprehension of the phenomena imposed on it. The nymph has not passed the mirror test (Gordon Gallup Jr.1970) similar to the one we ourselves undergo daily in front of the technical images of our screens. Could we then recognize ourselves in the morass of data collected by the algorithm, in the exact reflection of what we mean socially, spatially or macroeconomically, would we recognize our reflection stored in alphanumeric characters, would we recognize our reflection stored in alphanumeric characters? It is in that reflection of surfaces constructed by dots (V.Flusser 1985.pg.29) where we can recognise, imagined surfaces where we are incapable of recognizing ourselves, incapable of knowing who we are before the masked cotidianeity of the image that neither we know nor belongs to us, projected numerically in the device we are facing. Meanwhile the image of the nymph on the screen sings in front of the mirror, inside the cage and inside the screen, our device transforms the vibrations produced by the friction of the film against the strings into piezoelectric impulses. The soundtrack of our passage through the world understood as a vibration produced by the friction of the physical image with the numerical. Natural landscapes recorded forty years ago consumed in the pure production of energy emitting from the past a slight complain of discomfort. The new order built around the meaning of the images with which we are projected into the world through a superficial prehistoric reading, illiterate before the codes that classify and articulate them. The conversion of phonemes into a binary code, without gray tones, shades or poetry, attending to the fantasies of a unipolar world in decadence.